On a warm afternoon in the middle of nowhere, Antony Lindsay, the newly-appointed CEO of Fabergé sits before us as the ice in a glass next to an unopened can of Coke, tinkles as it melts. As the CEO of a storied brand like Fabergé, Lindsay’s task is to spread the word (and work) of the Romanov’s favourite jewellery house. With Sincere Watch Limited as its official retailer in Singapore, Fabergé continues to make its presence known. And yes, Fabergé is synonymous with the gem-encrusted eggs but the house has other achievements like jewelled boxes; animals carved out of precious stones and other ornamental objects.
In 2007, the brand underwent a revival. Taking inspiration from its storied past, Fabergé created original pieces like the Vissionnaire watches, where a Chronograph model displays two time zones at once, and the Altruist line, which has a clean and simple-to-read dial, with a crown that’s reminiscent of winding up a traditional clock. The collection that secured Fabergé’s footing in the hard jewellery world is the Compliquée models, which won the 2015 Grand Prix d’Horlogerie de Genève award.
As water pool at the bottom of the glass, Lindsay talks to us. About his history, where Fabergé is at and the future.
ESQUIRE: Did Sean Gilbertson (Fabergé’s last CEO) leave you with any wisdom when you took over?
ANTONY LINDSAY: [laughs] There’s been many over the years. I’ve known Sean, coming up to almost 14 years, and we shared some moments, both good and challenging. Nothing springs to mind... except for this Winston Churchill quote, “If you ever find yourself going through hell, keep walking.”
ESQ: What’s your journey been like?
AL: I come from a family of jewellers and had an interest in gemmology at a young age. I’ve been neurolinguistically programmed to appreciate jewellery, timepieces and objets d’art just by hanging out at my dad’s atelier on the weekends. I’d look at the gemstones handled by the craftspeople. I have an appreciation for hard luxury and completed my apprenticeship as a bench jeweller. I’m proud of having played such an important role within Fabergé for about 14 years. I’ve worn different hats as well. Proud when I was appointed MD and was invited to join the board of Gemfields UK Limited. As well as becoming CEO this year.
I feel privileged and fortunate to be part of a team to write the next chapter of one of the most celebrated names in luxury. I see that as an honour. It’s the revival of the coloured gemstones on one hand and it’s also the revival of Fabergé on the other. It’s what keeps us very busy.
ESQ: What sets Fabergé apart from the rest of your competition?
AL: I’d say that Fabergé’s reputation for unrivalled craftsmanship and design is globally recognised. I’d say Fabergé’s diverse use of techniques like the guilloché enamel with the use of hard stone or visible setting. In keeping with tradition, we seek to work with the finest ateliers. Because we don’t have our own workshop, we seek out workmasters all around the world. That’s quite unique to us.
ESQ: Speaking of tradition, how do you maintain that heritage while courting the newer generation?
AL: That’s a good question. It’s important to us that we pay homage and recognise what was done in the past. We draw inspiration from Peter Carl Fabergé, whether that be through his philosophies, values or craftsmanship. To apply it in a modern and contemporary and relevant way; we like to consider ourselves as a forward-thinking brand.
ESQ: How did your partnership with Sincere come about?
AL: I’d say that we are actively looking to partner with the finest retailers in existence. We don’t profess to understand every market on the planet. So, we believe that by partnering with the best of the best, who understands how to represent a brand like Fabergé; and how to offer first-class customer service... that’s very important to us. Sincere Watch Group is the perfect fit for Fabergé and we’re delighted that they are representing us here in Singapore and soon in other parts of South East Asia.
ESQ: What would you introduce to someone new to Fabergé?
AL: I would introduce the Compliquée Peacock watch, which is quintessentially Fabergé. We took inspiration from the Imperial Peacock Egg and, in keeping with the Fabergé tradition, we sought out the finest watch movement manufacturer and that led us to Jean-Marc Wiederrecht of Agenhor and now his two sons, Nicolas and Laurent, who run the business on a day-to-day basis. Throughout the discussions with them, we made the Peacock watch that has a special retrograde movement, that functions off four gears, and that allows us to add a feature for the peacock’s tail to unfurl.
ESQ: Peacocks, playing cards; are there other motifs that will utilise that movement in the future?
AL: There are some plans and they are confidential. [laughs]
ESQ: You talked about Fabergé as a book that you’re proud to be part of. What is the next chapter?
AL: To continue this revival and personally—and I know I speak on behalf of my co-workers—it’s about ensuring that the Fabergé story can still be told. What Fabergé symbolises is more than simply luxury and decadence. For us, it’s about creating prized possessions that can stand the test of time and be passed down through the generations. That’s important to us and runs through our DNA. You can scour through Christie’s and see that Fabergé is one of the highly sought-after hard luxury names in existence.
At the recently concluded Louis Vuitton Autumn/Winter 2024 menswear runway show during Paris Fashion Week Men's, BamBam was one of many celebrity attendees. The Thai-born singer and rapper of K-pop group GOT7 easily stood out with his red hair and Pharrell Williams-designed fit. Wearing look 9 from the Maison's Spring/Summer 2024 menswear collection, BamBam (like the style savant that he is) put his own spin by opting for black trousers instead of shorts, heavy-duty boots, and finished it off with pearl accessories.
His presence at the show was quite a social media hit. The hashtag #BamBamXLVFW24—an unofficial, fanbase-initiated hashtag—amassed over 2.1 million posts on various platforms. It's little wonder that weeks after the show, BamBam was officially announced as Louis Vuitton's newest house ambassador. "I am super happy to join Louis Vuitton as a house ambassador this time," BamBam says in an announcement video. "What Pharrell is doing here is amazing. I'm super honoured to be part of it."
