It started with shoes.
When Gian Jonathan first saw his friend wear a pair of FBT shoes, he was piqued by how they looked. She told him that they were from the Japanese brand, visvim. That planted a seed in Jonathan. Years later, he would show us an ICT (Indigo Camp Trailer) Noragi Kofu outfit and remark on how hard it was to find it. “This was a special release at an Isetan pop-up,” Jonathan says. “If you look at the construction, the patterns may look random but it’s actually coordinated. Check out the indigo fabric and the kasuri design, which is how they…” Jonathan catches himself and apologises for “geeking out”.
It’s understandable to be lost in the world of visvim. It’s a brand that is uncompromising in its usage of traditional construction for its products. The founder, Nakamura Hiroki, was already well-versed in Americana, having spent time all over Alaska. After quitting his job at the Japanese division of Burton Snowboards, Nakamura decided to form his own label, visvim.
By all accounts, the appellation visvim doesn’t mean anything, at least as a whole. Cribbed from a Latin dictionary, Nakamura loved how the words “vis” and “vim” look and decided to use them as a brand name. (Coincidentally, both words mean “power”.) visvim started as a show company but it grew into a thriving business that has found fans in Eric Clapton and John Mayer.
Years later, during a company trip to Tokyo, Jonathan’s girlfriend (now wife) gifted him a pair of visvim shoes. This would seal Jonathan’s fate as a serial visvim collector.
The clothes that Jonathan collects, while some might be precious with them, Jonathan treats most of them like any other pieces of clothing: washed, folded and worn. He took out a pair of red shorts that were made out of bandanas. He points to the vintage indigo patches that cover the holes incurred from constant wear. “My mom would sew some of the holes in my visvim T-shirts and she’ll tell me to throw them away already because of how worn they are,” Jonathan says.
Jonathan takes the cake for being someone with a wardrobe that’s only filled with visvim products. To his credit, he wore other labels like Kapital, which is known for its traditional manufacture. “But the cutting and distressing are a little overwhelming for me,” he says. “It’s too much. For visvim, they know how to balance out the perfect and the imperfect.”
There are some downsides to having such a varied visvim range. For one, the weather in Singapore isn’t the most ideal for some of the thicker pieces. Jonathan can only wear them in cooler climates like Japan. And with the arrival of his two children, Jonathan has to make concessions to his collection. “When the firstborn arrived, he was always grabbing at my visvim jewellery and putting them into his mouth. I had to sell the accessories off. Maybe when they are older, I might start collecting again.”
Back then, when he first started collecting, there wasn’t enough information about how visvim processes its outfits. It was through meeting with other like-minded people, online forums and Google translate that Jonathan was able to develop his knowledge about many of visvim’s esoteric processes.
One such method is katazurizome. It’s a dyeing technic that places paper stencils on top of a fabric and a brush rubs dye into it. This process requires a high level of discipline that only an experienced craftsman possesses.
There’s also a visvim arm that makes products via “natural means”. Called “ICT”, which stands for “Indigo Camping Trailer”, the construction of products can utilise Japanese indigo to traditional mud dyeing techniques to the incorporation of vintage fabrics.
Jonathan feels that he may have about a hundred visvim pieces, the scarcity of space in his home has nudged him to store some of them at his office. His IG account (@gian2) showcases the outfits that he finds interesting. He has somewhat catalogued his collection, or at least, the more precious items. “I told my wife that if anything were to happen to me, don’t anyhow sell my things. Just refer to the list.”
He recounts the time that he bought a fake. “It’s a short-sleeved shirt, naturally dyed with a Japanese print. When it arrived, there were no alarm bells. The fit is the same. It came with its dust bag.” But on the way back, he placed more scrutiny on the item and realised that the prints of the shirt did not bleed through the fabric. The outfit also felt thicker.” Jonathan had an existing shirt and compared the two, which corroborated his suspicions.
These days, Jonathan is more careful; often corroborating with the online visvim community on suspected items online. There is a modicum of awe though in the high technical level of a fake visvim piece. Even fakers who are cashing in on visvim’s popularity are trying to meet the brand’s exacting standards.
There is someone who doesn’t share Jonathan’s enthusiasm for visvim. A framed pair of FBT RICO-FOLK shoes hangs on the wall of the master bedroom. Taken from visvim’s children’s range, the afterthought of Ernest Hemingway’s shortest story popped into our heads. We point to them, Starting them young, we joke.
“Oh, I got that for the firstborn but he doesn’t like it,” Jonathan says, laughing. “He said it wasn’t comfortable."
Photography: Jaya Khidir
Art Direction: Joan Tai
Photography Assistant: Chuen Kah Jun
The show that never was. Celine Homme's cancelled Summer 2024 runway show (and its planned after-party with live performances) in July 2023—in light of the protests happening in Paris at the time—turned into a short film. Shot in the same month, it was largely filmed in Paris with interspersed scenes of classical ballet dancer Laurids Seidel shot at the Opéra Garnier Monte-Carlo.
An extended version of LCD Soundsystem's "Losing My Edge" is the soundtrack to the film, bringing the mirrored set to life as models embodying the collection's amplified androgyny walked on in succession. Artistic, creative and image director Hedi Slimane's aesthetic lies in the rock-and-roll androgyny synonymous with the legendary figures the likes of David Bowie and Mick Jagger. For Summer 2024 however, Slimane took it up a few notches with the adoption of more feminine elements that, quite frankly, Jagger could probably still rock right now.