The appointment is made sweeter as not only is BamBam now part of Louis Vuitton's illustrious list of ambassadors, he also joins fellow bandmate, Jackson Wang, who has been part of the fold since 2023. Wang was even one of the faces of the Maison's "Horizons Never End" campaign that centred on its spirit of travel. It may be too soon to say for sure if BamBam will be featured in an upcoming campaign, but given his pull and reach, we'd say the chances of one is quite likely. In an official press release, Louis Vuitton has already hinted on "an exciting collaborative journey".
This road to an house ambassadorship with Louis Vuitton, however, was a longtime coming. BamBam had already been wearing Louis Vuitton on a number of occasions years before. And while it's common for those in the K-pop sphere to wear the newest threads from the big fashion houses, Louis Vuitton seemed to be quite a prominent fixture in BamBam's roster of brands.
In 2021, he wore a Louis Vuitton suit featuring a watercolour version of its famed Monogram for the music video of "riBBon" that's part of his first mini-album. The musician even wore a Nicholas Ghesquière-designed Spring/Summer 2022 womenswear look the very same year, proving that the man can rock just about anything from the Maison's universe. Throughout the year and years since, BamBam frequently repped Louis Vuitton—from jewellery to bags to ready-to-wear—in a number of magazine editorials, appearances as well as performances.
He made his first Louis Vuitton runway appearance at Williams' debut show, where he was visibly overjoyed to be reunited with Wang. And simply put, that moment became the turning point in his relationship with the Maison. Not only was he deserving of a spot on the front row of one of fashion's biggest moment that season, it was an official recognition of BamBam as a worthy ambassador of the Maison's new chapter.
And to have it happen after celebrating 10 years of with GOT7, we reckon BamBam as a style icon is about to get more traction.
Edited by Asri Jasman
The fit: The Givenchy Autumn/Winter 2024 menswear show was an intimate one. Held salon-style at its Parisian headquarters, the collection was designed by the Givenchy studio—Matthew M. Williams' final collection was for Pre-Autumn 2024. To be honest, even without the hand of a known creative director, the Autumn/Winter 2024 menswear collection felt a lot more refined with just enough injections of playful modern nuances.
The entire collection was based on founder Hubert de Givenchy's personal wardrobe with elements that he had a penchant for. The use of the colour sapphire, for example, was adopted because de Givenchy adored it as a replacement for black, while cut up armholes of outerwear were an ode to his penchant for capes. Tailoring was central to the collection—although trousers could have done with a little bit of length adjustments but I'm just nitpicking—with suits and tailored outerwear making up a bulk of the collection. And in true Givenchy style, the shoulders were strong and cutting.
The details: Fun came with the way that an archival cat motif was incorporated into some of the looks. It was done tongue-in-cheek as a oversized parka that featured a number of the cat faces seemingly drowning in their own fur, and in another, the fur took on the form of a shearling jacket-cape hybrid. In look 18, it became a mini shearling crossbody that was paired with a tank featuring the print.
What was quite a stunner, especially up close, was the closing look's jacket. Beautifully ornate, the jacket was a reminder of the kind of craftsmanship that the design studio is capable of, and one that had been sorely missed on the runways.
Three exceptional looks: Look 2's interpretation of the studio's blouse blanche as a workwear staple; the double cardigan styling of look 13; and the closing look.
The takeaway: Not all luxury fashion houses need to infuse some semblance of streetwear into their designs.
View the full Givenchy Autumn/Winter 2024 menswear collection in the gallery below.
The fit: Within the realm of menswear tailoring, the structures and limits are palpable, owing to the time-honoured techniques of not only constructing a suit, but also in the idea of tailoring as a garment of authority. Chinese designer Sean Suen recognises this. His eponymous label's Autumn/Winter 2024 collection—and also, pretty much his entire repertoire thus far—tapped on the conventions of tailoring by referencing the period where Western tailoring began being adopted by the East.
There's an undeniably rebellious take on tailoring, and I'm not even talking about the one look where the model revealed some derrière. Traditional menswear silhouettes were deconstructed before being spliced together, creating asymmetrical shapes that formed beautiful drapes. At the heart of it was a '50s-led reference with wide ties and geometric prints indicative of the period.
The details: While the tailoring was, in every sense, contemporary, Suen included mandarin-collared suiting. But of course, they were also rendered in more contemporary styles—the first outing saw elongated sleeves with an oversized bodice with equally oversized patch pockets.
On a number of looks, Suen piled on the waistbands. On a number of occasions, they took on the appearance of a visible ribbed knit layer (akin to that play of visible boxer waistbands) while others were more literal interpretations of a double layer of trouser waistbands.
Three exceptional looks: Look 2 and its spliced collar and draped asymmetry; the obvious old-school reference of look 11 but made fresh; and the regality of look 27 that had tie bars used as lapel pins.
The takeaway: There are always ways to move around the preconceived confines of menswear, and Sean Suen is becoming quite a master at it.
View the full Sean Suen Autumn/Winter 2024 collection in the gallery below.
The fit: Dries Van Noten can do no wrong in my eyes. There's consistency in his design aesthetic—you can definitely tell a Dries Van Noten piece even with the brand steering away from obvious logos and branding—but Papa Dries offers something new every season.
For Autumn/Winter 2024, the man known for his play with prints and proportions, kicked things off with a string of dark tailored looks. Each felt different and at times disjointed from the one before—yet that was the unifying narrative. The collection was a play in the unexpected and of juxtaposition. There was no telling what the next look would be as he moved from a cuttingly tailored suit worn almost rock-and-roll-like with a fringed, long scarf, to a deconstructed jumper worn over a languid, long coat.
As the darks became increasingly punctuated by textures and infusions of muted colours, Papa Dries revealed a sudden spate of his signature prints and colour-blocking. But at the same time, they remained washed and pared back in intensity.
The details: There was a studied use of garments in non-traditional ways. Jumpers were worn either unzipped from the side or completely cropped with zippered hems. Leather was used as mock-neck tops, while shirting and a number of jackets were fastened with brooches and pins for a rakish drape that was simply sublime. Long opera-like gloves took on many different forms and added edge to some of the simplest tailoring and combinations in the collection.
But at the end of it all, everything was wearable—a key Dries Van Noten element.
Three exceptional looks: Look 9 that I honestly wanted to wear right there and then off the runway; look 24's brilliant use of textures and draping; and look 53 that's a combination of both.
The takeaway: Whatever Papa Dries has been doing to keep his creativity constantly fresh yet consistent, I want it.
View the full Dries Van Noten Autumn/Winter 2024 menswear collection in the gallery below.
The fit: Kenzo was my last show for day four of Paris Fashion Week Men's and after a rather exhausting day, it personally wasn't as exciting as it ought to be in the moment. The venue was spectacular, however. Held at the Bibliothèque Nationale de France, the space offered a brilliant backdrop for an Autumn/Winter 2024 collection themed around the cross-cultural exchange of the origins of the fictional universe of the Star Wars franchise.
Thankfully, artistic director Nigo opted to not be literal with the inspiration—there weren't obvious nods to the films nor were there prints done in collaboration with the franchise. But rather, he chose to incorporate the Asian influences of the Star Wars lore and references into the silhouettes. Outerwear had semblances of sci-fi with knot fastenings adorning the front.
The details: The silhouettes may not have been severe or fashion-forward, but the prints added some punch to the entire collection. A woven pattern inspired by Japanese hikeshi-banten fireman's jackets appeared on everything from suits to workwear, while a number of different tiger motifs were rendered in jacquards and embroideries.
Three exceptional looks: Look 6's more extravagant coords that featured the collection's more standout motif; look 30's streamlined tailoring; and look 50 that felt more Kenzo by Nigo.
The takeaway: Elevated and streamlined, yes. But where's the fun?
View the full Kenzo Autumn/Winter 2024 collection in the gallery below.
The 66th Annual Grammy Awards continued to be quite a show. Taylor Swift may have made history as the first person to win "Album of the Year" four times, but there were more noteworthy moments that happened onstage. Swift's award was presented by Celine Dion, who made her first public appearance since taking a break from performing after being diagnosed with stiff person syndrome. The legendary Joni Mitchell—with a career spanning 60 years—performed for the first time on the award show, while Tracy Chapman made her return to the Grammy stage after a nine-year break from performing live.
Aside from the showcase and honouring of musical brilliance, the Grammys also served as a dazzling runway for fashion statements. From John Legend to 21 Savage, the evening’s attendees and nominees offered quite a visual feast. After a year filled with memorable musical journeys, the fashion too had to follow suit. And there wasn't any lack of it on the red carpet—proving once again that at the Grammys, excellence extends beyond beats and lyrics.
View the best menswear looks at the red carpet of the 66th Annual Grammy Awards in the gallery below.
A significant milestone in Dexter Tan's life involved sneaker collecting.
Tan was in the line to purchase some limited-edition kicks at Leftfoot. It was early morning and not one of the 20 people in the queue was in any mood for conviviality, save for Jon Fong, who complimented Tan on his New Balance shoes. They started talking, a friendship blossomed, and later the duo created Sole Superior, Singapore's first sneaker convention.
Sole Superior is a grassroots, community-based effort. The lads wanted a convention that was for the fans by the fans. It’s to be a day out with the family—an inclusive event, where you aren’t judged by who you are or what you wear.
It is the sort of openness that led to Tan amassing close to 400 pairs of shoes. When he started, he collected like a fiend and wasn't deliberate with his purchases. "I'd look for deals. I'd go to outlet shops and buy, and buy." He spent up to SGD1,000 per month on sneakers.
But that was then. Tan has since slowed down. Space constraints, he tells me. When he eventually moves into his new flat, Tan is considering rotating his kicks out—which ones he'll display and which he'll wear.
A formidable threat to Tan’s collection is entropy. All things eventually fall apart over time, but sneaker soles are particularly prone because they are usually made of polyurethane (PU). As a sports shoe material, PU is ideal because it is hard wearing and absorbs shock well. It is, however, susceptible to hydrolysis. Over time, PU polymers break down from exposure to water or even just water vapour. It is the latter that poses a great threat for sneaker collectors because their prized shoes are not safe from hydrolysis even when they go into storage in mint condition—especially in a warm and humid place like Singapore.
NIKE TERMINATOR ZOOM LOW SYRACUSE
“I was 17 when I wanted a pair of Air Force 1s. So I saved up and went with my parents to 77th Street to make the purchase. When they saw the colourway, they felt it didn't suit me. My mom made an offer: if I chose something else, she'd pay half of it. So we went to Leftfoot—which was two stores down—and saw Nike's "Be True To Your School" collection. They were in colourways of popular US colleges and I chose Syracuse because their house colours [of orange and navy] were similar to my JC (junior college). They evoke so much nostalgia that I bought five more pairs. I'm now down to my last pair, which I wear sparingly.
NIKE PLAYSTATION AIR FORCE 1 LOW
“These promo samples were only issued to Sony execs and family members. I think there are about only 100-ish pairs worldwide. I first saw them in a Japanese magazine and someone in an Air Force 1 collectors group on Facebook was selling them. They didn't come with the box and he sold them to me for a little over SGD1,000, including shipping. Now, an unworn pair could go for SGD10,000, which is too bad as I wear mine all the time. They are still in okay condition though.”