At heart of the Celine Homme Summer 2024 collection's inspiration was Slimane's prior photography works in the early noughties. New York's underground art scene—featuring artists such as Dash Snow, Slater Bradley, Mathew Cerlett, Dan Colen, Gardar Eide Einarsson, Terence Koh and others—became the focus of an exhibition that Slimane curated in 2007 in Berlin. He later went on to stage his own in Amsterdam as tribute to the same artists. And as somewhat of a culmination of this continued love and tribute for the scene, Slimane also worked with Snow's estate to include artworks from his archive for the collection.
The fit: The standard Slimane look was apparent in Summer 2024. Impeccable tailoring finished off with skinny ties were nods to his Dior Homme era, but then elevated with rhinestones that seemed to give off their own luminescence with every movement. Leather was a heavy focus as seen with trousers crafted with a slight flare as well as some of the collection's standout moments. The latter saw the beautiful execution of a leather jacket with sleeves that ballooned out, inspired by 17th-century French court royalty.
The newness that Slimane injected into the collection (and let's face it, the man does what he wants and sometimes that equates to tried-and-tested looks) came in the form of more feminine nuances. Referencing couture constructions and silhouettes, bustiers took on exaggerated ribbon-like forms that wrapped around the waist, and in one look, a leather version was crafted with off-the-shoulder sleeves that seemed to levitate away from the body.
The details: As with most Slimane creations, there was a thoroughly nonchalant attitude about the collection. Sheer fabrications were dressed with rhinestones and sequins, with bare skin almost a given under leather outerwear and embellished cardigans. The same magpie-esque treatment was given to a number of heeled boots for that extra rock-and-roll flair.
Three exceptional looks: The opening look that consisted of a halter-neck top wrapped with satin a bow; look 36's disco-treated suiting; and look 47's billowy top that Harry Styles would certainly look at home in.
The takeaway: Slimane is not really a one-trick pony.
View some of the key looks from the Celine Homme Summer 2024 collection in the gallery below.
How does luxury taste? Perhaps, much like the Black Bowmore DB5 1964. Bowmore’s limited release in collaboration with Aston Martin is a rare single malt whisky that offers an intense marriage of ripe exotic fruits with a heady combination of coffee and tobacco smoke. And even if you intend on saving the spirit for special occasions, the exceptional vessel would look striking as part of any collection.
Black, blue and white dials present classic appeal that won’t look out of place in any setting, it’s true. But let this grey-dial Santos-Dumont open you up to an underrated option. The yellow gold accent on the bezel goes handsomely with the grey dial, lifting the shine reflected by the sunray effect and conferring elegance on the whole watch together. There’s no question this is a stunner.
Imagine the power of a Devialet speaker but poured into a tiny, portable packaging—that’s the second generation of the the brand’s Gemini series. The new upgrade promises a deeper acoustic experience with a new Active Wind Reduction technology that serves to actively block out wind noise. Of course, that’s coupled with active noise cancellation too. And is there a better looking, sophisticated design out there than this? We doubt so.
Not many sneakers by luxury fashion houses have managed to combine their respective house codes into a single design without looking forced or even tacky. Dior Men’s B27 successfully incorporates signature Dior elements—the CD Icon, Oblique motif, and a number of logos—all the while retaining the feel of a contemporary sneaker. This blue-and-white colourway is also a classic combination that makes for an easy staple to pair with just about any outfit.
The tie isn’t dead; you’re just not wearing the right one. This cheeky design by Hermès nods to its equestrian heritage while also adding some levity to a typically formal accessory. Interpret it however you want—reneging against formal dress codes or the idea of a nine-to-five workday—but we all instantly know it is destined to become a beloved conversation starter.
Marrying modern technology with the timeless, unparallelled quality of vinyls, JBL’s Spinner BT turntable ensures that your favourite records sound as crisp as they’re made to be. The device’s Bluetooth capabilities uses aptX HD encoding to ensure a reduction in any audio distortion while the sound is transmitted to any wireless speakers or headphones. In other words, drowning down the noise after a long day is now made even more sonically splendid.
Forget what you think you know about lavender as a scent. Le Labo’s latest Lavande 31 eau de parfum challenges the typically sweet and powdery connotations of lavender by adding bergamot and neroli essential oils to a vertical distillation of lavender flower buds. This reveals lavender at its purest form and the result is a fragrance that’s dirty in nature with a heavy emphasis on musk and amber.
With digital wallets fast becoming mainstream, physical wallets are naturally downsizing. This leather cardholder by Loewe features a Suna Fujita illustrated motif that’s not only beautiful, but expertly applied into the design though a leather intarsia technique. The piece itself is convenient with four card slots and a zip compartment that has room enough for coins to buy more than two coffee takeaways.
It’s really for the nostalgia. The flip phones of the noughties were a vibe; nothing felt quite as satisfying as flipping the phone shut after an infuriating call to make a point. Oppo’s N3 flip phone will afford you that same experience and more. The best thing about the N3 is that even when its folded like a clamshell, the vertical cover screen is functional with a host of features that you won’t necessarily have to flip open the phone for basic functions. And when it’s opened up, it’s a seamless 6.8-inch screen with brilliant colour and clarity.
Functional, supple and incredibly lightweight, Tod’s latest iteration of a multi-compartment backpack is easily one of the best we’ve seen this year. Reminiscent of a camping backpack, the backpack is made from hardwearing fabric with the addition of panels of leather. The silver metal hardware complements the design beautifully, adding sophistication to a rugged silhouette. There are a number of colours for the design but this green variation gets our nod.