Tan is taking the hydrolysis in stride. Might as well, he reasons as he slowly runs out of space for his shoes. "Now, I'd go for specific shoes that catch my eye,” Tan says. “Those that have nostalgic value, that has a story to them. Right now, I'm in a phase of hunting down the pairs that I couldn't afford in my youth. Instead of buying three pairs a month, I'll save up that money and splurge it on that rare and expensive pair."
When it comes to fakes, Tan fully believes that no one can ascertain the authenticity of shoes with 100 per cent accuracy. He once sent a pair of New Balance to a resale platform and they were declared replicas. "Which was weird because I bought them from a New Balance store."
But he isn't susceptible to being a victim of knock-offs. "I bought a pair of Travis Scott Jordan 1 that I thought were real. But when I wore them during a sneakers meet-up, another guy said that the colour was off. And sure enough, when we compared my shoes with the ones that he got from Nike, the colour wasn't right. Further scrutiny uncovered something was also wrong with the sole patterns."
NIKE SB KOBE X ERIC KOSTON WITH HUMIDOR BOX
“These were the biggest steal for me. Only 24 pairs of these exist in the world, with two in Singapore. They aren’t even in my size. A local collector wanted to liquidate his collection and handed me a list of shoes for sale. I was interested in a couple of them but they had already been sold. Out of desperation, I picked two random pairs that were still available. I didn't know that one of them were Kobe shoes. I only found out about their rarity afterwards, which adds flavour to the purchase. Those are the shoes that many collectors would offer to buy from me, but I’ll never sell them because there will never be another pair by Kobe again.”
NIKE JORDANS 1 OG CHICAGO (1985)
“The Holy Grail for collectors. By luck, I bought them before the boom, at a good price. Right now, unworn pairs can fetch USD20K. I saw a Japanese site selling a pair for USD500 on IG. It was in poor condition but I so badly wanted to own one that I didn’t care. I got in touch with the sellers and was crestfallen when they said they didn't do overseas shipping. Undaunted, I looked for a Japanese resident through a forum to help me purchase and ship it to me. It was a leap of faith because I basically remitted money to a stranger I'd met online, but I got the shoes in the end. It's one of the few pairs that fulfilled a childhood dream for me.”
Tan doesn't think it's right to shun someone who wears knock-offs. "I don't know if they know they are wearing fakes," Tan says, "but the fact of the matter is who am I to judge if that person feels happy in them? I’m fine as long as they don't try to sell them off as the real thing. Morally, there's nothing wrong with that. Sometimes the sneaker fanbase can be toxic, in that sense. We gatekeep so much. From an average Joe's point of view: why should I pay SGD1,000 for a pair of shoes when I can get a replica for SGD500 on Carousell? It still looks the same, and honestly, sometimes the fake ones look just as good as the real thing and nobody will ever know."
That sort of openness is what makes Sole Superior so special. Despite the rise in rental fees, Tan is nonplussed. Sole Superior has always been a side project for Fong and him. They don't run Sole Superior like a business. Every time they want to set it up, they consider whether it's logistically and financially sound for them to do so. "Sole Superior is a passion project of sorts. So, even if we don't put out an event this year, we'll be perfectly fine. There's always the next year."
NIKE AIR FORCE 1 LOW LUX (ANACONDA)
“This is the last pair that Nike produced using real reptile skin because PETA protested against it. In addition to the material, the shoes had embellishments like the lace lock, the keychain and the hangtag that were gold-plated. It retailed for USD2,000. At the time, it was an insane price for a pair of Air Force 1. I forgot how I came about it but I saw them going for SGD900. I was thinking who would sell them at such a loss? We hypothesised that they could have been gifted to someone and they just wanted to sell them off. This was something that I have wanted to own because I used to work for a consignment shop and I kept seeing this pair in the storage room. I still wear them but the soles are busted. If there are any pairs that I’d want to resole, it'd be this, and the PlayStation pair.”
SNEAKERLAH X HUNDRED% X ASICS GEL-LYTE III (TEH-TARIK) / TOBYATO X ASICS NOVABLAST
“These are shoes that my friends have done and I won't ever sell them. This above is by SneakerLAH (a KL sneaker con) with ASICS. Bryan Chin (SneakerLAH founder) came to one of our events and was so inspired by what we did that he went back and did his own sneaker con. After that, they would work with ASICS for collaboration kicks. I was so happy for them that I would buy their shoes.
“The pair below was by the artist Toby Tan (aka tobyato), again with ASICS. It’s not my style but I still rock them when I go hiking. This collab was a huge moment for Toby’s career. During the initial stages of the collab, he’d ask for our [Fong and my] feedback. We gave him some tips but ultimately, the design was all him. Because we were privy to the whole process, it made this pair very special to me. I can still remember how excited Toby was when he gave us these shoes.”
Fortunately, Sole Superior will happen this year. HomeTeamNS approached them to hold it at its venue and while it seems odd to hold a sneaker con in an area synonymous with the army/police/civil defence forces, Tan and Fong saw the humour in it. "We are next to Yishun and we are doing it at HomeTeamNS. There's nowhere safer," jokes Tan.
Photography: Jaya Khidir
Art Direction: Joan Tai
Photography Assistant: Chuen Kah Jun
It may be the Year of the Dragon but every animal of the Chinese Zodiac is a perennial representation of the passion-filled mythological race that determined the order of the lunar calendar. After all, it's a new year, new you. From fragrances to timepieces, we've curated an edit of items tailored to each characteristic from Raffles City to put that extra spring in your step. With tobyato adding his own touch on the Chinese Zodiac, we present a very special Esquire 12.