Any fan of Prada will be glad to know that the luxury fashion brand has released a more extensive homeware collection in Singapore. An easy early entry into Prada’s lifestyle creations is a scented candle housed within a porcelain vessel. Not only is the scent—lavender, if you’re wondering—subtle and inviting, the vessel is also decorated with Prada’s fairy motif that was part of its Spring/Summer 2008 womenswear collection.
After aluminium and polycarbonate, RIMOWA has revealed a leather-fronted line. But before the brand introduced its revolutionary aluminium series, leather was its material of choice. The new Distinct cabin suitcase is crafted from leather that’s wrapped around a solid structure shaped with the signature grooves of a RIMOWA. The corners are reinforced with aluminium in a tonal navy treatment for a seamless and sophisticated look.
Photography: Jayden Tan
Digital Imaging and Retouching: Nguyen Tien Phuc
Photography Assistant: Aisyah Hisham
When one thinks of Moncler these days, its often that two things come to mind. One, the collaborative efforts that drop on an almost monthly basis with some of the biggest names in fashion and pop culture; and two, those highly dependable (and sought after) down jackets.
But it is Moncler Grenoble that propelled the brand into what it is today. Moncler's super technical and professional pillar, Moncler Grenoble is named after the French city where the 1968 Winter Olympics was held. Moncler officially kitted the French downhill team, and needless to say, the team pretty much dominated that category for that edition of the Games.
Over the years, Moncler Grenoble has evolved while staying true to its aim of creating superior skiwear with a host of technical capabilities. The line now includes both men's and women's collections that offer après-ski options as well as professional-level skiwear—all designed with Moncler's contemporary aesthetics with nods to its heritage. The latest iteration (55 years since it was first conceived) is a fine example of this endeavour.
Punctuated with bold colours, the Moncler Grenoble Autumn/Winter 2023 collection amps up its High Performance subdivision with nifty design elements such as ski pass pockets, GORE-TEX fabrications, and heat-sealed laser-cut zipper patches. The Après Ski line consists of tactile knits, while the less technical (but still ski-appropriate) Performance & Style line feature pieces that are easily transitional. And because form and function are key tenets of all things Moncler in general, the entire Moncler Grenoble collection is meant to be seamlessly paired with one another.
The latest campaign stars a quartet of Moncler Grenoble ambassadors: Cai Xuetong, Perrine Laffont, Shaun White, and Richard Permin. All ski stars in their own right, the campaign captures them in their skilled element, all while displaying the high performance and style of the collection.
French skier Permin's journey is much like Moncler Grenoble's—a natural evolution and progression built from an undying passion for the sport. And as we learn from the man himself, a love for where it all started.
ESQUIRE SINGAPORE: You’ve worked with Moncler for a couple of years now. How is this partnership different perhaps from that you’ve experienced with other brands?
RICHARD PERMIN: Working with Moncler has been a fantastic experience for the past couple of years. What sets this partnership apart is the brand's commitment to pushing the boundaries of style and performance. Moncler's fusion of high-quality materials with innovative designs aligns seamlessly with my vision, allowing me to express myself athletically and aesthetically. The collaborative spirit and emphasis on excellence make this partnership truly unique in enhancing both my skiing performance and personal style.
ESQ: What’s one thing about the latest Moncler Grenoble collection you think avid skiers would appreciate?
RP: The latest Moncler Grenoble collection is stunning, especially the entire GORE-TEX range. I'm particularly loving the Montgirod jacket—for its incredibly stylish design, and the GORE-TEX membrane that adds another level of quality and durability to the product. The collection has got a bit of everything for every style, whether it's on the slopes or in freeride. Personally, I rock the GORE-TEX line daily in the mountains—walking, hiking, skiing, it's my go-to.
ESQ: The kind of skiing that you’ve pioneered is a combination of showmanship and technical skill. How do you prepare for these acrobatic feats? Is it a lot of trials and experimentations or have you done things in the spur of the moment?
RP: I've gotta give credit to the journey, you know? Started from alpine, grooved through freestyle and freeride, and here I am, merging experience and style. Training's a mix of reps, getting cozy with the mountain vibes year after year. It lets me level up in the mountains, keeping that cool, calm vibe but safety always riding shotgun. Because, you know, safety's the MVP in this game.
ESQ: What is it about skiing that gets you still passionate about it?
RP: Skiing's my grind, where freedom meets challenges, and the stoke never fades. Lately, I'm deep into video projects, rolling with the crew, and it's not just a job—it's the mountain passion on repeat, fuelled by determination and the love for the game and to be out there.
ESQ: How did you get into filmmaking?
RP: Getting into filmmaking for me is a natural extension of freeride skiing. Competitions are part of the sport, but when you're navigating uncharted terrains, films become integral. They've always been a key aspect of freeride skiing, enabling us to showcase the level each year. We operate in secluded areas where there's no audience, so films become the medium to share the experience. From the start, it fascinated me, and I prioritised capturing beautiful visuals even more than winning medals. It's ingrained in the culture—a way to share the passion and elevate the sport.
ESQ: What challenges have you faced in your career and how did you solve it?
RP: The biggest challenges in my career have been injuries, which typically demand a substantial recovery period. Additionally, conceptualising projects might seem great on paper, but executing them in reality is often far more complicated. So, these are challenges that you solve on the field and require a significant amount of time and patience.
ESQ: How does one become a good skier?
RP: Shred like a pro, swap walking time for ski time. It's all about sliding, not striding!
ESQ: Where’s your favourite place to ski thus far?
RP: Europe holds a special place since it's where I began, and then there's the love for British Columbia, Alaska, and Japan.
ESQ: What is your future plan and target?