You’re a Dragon. You’re eccentric, and powerfully so. A BOSS cardigan crafted from a blend of cashmere captures that sense of regality, punctuated by an embroidered, stylised calligraphy by calligrapher Feng Tang. There’s no doubt that you’re the boss in a piece as unapologetically bold such as this—no mere mortal could pull this off like you do.
BOSS
#01-37B
For the trustworthy Rabbit, equally trusted Aesop grooming products are essential in ensuring that elegant façade remains in the spring of life. A Moroccan Neroli shaving duet—serum and post-shave lotion—helps keep skin supple and hair-free shape, while a facial hydrating serum and anti-oxidant eye cream act as youth-locking assistance.
Aesop
#01-44A
As unpredictable as the Tiger, there’s no telling what Onitsuka Tiger could ever be up to. The brand known for some iconic footwear, refreshes its chunky outsoled Dentigre LS sneakers with a mixed-media upper rendered in shades of grey. Red topstitching runs across for tasteful nods to the festivities while retaining its statement-making appearance like that of the Tiger’s stripes.
Onitsuka Tiger
#01-14
Steady and dependable like the Ox, you’re a ball of love at the heart of all that steely exterior. APM Monaco’s Morse Code series is a perfect match—a stylish go-to that effortlessly dresses up any outfit. Each piece taps into your softer side with words of affection reflected through coded messages embedded into its façade. Because no one really needs to know how you really feel, unless you want them to.
APM Monaco
#01-06
Why does one need five eau de parfums on hand? Because a quick-witted Rat knows to be adaptable in whatever situation it might find itself. The set comprises five 10ml vials of some of Creed’s most prized fragrances—from Green Irish Tweed to Aventus—each designed to cater to different moods and occasions. They’re perfectly sized to keep as part of a flight pack of essentials too, so you smell fresh upon landing at any destination.
Creed
#01-39C
The Pig gets a bad rep for being a glutton, leaving its determined personality overlooked. These coffee-laced assortments by Bacha Coffee will help to keep the drive going as one gets through the day. Start with a splendid cup 100 per cent Arabica coffee, snack on dark chocolate-covered coffee beans, and treat yourself to a croissant or two.
Bacha Coffee
#01-38/39
Chinese streetwear meets American icon in this collaborative effort between CLOT and Tommy Hilfiger. The latter’s emblematic colours have been cleverly interwoven with CLOT’s Chinese-inspired motifs to create a pattern that mashes the two seamlessly on this bucket hat. Prudent like the Dog, you’ll be prepared for light rain and shine no matter where you go, and rather stylishly so.
Tommy Hilfiger
#01-33
They say not to put your eggs in one basket—but when said basket is an intricately designed Shanghai Tang jewellery box in collaboration with artist Jacky Tsai, we see no harm in it. You’d want to fill it with your daily assortment of rings, bracelets, ear cuffs and more. And perhaps, being an observant Rooster, you’d make some space for the missus because hers is almost stuffed to the brim.
Shanghai Tang
#01-27A
The Monkey’s charm and versatility is exemplified quite fittingly in the latest Top Time piece by Breitling. Inspired by second-generation Chevrolet Corvettes, the red dial is immediately as stunning as the 1960s icon and is coupled with subdials that give the feel of vintage dashboard gauges. The perforated leather strap adds to the sportscar nod yet makes for an outstanding accessory you’d want to flex any day of the week.
Breitling
#01-35/35A
Real GOATs know that Givenchy’s all about refined elegance and the Gentleman Society rings true from bottle design to scent. The eau de parfum opens with a blend of sage and wild narcissus. Then the contrast hits—a quartet of vetiver essences coupled with a woody base—resulting in a bold, sophisticated fragrance crafted for the gentleman who’s constantly reinventing himself.
Givenchy
#01-40B
More than a decade has passed since the XT-6 first broke into the scene. It’s become synonymous with ultra-distance race athletes, owing to the sneaker’s lightweight and durable construction. The XT-6 has been reimagined with new colours and materials, but its heightened comfort and stability remains—no matter how hard and long one steams through harsh terrains at the speed of the energetic Horse.
Salomon
#02-31
Like the intelligence portrayed by the Snake, a little illumination goes a long way. With Dinesh to light the way home, its portability allows for an immediate brightening anywhere: within and outside your abode. With three levels of brightness, the Dinesh is powered by a simple charge via a USB connector. When it’s sufficiently suffused, create your own ambience by hanging it or leaving it on a flat surface.
Kave Home
#03-40/41
Find out more about Raffles City's "Spring in the City".
Photography: Jaya Khidir
Illustration: tobyato
Styling: Asri Jasman
I recently had a suit made at Marlo Bespoke on Club Street. Wanting to do something uniquely Singaporean, I decided to juxtapose a cloth that reflected this city’s position as a financial hub—banker-style navy pinstripes—with a vibrant tropical-motif lining, a nod to Singapore’s ‘garden city’ status.
The idea was to sartorially balance business and pleasure, sobriety and whimsy. I’m far from the first to have had this thought. Vishal Advani, managing director of Officine Paladino, the Singaporean cloth merchants responsible for the bold bird-emblazoned internal fabric I selected, says his range of splashy graphic linings have proven to be a tremendous success.
“We wanted to give sartorial enthusiasts a way to express their individuality and their passions, whether that be golf, fishing or tennis, travel, automobiles or cryptocurrency, whatever the case may be,” Advani says. “It’s an opportunity they’ve really embraced—sales of our more outré designs have been brisk.”