RP: I've got some exciting travels lined up—Japan, Georgia, and Norway. As for target: it's all about snow conditions and terrain, so there's a lot of on-the-spot improvisation. The charm lies in the unpredictability—you never know what you'll encounter, and that's where imagination kicks in.
The Moncler Grenoble Autumn/Winter 2023 collection is available now on moncler.com and in select Moncler boutiques.
It’s amusing to read the comments on Gucci’s Instagram posts of new creative director Sabato de Sarno’s debut collection. People seem to fall into two camps: on one side are those who welcome the “return to elegance” with a comment going as far as calling the previous iteration of Gucci “a bad taste freak show”, while the other compares the current collection to that of a fast fashion brand and proclaims it “boring”.
It’s expected, of course. You can’t please everyone. Out of curiosity, I tried searching for Gucci’s posts of former creative director Alessandro Michele’s first collection, but all traces of the old Gucci appear to have been scrubbed from the feed. Anyway, I’m just certain that the reactions back then were just as divided.
It’s funny because, as someone in the industry, I find that we’re quite detached from real-life consumer sentiments. Personally, I loved Michele’s maximalist Gucci. I found it creative, vibrant and presented a luxury fashion aesthetic that was different from its competitors. And evidently, it was an aesthetic that worked for a significant period until consumer fatigue set in—something that I truly didn’t experience.
But I get it. Consumer trends tend to be predictable and are linked to a number of socio-economic factors. There’s no denying that after a period of maximalist fashion, consumers are understandably tired of all the ostentatious more-is-more aesthetic, especially given that their personal economic situations may not be reflective of that aesthetic and thus, completely not relatable.
However, I wouldn’t go as far as to say that we’re living in an era of “quiet luxury”. Because the reality is (and this may sound elitist), if you’re adopting a quiet luxury aesthetic with anything other than brands like Loro Piana, Brunello Cucinelli and The Row, you’re not actually doing it right, I’m sorry to say. Anything else is minimalism; quiet luxury refers to more than mere simple, elevated cuts.
Change is constant and where fashion is concerned, it’s almost destined to move on to something on the other end of the spectrum once a trend cycle reaches the end. Although it is quite an oxymoron to say that maximalist fashion started getting stale, the complete opposite is a breath of fresh air from the visual assault of logos, prints, embellishments and the like.
What we are currently experiencing can be compared to the rise of minimalist fashion circa 2009, when brands like Céline (the old, Phoebe Philo-led one), Calvin Klein and Jil Sander were constant points of references for impeccable style. They were stunningly clean, cut-focused and had little need for unnecessary flourishes, but ultimately suffered the fate of being rather easy to replicate using more affordable alternatives, without looking like a poorer version of the original. Now, attempt that with maximalist fashion and one runs the risk of looking downright tacky.
Of course, that’s not to say that there’s no space for maximalist fashion now—that would quickly erase the existence of quite a number of fashion brands across different categories. Brands whose DNA is maximalist would naturally tone down the visual language slightly or offer pieces that are more in line with current consumer tastes in order to not be alienated. But at the same time, not neglecting their individual identity.
We are already seeing the beginnings of neo-maximalism on the Spring/Summer 2024 runways.
Italian fashion house Versace is unequivocally maximalist through and through. From gilded trims to its signature Barocco print, Versace’s oeuvre consists of a brilliantly excessive decadence that it has been famous for for decades. But for its Spring/Summer 2024 runway show, artistic director Donatella Versace showcased a collection that was a refreshing surprise. Clean lines took precedence over exaggerated silhouettes, and a more curated colour palette was favoured over brash combinations of bold colours. And yet, the Versace-ness remained as prints were rendered in monochromatic treatments that seemed to merge with their pastel base, and Barocco trims (albeit toned down) were done in white so as not to draw too much focus from the cut and make of the garments.
Similarly at Dolce&Gabbana: nary a single logo was seen anywhere throughout the 76-strong Spring/Summer 2024 menswear looks. It was a gradation of colours from black to taupe and then back to black with each look completely monochromatic from head to toe. True to the brand’s DNA, embellishments were still present in a number of looks, but done with restraint. Instead of combining multiple types of embellishments together, there was a more concerted effort to focus on a single type and done in one single hue—often in the same colour family as the rest of the outfit.
Now that that is sorted out, is maximalism done for now? Well, not quite. Homogeneity isn’t aninherently human trait. Think about it, the rise and existence of subcultures such as punks, mods and grunge, were all a result of wanting to break away from the mainstream. Even with minimalism gaining traction, there will still be individuals and fashion brands that choose to stick to their individual maximalist styles.
The thing about maximalism is that it’s often thought of as being more creative and more interesting as compared to minimalism. That’s not to say that minimalism is, inevitably, boring—it takes superior technical craft and skill to create something cuttingly simple. There is just a lot more to see on the surface with maximalist fashion. It’s something that we can never truly get tired of. We may require some respite after a while but we’ll always come back to awe-inspiring expressions of creativity from the very first glance.
Beyoncé and Jay-Z were not in attendance at the Louis Vuitton Pre-Autumn 2024 menswear show in Hong Kong as rumoured—nor were Zendaya. There was also no post-runway performance as what we saw during Pharrell Williams' debut show during Paris Fashion Week Men's. But that didn't mean that there was any lack of a "show".
Apart from the occasion being a milestone first for both Louis Vuitton and Williams—it was the first Louis Vuitton show to be held in Hong Kong and its first menswear pre-collection to be staged ever as well as being William's first pre-collection outing—quite a lot was at stake. Williams' debut (as all debuts go) served as an introductory teaser to his vision for the maison. The Louis Vuitton Pre-Autumn 2024 menswear collection was an opportunity to drive down those ideas even further, especially in a more commercial setting.
Less we forget, the pre-collections are conceptually commercial fillers to the main seasonal collections. And by commercial, I mean more accessible (fashion-wise) to the average consumer who perhaps isn't looking to purchase an embellished suit or a head-to-toe Monogram fit. Williams appeared to achieve just that with his 64-strong showcase that, while noticeably pared back as compared to his Spring/Summer 2024 debut, offered a number of more extravagant pieces that tied back to his overarching vision for the maison.
Staged on the Avenue of Stars in view of Hong Kong's cityscape, Louis Vuitton recreated a beach complete with sand and floor-screens that displayed continuous waves of water meeting the "shoreline". Williams took reference from surf culture as well as nautical influences that all point to the moon as an element that binds them all together.
The runway show ended with a parade led by Williams himself. But not before a drone-filled sky took on shapes that alluded to the show's narrative of LVers travelling from Hawaii to Hong Kong—show-stopping enough to gather everyone's attention.
The fit: The Louis Vuitton Pre-Autumn 2024 menswear collection was teeming with surf and nautical references. At its very literal, sailor motifs—flap collars, berets, and Dixie cup hats—were prevalent as running elements throughout. These were then amplified with Hawaiian prints reimagined as a new take of the maison's Monogram motif, appearing on bags, accessories, tailoring, and of course, Hawaiian shirts.
What's quickly becoming key for Williams' Louis Vuitton menswear is tailoring—a surprising approach given his streetwear leanings similar to that of the late Virgil Abloh. While there were a number of streetwear-inspired separates ranging from oversized shirting to mixed-material outerwear, the collection consisted of a heavy emphasis on tailoring. Suits were aplenty and came in a number of iterations and embellishments, and were all finished with mother of pearl buttons. When they're not paired with signature-Williams berms, suit trousers were flared for a decidedly stylish touch.
The most labour-intensive creation came in the form of the closing look's spectacular bomber jacket. Crafted from denim, the entire piece was covered with crystals and pearls depicting Poseidon, fish, florals and water—a nod to the lakes and fisherman of Williams' hometown of Virginia.
The details: Bags and accessories heavily leaned on the nautical spirit of the collection. The most literal were leather charms that took on the forms of sea creatures and were fixed on the collection's bags. The new Surfing Monogram—that combination of Hawaiian prints and the LV Monogram—appeared in four different colourways on a number of pieces including Williams' new iteration of the emblematic Keepall bag.
Three exceptional looks: Look 9's clever update to a striped coordinate that's interpreted with pearl embellishments (including a mini LV charm interspersed throughout); the burnt orange ensemble of look 40 that's decorated with floral appliqués and topped with a woven beret; and the all-denim look 57 cleverly styled with a simple hint of a surfer-inspired charm.
The takeaway: Williams knows what's he's doing with Louis Vuitton, no doubt about it.
View the full Louis Vuitton Pre-Autumn 2024 menswear collection in the gallery below.
After almost two months since Walter Chiapponi's swansong at Tod's for its Spring/Summer 2024 women's runway show, the Italian brand has announced a successor. Matteo Tamburini has been given the creative reins and is set to make his debut in February to showcase Tod's Autumn/Winter 2024 women's collection. Tamburini comes from Bottega Veneta, where he has been working since 2017, first under the creative directorship of Tomas Maier.
And hours before Tod's made its announcement, Givenchy made public its decision to end its partnership with creative director Matthew M. Williams after three years. Williams is set to officially step down effective 1 January 2024, with his final efforts for the fashion house—the Pre-Autumn 2024 collections for both menswear and womenswear—scheduled to be unveiled this month. Expectedly, no successor has been named yet. The in-house design team is said to be filling in while a new creative head is officially confirmed. Williams joined Givenchy in 2020, succeeding Riccardo Tisci's 12-year run.
It's Maison Kitsuné's Parisian-meets-Japanese aesthetics combined with Samsonite's practical and functional travel companions. The Maison Kitsuné x Samsonite collection plays on the former's signature Camo Fox motif in two monochromatic renditions across a range of lifestyle and travel accessories. Highlights include a reworked version of Samsonite's Spinner 68 luggage—perfect for long trips—and a compact Crossbody bag made to be an indispensable daily accessory. Every piece in the collection also comes with a detachable charm.
The Maison Kitsuné x Samsonite collection is now available in Samsonite stores and online at samsonite.com.sg.
Ahead of the launch of the Spring/Summer 2024 collection by Kenzo, comes a special capsule collection with Japanese artist Verdy. A longtime friend of creative director Nigo, Verdy added his artistic, graphic expressions to the main Spring/Summer 2024 collection. The Kenzo x Verdy collection serves as a precursor with motifs—a number of Kenzo-branding reworked in Verdy's style—taken from the aforementioned collection and translated across a range of easy-to-wear staples rendered in muted colours.
The Kenzo x Verdy collection is now available on kenzo.com and in Kenzo boutiques from 4 December 2023.
...Dior Men. Just before Louis Vuitton held its first-ever runway show in Hong Kong this week, Dior Men made the announcement of its Fall 2024 runway location in the same city. The fashion house has already been making destination runway shows a constant endeavour, especially for its pre-collections with the latest held in Cairo in view of the Great Pyramids.
Louis Vuitton men's creative director Pharrell Williams certainly knows how to make waves. After a show-stopping debut during June's Paris Fashion Week Men's, Williams is bringing the maison's Pre-Autumn 2024 collection to Hong Kong.