In addition to its Italian-made viscose linings, Officine Paladino also traffics in an array of audacious suiting cloths, for those who fancy a more overt expression of maximalism. “Being from Singapore and dealing with a lot of tailors around Southeast Asia, we take inspiration from the situations and people around us,” Advani says. “In this environment, colour and pattern just come naturally.”
That’s a statement prominent hotel interior designer Bill Bensley would most certainly agree with. Since establishing his studio in Bangkok in 1989, Bensley says, “I have evolved into a serious maximalist. My personal taste craves layer upon layer of quirkiness and colour.”
Arguably the leading name in sustainable hospitality design today, Bensley (who was initially trained in landscape architecture) may seek maximum impact visually, but he always aims for minimal impact environmentally. His own Shinta Mani Wild luxury eco-resort in the jungles of Cambodia was built without cutting down a single tree, and at sibling property Shinta Mani Angkor in Siem Reap, greenery is just as important a part of the décor as the plush furnishings and glitzy fittings.
“Many of our projects are in lush, tropical places, and over the years tropical maximalism has become a way of life, especially in terms of gardens. This climate lends itself so easily to gorgeous, overflowing gardens,” Bensley says. “And being a landscape architect, one must always put nature first—the architecture and interiors follow.”
In building an urban Bangkok outpost of her family’s Chiang Mai luxury resort, 137 Pillars, Nida ‘Natty’ Wongphanlert referenced elements of the original property’s heritage aesthetic, traditional handcrafted touches and verdant setting within the new high-rise hotel. “We didn’t consider a minimalistic approach for our property,” she says. Instead, the goal was to provide guests with “a visually stunning and memorable experience,” Wongphanlert says, “combining boldness and elegance.”
She explains, “We utilised luxurious materials such as marble, silk, and brass finishes. We integrated authentic Thai elements, like Jim Thompson curtains and pillow cases, to pay homage to local craftsmanship. To add warmth and depth, we incorporated dark, rich wooden tones along with a navy colour palette, as well as small areas of strong contrasting colours, such as red, and decorative ornaments like our elephant lamps.”
The overall effect could best be described as ‘tastefully maximalist’. “Material selection was incredibly important, aiming for a luxurious feel while incorporating local design in a modern and sophisticated manner,” Wongphanlert says. “Additionally, we wanted to showcase the works of local artists throughout the property, immersing guests in the vibrant local art scene.”
Eye-catching art is a core element of the lavish tableaux created at Singapore’s new Mondrian Duxton hotel by US-based interior designer, Robbyn Carter. She reckons the secret to crafting a maximalist space that bursts with visual interest, without warping the viewer’s mind, lies in “meticulous curation and intentional composition.”
Carter says, “While it may appear chaotic, each element should have a purpose and place within the design. I ensure that there’s a unifying theme or colour palette that threads through the space, anchoring it and preventing it from feeling disjointed.” Success lies in thoughtfully layering textures, patterns and colours to maintain a harmonious balance, she suggests.
“Ultimately, it’s about orchestrating controlled chaos, where every element contributes to the overall narrative, resulting in a vibrant and captivating space that never overwhelms, but continually surprises and delights,” Carter advises. Just as the layout of these magazine pages tempers rather hectic images with plenty of serene white emptiness, Carter says expertly executed maximalist design provides “areas of negative space that allow the eye to rest, preventing sensory overload.”
Chef Ivan Brehm of Michelin-starred Nouri restaurant is responsible for some of Singapore’s most visually stimulating cuisine. (It tends to taste pretty good, too.) Asked how he manages to create dishes that are aesthetically impactful, without being overly fussy or bombastic, he replies, “Obviously that’s the golden ratio, isn’t it? If it was easy, everybody’d be doing it. For me, content—the substance of what you’re doing—leads the way.”
In crafting a meal that is a visual feast and yet, aesthetically balanced, he says, “When done correctly, all of the elements are there to promote a particular idea; they are very much in agreement with one another.” Doing maximalism well requires you to ask yourself, “Are all the elements purposeful? Are they there for a reason? Are they driving a singular message in what you’re trying to express?” Picture perfect as his creations may be, Brehm decries our Insta-driven obsession with the look of food, reminding us that while the eyes eat first, it’s our tastebuds and gullets that savour a dish’s deeper beauty.
An international, multicultural melange he describes as ‘crossroads cuisine,’ Brehm’s cooking is difficult to pin down or categorise. This Brazilian with a German surname is inspired by the cacophony of colours and flavours, sights and sounds, spiritualities and philosophies, of the Mediterranean and North Africa, the Middle East and India, Europe and Scandinavia, South America and Southeast Asia, and beyond.
“When cultures interact, the tendency is for some form of aggregate to take place, which manifests visually, religiously, musically—all of those things start to become more complex,” Brehm says. “And the result is greater than the sum of its parts.” In Brehm’s view, it is the clash of opposing forces and the friction between different approaches that creates something of singular beauty.
“Every movement starts in opposition to another, and it’s because of that opposition that each moves forward,” he says. In much the same way that there can be no light without darkness, maximalism only exists in contrast to minimalism. Yet despite their stark differences, the two ends of the spectrum actually have much in common.
“It’s like a snake eating its own tail,” Brehm says. He gives the example of the type of severe, ascetic, unadorned churches designed by architects like Tadao Ando and John Pawson. “Those spaces are totally overwhelming,” he says. “What could be more maximalist than that?”
As the Lunar New Year approaches, adidas sets the stage for a blazing start to the Year of the Dragon with the release of the SS24 Originals Key City Tee. Collaborating with local artist Erika Tay (@erikartoon), adidas brings forth a celebration of local culture and childhood nostalgia through her character inspired by a local icon.