The staging of a Louis Vuitton menswear pre-collection runway show has never been done before. The maison typically opts for a lookbook release (pre-collections tend to be more commercial in aesthetic as compared to main runway collections) instead of making it an event like what its womenswear division does. There's no denying that with Williams' debut garnering the kind of reach brands clamour for—Louis Vuitton reported over one billion views across its owned platforms as well as its press accounts—the maison is hoping to replicate a similar moment once again.
The Louis Vuitton Men's Pre-Autumn 2024 runway show will also mark the first time that the maison stages a show in Hong Kong. The show will see the takeover of the famed Avenue of Stars as well as the neighbouring K11 MUSEA—both iconic landmarks of the city.
What could the collection look like? Well, that remains to be seen. But if the teaser is anything to go by, we're expecting to see semblances of cruise-appropriate designs interspersed with Williams' inimitable sense of style. Or perhaps sailor-esque fits embellished with pearls.
What: Louis Vuitton Men's Pre-Autumn 2024 runway show
Where: Hong Kong
When: Thursday, 30 November 2023 at 8pm Singapore time
The dents and scuffs on an aluminium RIMOWA luggage tell stories. Like unintentional tattoos (unless you’re deliberately exerting force on your RIMOWA, which isn’t something anyone in their right mind does), they are truly individual and unique. They’re natural markings of the physical journeys it has gone through every time you boarded a coach, train, ship or plane.
“We consider scratches and dents that appear as the suitcase’s patina,” expresses RIMOWA. It’s almost unheard of that a luxury brand encourages the wear of its products, especially given how the price tag of luxury pieces conjures up a sense of preciousness. Yet, it’s a testament to the craftsmanship that the German brand applies to its landmark hardwearing luggage designs, including the industry-changing polycarbonate innovations that it pioneered in 2000.
RIMOWA’s journey of materiality is a reflection of the centuries-long evolution of travel itself. Its founding in 1898—then named after founder Paul Morszeck—was centred on luggage made of hardwearing wood cleverly constructed to be stable and lightweight. In 1937, RIMOWA launched its first aluminium trunk, an innovation inspired by the use of duralumin (a hardy and lightweight aluminium-copper alloy) in German aircraft. And with baggage weight restrictions becoming a modern travel concern, its introduction of polycarbonate as an engineered solution was nothing short of revolutionary.
There is almost an obsessive need for the brand to constantly craft out designs to solve industry-specific issues. RIMOWA, in 1976, developed waterproof cases to give photographers venturing out into unpredictable environmental conditions a reliable means to protect their equipment. One of the brand’s most iconic creations, the Pilot Case, was specifically designed with a hinge that allows it to be opened from the top to make its contents easily accessible by pilots in the cockpit. Then there were cases for violins, cases to fit one or 12 bottles of wine, poker attachés, watch cases and a slew of other pieces made for very specific functions—all to make one’s journey more seamless and elevated.
The proof is evident in the scores of individuals who have made RIMOWA part of their journeys. Its recent Seit 1898 touring exhibition showcased a number of well-used RIMOWA cases (owned mostly by noted international creatives), each marked by the numerous memories and experiences shared. Dents, scratches and even scuffed up stickers on the luggage add character to otherwise cold inanimate objects, not to mention stand as testimony to RIMOWA’s durable craftsmanship.
So serious is its commitment to ensuring each RIMOWA luggage builds a lifetime of memories, that the brand began offering a lifetime guarantee earlier this year. Luggage purchased from 25 July 2022 are now automatically protected by the brand for the entirety of its lifespan. Any functional issues that arise throughout a luggage’s life, henceforth, will be covered under this new directive. This means that aside from any cosmetic wear and tear, misuse or abuse, RIMOWA is dedicated to making sure that your luggage functions as originally intended, for as long as possible. Items outside of the brand’s regular luggage catalogue—from eyewear to tech accessories to special edition suitcases—are protected in a similar capacity for two years.
A RE-CRAFTED programme has also been introduced. While it is a sustainability-driven initiative by the brand to extend the life of pre-loved RIMOWA pieces, it can also be considered as an adoption of someone else’s memories. RE-CRAFTED pieces retain most of the original façade (dents and all) and depending on the condition of its other elements, they’re either cleaned and fixed or completely replaced to ensure that the piece is fully functional and just as reliable as a new RIMOWA piece.
There is no definitive answer to what a RE-CRAFTED piece might have gone through—the places it’s travelled, situations it’s caught in, or perhaps the number of times it’s made its way to an unintended destination (it happens). Therein lies the beauty.
What is next for RIMOWA? There’s no crystal ball to read. But if history tells us anything, the brand is probably already cooking up the next evolution of travel—experimenting and perfecting every nuance before officially releasing it to the public. It’s perhaps a seemingly endless journey for RIMOWA with its destination unknown. But then again, as they say: It’s not the destination that matters, it’s the journey.
David Fincher’s new film The Killer stars Michael Fassbender as a ruthless hitman with a penchant for process, a drive for revenge and a high threshold for boredom. It’s a stylish movie, as you’d expect from the director of such gloomy noirs as Fight Club (1999), Zodiac (2007) and The Girl With The Dragon Tattoo (2011).
Except maybe when it comes to The Killer’s own wardrobe. As we see our protagonist move from Paris, to the Dominican Republic to New Orleans to Florida and finally New York, his wardrobe is an oddball mix of Hawaiian shirts, sensible slacks, anoraks and bucket hats.
Less John Wick more dad-at-Wickes. That, apparently, was the point.
To tell us more, Cate Adams, costume designer on The Killer, who previously worked with Fincher on the 2017 Netflix series Mindhunter, shared her mood board and inspirations. And helpfully provided actual sources for anyone wanting to ‘Get The Look’—including Fassbender’s bucket hat, shirts and comfy slip-on shoes. Enjoy!
Right from the start he said he wanted him to look like a German tourist in Paris. And he wanted him to look dorky. And not cool. Like he did not want him to look like ‘James Bond/Tom Cruise-in-Collateral’ – he didn’t want anything like that. He was very specific about that. We talked a lot about clothing [The Killer] could take on and off. Everything he has could be purchased from an airport. He doesn’t think a lot about the clothes. But strangely, he has good style.
If you’re in a ‘walking city’ like Paris, there’s a few shops on every block where you could find something [The Killer wears] easily. In the States it’s, like, [mid-range, off-the-peg brand] JoS. A. Bank, Hugo Boss… those brands that have ‘ND’ jackets—nondescript, they don’t have logos on them. JoS. A. Bank is a mens’ store that’s been around forever. They have Oxford shirts. Jackets. Trench coats. My dad actually shops there.
I think that’s open to your interpretation, right? In Paris, when I started doing mood boards, I was, like, ‘Ok, I know David doesn’t want him in black. He doesn’t need to look ‘bad’’. So, I originally had him in the colours that were coming into play for the season—honey colours, tans and browns. I had my crew in every city go around and take pictures of what everyone was wearing. David likes to have mood boards with just one image—instead of using collages, which is what I usually do. And he wanted a chino khaki that was, like, eggshell or cement, so [The Killer] weirdly stands out. So we started with Paris and just played off of that.
My take in Paris is that he is meant to stand out. He’s meant to look weird. ‘What is he wearing? Why is he wearing all these light colours? He’s clearly not from here.’ But no one wants to talk to him.
Yes, it is. I think that’s exactly what we were going for. David had mentioned ‘dad vibes’ early on. Like, dad sneakers. He really wanted Skechers because they’re so universal and the über-dad shoes. We also went to every bucket hat shop that existed in North America. And we finally found one online which is a cotton poly roll-up hat from an army surplus store that comes in packages of 30. The point was it was so nondescript.
Oh, I hadn’t seen that! Isn’t that every costume designer’s dream? If I have people showing up like Michael next Halloween, I will die and go to heaven.
It was not so much the characters, more that I liked the look of them. David had mentioned Le Samouraï to watch, the French film [starring Alain Delon as hitman Jef Costello; 1967]. He wears a trench coat and has a nice hat on. But he didn’t want that [look]. So I went through so many movies. I also watched American Gigolo (1980), because it’s so tonal – that was a big inspiration. I loved Leo in Blood Diamond. If you watch any of David’s movies—and I knew this from Mindhunter—he wants everything to looked lived in and worn and real.
‘Bucket hat’ just played in to the ‘German tourist’. [Fincher] wanted a bucket hat that was waterproof, or water-resistant.
He didn’t want him to have to carry an umbrella. It’s really hard to find a waterproof one that wasn’t black. I found one from a vendor in Thailand that was green. David didn’t want green.
If you Google references for ‘bucket hat’ then Hunter S Thompson is going to be the obvious one. And I found that sketch of the ‘nerdy German tourist’. I thought that was funny.
He’s always wearing bucket hats and oversized windbreakers. It’s, like, ‘Are you kidding?’ You can look at him through the decades and he’s aways wearing something similar.
Um, well, I mean, I think that Oasis is timeless, obviously. I fucking love Liam Gallagher. I figure he’s a douchebag but I thought that documentary [Liam Gallagher: As It Was (2019)] was really well done. I’m sure he’s a complete asshole. But I do love his look. I mean, he was playing Glastonbury and I don’t even think it was raining but he was wearing this, like, ginormous, oversized windbreaker. And I was, like, ‘What is going on? Aren’t you sweating to death?’ But maybe that’s his schtick, you know. He’s trying to burn calories.
Oh! Cool!
‘I don’t give a fuck’, right? Isn’t that Liam? That’s The Killer. There’s nothing in there. He doesn’t care. Couldn’t really care less about what anyone thinks of him. He doesn’t really need anyone to survive. It’s just him. I feel like Liam’s kind of like that, right? He didn’t give a fuck about his brother. He’s, like, ‘I’m the man. I really don’t care about all of you’.
David said at the start that everything had to be functional. So the Barbour jacket is water-resistant. He wears Lululemon. He wears Patagonia as a lightweight knit in Chicago. That had a little bit of cashmere in it—so he can sweat in it. [Fincher] kept saying [technical outwear brand] Ather. Like, Ather was a big thing. We didn’t use it but we definitely shopped it and tried it. So, yeah, everything had to be accessible. Everything had to be ready for any climate. All the layers—you could take them on and off and use them again. A lot of Gap, and then, randomly, Tommy Bahama.
Tommy Bahama is, like, a Key West-Florida-Aloha Hawaiian shirts brand. It’s dad vibes. It’s the almost-retired 55-year-old, upper-middle class man… What he thinks is ‘dressing up’ for vacation. It’s, like, ‘I’m going to get my Hawaiian shirt for vacation and my linen pants, and I’m going to look great at my all-inclusive resort in Mexico or Florida’. That’s what that’s about, basically.
Yes. That’s when we see him pushing a garbage bin into the building. He has a whole rolling rack of ‘disguises’ behind him. So that’s the one time he looks ‘brand new’ and ‘out-of-the-packaging’. And we dyed a belt and a hat to match.