In Chinese legends, the dragon symbolises power and authority, and Tay's artistic vision transforms the mythical beast into a contemporary streetwear masterpiece. Tay, who previously left her artistic mark on adidas' AW23 Performance Key City Tee "Ultraboost by the Bay," takes inspiration from the famed Dragon Playground for the latest design. Breathing new life into the dragon character, Tay's localised interpretation sports sleek adidas Originals gear, shoes, and accessories, while incorporating the vibrant mosaic tiles of the playground drawn on its head.
"The Dragon Playground at Ang Mo Kio, in particular, has held many cherished memories of my childhood spent at my grandparents' house. Those memories have sparked my inspiration to bring the Dragon character to life," shares Tay. This personal connection adds a layer of authenticity to the design, making it not just a piece of apparel but a nostalgic journey into the artist's own history.
The Dragon Key City Tee (SGD69) is now available at Brand Centre Orchard, Bugis+, Bugis Junction, Changi Terminal 1, ION Orchard, Jewel, Marina Bay Sands, Suntec City, VivoCity Originals, VivoCity Performance adidas stores.
The look—that pretty much sums up the Giorgio Armani's latest menswear outing during Milan Fashion Week Men's. The staging for the show was intimate with two separate timings (this style director might have misread his invite and turned up for the wrong time slot) and with almost zero information given. And up till now, there's no official collection notes for the Autumn/Winter 2024 menswear collection.
The reason? Mr Armani wants the reactions and reviews to be organic points-of-view untainted by his personal intentions behind the collection. And quite honestly, that's a rarity. And also a beautiful thing, because as a fashion journalist/writer/editor you're then left to give an opinion based solely on what's seen and experienced.
So here it goes...
The fit: From the very first moment that the opening look came onto the runway, there's no denying that it's a Giorgio Armani creation. The ease and fluidity of the suit was an Armani classic, but tweaked. The shoulders were dropped ever so slightly, with the bodice cut oversized. The effect was a decidedly oversized fit done with intent such that the model still looked well-proportioned instead of seemingly swimming in fabric.
The idea ran throughout the Autumn/Winter 2024 menswear collection. Classic menswear suiting fabrications—herringbone, Prince of Wales checks, houndstooth—were reimagined in roomier cuts and their patterns manipulated just enough for an update. They're paired with signature Giorgio Armani geometric motifs set against a relatively muted palette of favourites the likes of blacks, greys, and navies, but at times, with a flash of bright hues to keep things interesting.
The details: There's not much in the accessories department to speak off (Giorgio Armani isn't exactly an accessories house) but the small pouches with braided straps in the more technical ski-ready portion of the collection looked like a steady combination of form and function.
We do however, need to talk about the styling. A number of the looks had trouser hems stuffed into boots, which is hardly a groundbreaking idea but served to further emphasise the cut and airiness of the fabrics used, even with the seemingly thicker wools.
Three exceptional looks: Look 4's somewhat mismatched combination that looks irreverently cool; the coordinate in look 23 that's simple but beautifully executed; and look 31's lapel-less suiting.
The takeaway: If it ain't broke, don't fix it—or maybe just a tad.
View some of the Giorgio Armani Autumn/Winter 2024 menswear collection in the gallery below.
Unlike most other brands, Hermès always does things a little differently. While it's become common practice for brands to furnish fashion editors and journalists with a list of celebrities who will be attending their shows (we've sadly all become glorified paparazzis), Hermès does nothing of the sort. In fact, I attempted to press the Hermès Singapore team multiple times so that I can be prepared for who to look out for before the Hermès Autumn/Winter 2024 menswear show for soundbites and general content, but they maintained that they themselves had no clue.
But there they were. A sizeable number of celebrities—both established and up-and-coming—entered the Palais d'Iena to a runway show audience that was mingling with pre-show drinks in hand. James Marsden walked in wearing a suit over a white turtleneck. And from the corner of my eye, in an outfit from Hermès' Spring/Summer 2022 menswear collection, was Swedish singer-actor Omar Rudberg of Young Royals—he paired the look expertly with a statement Hermès necklace and a bag with matching hardware. Queer Eye's Antoni Porowski rocked up in a shearling jacket with leather details, young Danish actors Alex Høgh Andersen and Lucas Lynggaard Tønnesen (known for Vikings and 1899 respectively) arrived together, The White Lotus' Leo Woodall was there too, and so was Luka Sabbat. I'm sure I've missed out a number of other celebrities but Hermès was very low-key about it.
The younger famous faces at the front row perhaps seemed like a calculated move. Does a venerable brand like Hermès need the awareness of a younger generation? Arguably, every brand could. Yet, the very spirit of the House is one that's irreverently playful and artistic director Véronique Nichanian has always channeled that into every collection. If anything, the appearance of these young faces could further help communicate the true nature of Hermès, one that's even more apparent in its Autumn/Winter 2024 menswear collection.
The fit: Right off the bat, it felt like as though the Hermès Autumn/Winter 2024 menswear collection was inspired by a rather British sensibility with the use of Prince of Wales checks and argyle knits. The styling seemed to have carried over some of the influences of the punk-inspired Autumn/Winter 2023 menswear collection. Yet, the overarching theme of the collection was simply one of versatility and paradox. The merging of traditional menswear with non-traditional fabrications, timeless motifs rendered anew, and a decidedly contemporary take on the familiar.
It was evident from the trousers in the collection. They were cut slimmer than ever while tops remained oversized. Jackets (a number of them reversible) were slightly cropped, but not too much—just enough to be a modern update. The argyle motifs were spliced and reconstructed with other colours and patterns, while waterproof gum canvas were cut into functional layers with its translucent nature affording multiple ways of styling and wear. Layering was a focus with sleeveless elements (a definite buy for this side of the equator) either worn on their own or layered over a multitude of other lighter layers.