That black look was for the [big set piece] fight scene. So everything is black, techy, zippy—the navy zippies from Lululemon. He’s got different kinds of track pants. He puts on a ski-mask. And it was Michael’s idea to roll it up, fisherman’s-style. So he looks kind of…. trendy? But he’s not meaning to. Really, his whole wardrobe is anything slim-fitting that he could pack in his suitcase. And obviously he didn’t need to iron.
Right!
Originally published on Esquire UK
If you're anything like me—an adult almost in his mid-30s who still plays Pokémon (the actual Nintendo Switch series; not that Pokémon GO nonsense)—this would probably tap into the very recesses where your inner child is buried. Tiffany & Co.'s latest collaboration with Daniel Arsham of Arsham Studio is a Pokémon-themed capsule collection. And it's quite a stellar one at that.
Now, there have been a plethora of Pokémon team-ups in the past couple of years. Tiffany & Co. isn't even the first jewellery-themed collaboration—a partnership with Tom Wood was released early last month, which saw a number of Pikachu charms on bracelets and necklaces. What sets Tiffany's effort apart is Arsham's interpretation of familiar Pokémon characters that has been part of the artist's oeuvre.
The Tiffany & Arsham Studio & Pokémon capsule collection continues Arsham's exploration of his "Future Relics" series. Treating his creations as though they're archaeological finds, the works are typically crafted to look aged and somewhat destroyed by time. And in the case of Pokémon characters—a treatment he debuted in his Japan exhibition, A Ripple in Time—they feature the reveal of a crystalline exoskeleton at various parts of each figure.
Amping up the exploration further, the Tiffany & Arsham Studio & Pokémon capsule collection replaces the crystalline treatment with diamonds. That means, all of the six Pokémon characters chosen for this collaboration—Charmander, Squirtle, Jigglypuff, Cubone, Mew and of course, Pikachu—have been crafted with diamond accents. The main collection is made from oxidised sterling silver to give a distinct worn out look and works beautifully to highlight the diamond accents. Two different iterations of Pikachu pendants—a small standing figure and a larger sitting one—are specially cast in yellow gold as a play on the emblematic character's yellow fur.
If you're already eyeing the Tiffany Blue Pokéball, that's only exclusive to the yellow gold Pikachu necklaces. The rest of the capsule collection comes packaged in a Tiffany & Arsham Studio & Pokémon Blue box.
But here's the kicker: this isn't a global release. The entire capsule collection will only be available at the Tiffany & Co. Landmark in New York City, Omotesando store in Tokyo and Tiffany.com in North America and Japan. Enrolment for online purchases in the US opens on 29 November 2023 at 9am EST and closes on 30 November 2023 at 9pm EST, with notifications of the outcomes to be released on 1 December 2023.
Time to renew those long-lost friendships in the US and Japan, folks.
This isn’t the most extravagant necklace by the brand, but considering its size—and it weighs a mere 17g—quite a lot is packed into the pendant. The centrepiece is an elegantly cut turquoise flanked by the brand’s Greca motif and inscribed in the Versace logo type. And of course, in classic Versace gold.
Big, oversized shades hardly go out of style. This pair by Bottega Veneta offers a familiar silhouette in acetate but piles on a trio of clashing elements. The signature green frame is trimmed with gold accents and finished with slightly tinted lenses that lend a ’70s air. It’s time to embrace that Miami Vice vibe perhaps.
Penhaligon’s latest Potions and Remedies collection of fragrances is designed with your well-being in mind. Each fragrance is crafted from botanicals that uplift your mood. The flacons themselves are a delight to behold—resembling old-timey potion bottles complete with eye-catching names.
The irony of a Formula One racing team partnering an alcohol brand is not lost on anyone. The latest is between McLaren Racing and Jack Daniel’s in the form of a limited edition Tennessee Whiskey bottle that represents both brands visually. Celebrate to the max after a win. But never drink and drive, of course.
A clean, minimalist aesthetic comes to mind when anyone mentions Marimekko. Yet its Oiva teapot is maximalist by Scandinavian standards—a statement piece for any home. The body features a graphic pattern by Maija Louekari, featuring linked irregular dots that clash at points for a subtly disruptive visual.
Christian Louboutin makes the most maximalist shoes for men. A collaboration with Marvel sees the Amazing Loubi loafer dressed in patent leather, treated with a starry effect and embellished with gunmetal hardware inspired by Marvel’s Moon Knight character. It also bears the signature red line on the lug sole.
How many compartments do you need on a bag? The XS version of its aptly named Superbusy bag offers external compartments across its front, sides and shoulder strap, many with designated purposes, including one specifically for AirPods Pro. It’s proof that you can never have too many compartments.
Nothing is too much when it comes to protecting your hands from the winter chill. The Moncler x adidas glove offers optimal defence with a down construction and an inner sock layer that extends up the arm for enhanced grip and insulation. The bright hue makes it perfect for snow activities. You won’t lose this one easily.
It’s hard to ignore Franck Muller’s Vanguard Beach. The Vanguard already packs a punch with its big, bold numerals; but the Vanguard Beach takes it up several notches with a striking design that resembles ripples in the sand. The strap fastens with Velcro for convenience and a carefree beach vibe.
Known for his trompe-lœil confections, French pâtissier Cedric Grolet has set up shop in Singapore—his first outside Europe. This Vanilla Flower is one of his visually simpler creations, but as its name suggests, packs a quartet of vanilla-infused flavours. Eating it is one truly decadent experience.
Photography: Danial Mirza
Styling: Asri Jasman
Photography Assistant: Chuen Kah Jun
Additional Images: Getty Images