The highlight for me though were the calfskin ensembles that were paraded towards the end. I initially thought that they were ponyhair pieces owed to the incredible sheen, but at the collection's re-see the very next day, it was revealed that they were polished calfskin. Fashioned into a number of outerwear, suiting and even a stunning vest, they were beautiful examples of Hermès craftsmanship and that spirit of playfulness.
The details: Nichanian has a knack for styling every facet from the Hermès menswear universe into one cohesive look without ever making it feel too much. Jewellery for Autumn/Winter 2024 were simple and effective. A personal favourite were the pebble-shaped necklaces in palladium and wrapped with a bit of leather for a chic statement that doesn't shout. Silk scarves turned into snoods with a reversible plain leather side, and ties echoed the Prince of Wales check suiting but rendered in fine topstitching.
But of course, the bags were what I'm certain everyone had their eyes on. I adored the Hermès Équipier pouches that were designed to fit comfortably on bicycle bars and fitted with multiple zipped compartments. The Fouree-Tout Étrivère—essentially an oversized holdall—was crafted with a sturdy top panel where its top handle is attached to while the bottom half is made of more supple leather that gave it a beautiful shape when carried using its shoulder strap. And the classic Haut à Courroies was given an appliqué treatment with leathers of different finishes for a more rugged appeal.
Three exceptional looks: Look 11's play on layers that's especially visible thanks to the gum canvas turtleneck; Look 34's simple monochromatic ensemble of a leather jacket with slim-cut trousers; and the closing look that should be worn to an awards show pretty soon.
The takeaway: You don't need to design wide-cut trousers to be relevant and cool; a contemporary aesthetic is more than just about being trendy.
View the full Hermès Autumn/Winter 2024 menswear collection in the gallery below.
It was almost a given that the Dior Men Winter 2024 collection would once again be artistic director Kim Jones' homage to the storied history and archives of the House. Jones' continued reverence for the House has undoubtedly created some of the most inspiring contemporary pieces of late. And the fact that he's able to do so season after season, displays just how extensive the Dior archive is—there are still so many stories to discover and rediscover. Jones is helping to tell those stories.
For Winter 2024, Jones focused on the relationship between Dior and ballet, specifically Margot Fonteyn and Monsieur Dior, and by extension, the former's dance partner, Rudolf Nureyev. In a surprising happenstance, Jones' uncle—photographer and former ballet dancer Colin Jones—too had a link to Nureyev, having photographed the legend and developed a friendship with him. The Winter 2024 collection was thus fashioned as a complete wardrobe of a dancer's life, both onstage and off—channelled through Nureyev's life.
And if you think theatricality was left only in the clothes (including a Dior Men haute couture finale debut), you'd be sorely mistaken. Jones has been dabbling with the runway show theatrics of late. Summer 2024's show saw models ascending from the ground; Winter 2024 saw models ascending to the starry sky of the showspace in a stirring finale that in some ways, reminded me of the staging of one of the rooms in La Galarie Dior.
The fit: Tailoring was sharp and languid all the same—once again taking inspiration from Yves Saint Laurent's definitive silhouette for the House. But for Winter 2024, I'd like to focus on how the collection felt like it's made ready for travel. The collection consisted more of separate pieces than specifically designed coordinates, meaning that everything could be easily spliced and remixed together, reflecting the malleability of a dancer's off-duty wardrobe. Just grab a few pieces and one would essentially look pretty put together.
There's an apparent '70s vibe to the entire collection, marked by the simplicity of the shapes and the lack of excessive details (especially in the beginning looks). Fastenings too were designed to be easy—zips were rampant throughout the entire collection on everything from coats to rompers to deep-V cardigans.
The details: Ballet slippers were interpreted as Mary Jane loafers in a multitude of colours. One that stood out the most on the runway for me was one rendered in an electric blue, paired almost casually with a more grounding brown outfit (look 19). There were also more obvious interpretations of ballet slippers as well as slip-ons thrown in the mix.
Cannage bags were crafted from silk-like material, giving off a sheen that looked luxurious even from the elevated seating I was put at. They came in the form of camera as well as bum bags that added a utilitarian juxtaposition to the ready-to-wear's more elegant designs. One particular bag that immediately caught my eye was a backpack (look 47) embroidered with a somewhat blown-up toile de Jouy motif and paired with a top done in the same treatment. Beautiful.
While this collection felt more commercial and simplified than perhaps the Summer 2024 collection, the details were still aplenty, especially in the couture offerings. Embroidered collars and waists took on intricate forms, enveloping the circumference of where they're positioned and encasing the body with armour-like protection.
Three exceptional looks: Look 4's unassuming romper paired with a turban (inspired by a 1999 Stephen Jones creation for Dior womenswear) and mustard socks; the scrumptious oversized brown coat worn with leather trousers for a monochromatic fit in look 21; and the divine jewelled mastery of look 50 that also combined elements of Jones' interpretation of Dior Men that I personally gravitate towards.
The takeaway: A brilliant way of gaining inspiration from ballet without forcefully injecting tutus and skirts and all that stereotypical ilk.
View the full Dior Men Winter 2024 collection in the gallery below.
For any confirmation of what the Hermès Autumn/Winter 2024 menswear collection will look like, stay tuned for the show this Saturday. And for an even closer look at the collection, follow @esquiresg on Instagram as we bring you the action live from Paris Fashion Week Men's.
What: Hermès Autumn/Winter 2024 menswear runway show
Where: Paris, France
When: Saturday, 20 January 2024 at 10pm Singapore time
