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
When Louis Cartier conceptualised the Tank in 1917, few could have imagined the fame and cultural importance that have become part of the timepiece’s legacy. Today, the Tank collection remains a staple among Cartier’s offerings, with its timeless aesthetic and versatility at the heart of its near- universal appeal. Cartier continues to refresh the Tank with the 2023 editions, reimagined in ways that not only add to, but transcend the seemingly insurmountable limits of horological universality.
The Tank—as its name suggests— has its roots couched in military history. Louis Cartier derived design inspiration for the Tank from the top- down silhouette of the Renault tanks he witnessed on the Western Front in World War I. One of the first few Tanks made was given to General John Pershing, commander of the Paris-based American Expeditionary Force—underscoring its military- inspired beginnings.
Interestingly, however, the timepiece was to find fame far from the mud and gore of the battlefield. It instead went on to become the defining timepiece of Hollywood’s Golden Age, appearing on the wrists of a string of A-listers. Actor Rudolph Valentino famously insisted on wearing his Tank throughout the filming of The Son of the Sheik, despite the obvious anachronism.
Its popularity was not confined to the early 20th century, transcending eras and reaching across gender and disciplines. Personalities from diverse backgrounds—from the realms of philanthropy and politics, to sports and art—were enamoured by the Tank. Appearing on the wrists of icons the likes of John F Kennedy, Princess Diana, Muhammad Ali and Andy Warhol, the Tank became a unisex symbol of elegance. Warhol famously quipped: “I don’t wear a Tank to tell the time. In fact, I never wind it. I wear a Tank because it’s the watch to wear”, which speaks volumes of its universal appeal and cultural significance.
Today, the watch stands as a unique example of design endurance, through its timeless style, versatility and appeal to a wide range of aesthetic sensibilities.
Cartier’s latest refresh of the Tank family pushes the limits of the collection’s universality even further. While the modern Tank family retains the iconic rectangular silhouette and brancards of its predecessors, each new member is also imbued with subtle differences that cater to different sensibilities.
Beginning with the Tank Américaine, the watch’s curved, elongated case mirrors that of the 1921 Tank Cintrée, with the addition of finer, more acrobatic lines that flawlessly integrate the brancards with the extension of the strap. Coupled with the iconic Roman-numerals on the dial, the timepiece’s ergonomic approach and pure form pay tribute to the Tank’s heritage, all while incorporating a contemporary elegance.
The Tank Française has also received a minor facelift that stays true to the monobloc metal design of its predecessors. The 2023 edition notably comes with a new satin-brushed strap with tighter- fitted links that give the timepiece a streamlined and athletic integrated- bracelet aesthetic. Topped off with factory-set diamonds along the brancards, the Tank Française makes for a sporty statement embellished with sophistication.
As with all families, there is always an artistically-inclined child—the Tank family is no different. The newest additions to the Tank Louis Cartier line retain all the design elements of a classic Tank, but are fitted with dazzling new dials that pay homage to the Tank Must dials of the vibrant ’70s. Playing on the concept of echoed elements and mirror constructions, the dials feature graphic motifs in gold, yellow gold, rose gold and white gold, creating optical grids that highlight the texture of geometry and contrasts. A juxtaposition of vintage aesthetics with the bold creativity of art, the Tank Louis Cartier balances the Tank’s historic elegance with artistic inclinations.
Most significantly, however, Cartier has announced that the Tank Normale is this year’s addition to its limited-release “collector’s collection”: Cartier Privé. It is a hotly anticipated inclusion worthy of a feature of its own. It shares many of the iconic design cues from the original 1917 Tank—similar proportions, bevelled sapphire crystal, “railroad track” on the inner dial and 1917 date hidden in the VII numeral. The key difference lies in the Privé Normale’s larger 35.2mm x 27.8mm dimensions. Available in six new designs, the Privé Normale line infuses the essence of the 1917 original with modern appearances, done in true Cartier sophistry and craftsmanship. A release that will more than please the purists, the Privé Normale bridges the gap between Cartier’s past and its present, alongside the other Privé Tank variations.
In a nutshell, the refreshed Tank collection keeps the iconic timepiece in touch with contemporary design cues, while pushing the boundaries of horological universality, making it an enduring icon.
A new collection by a newly installed creative is a big deal, especially when it’s coming out of a storied fashion brand like Burberry.
When chief creative officer Daniel Lee’s debut collection was shown earlier in February during London Fashion Week, there was no denying that Lee’s visual aesthetic for Burberry took a stark departure from his predecessor’s, for which the overall consensus had been that it lacked Britishness for a quintessentially British brand.
While Lee’s collection only began rolling out into boutiques and online in September (that’s a seven-month wait if you’re counting, granted select clientele were given early buying access), the brand had already been releasing campaign visuals progressively. It had been introducing a new Burberry visual vocabulary to act as a sort of palate cleanser before Lee’s vision physically materialised in its entirety. But visuals can only do so much, particularly at a time when people are inundated with a constant flow of them from every direction. And let’s face it, we’ve devolved to have such short attention spans that any clip over 30 seconds is likely to get scrolled past.
Enter Burberry Streets.
The street takeover series was first launched in London for a week in September, coinciding with the Spring/Summer 2024 edition of London Fashion Week. Burberry was serious about the takeover and went as far as to partner up with Transport for London to allow it to temporarily rename Bond Street station to Burberry Street station, including recolouring the roundels in knight blue—Lee’s colour signifier for Burberry. At the same time, North London’s Norman’s cafe played host to a special Burberry menu, had its interiors refurbished with the new Burberry icons, and made its run around London via a food truck.
But that’s only the tip of it. Burberry Streets is conceived to be a travelling series of takeovers around the world, with Seoul and Shanghai as planned stops thus far.
It was in Seoul that we bore witness to how the Burberry rose print and the revived Equestrian Knight Design (EKD)—two key visual elements of Lee’s first collection—peppered the entire city, especially along the hip Seongsu-dong. A precinct that used to house shoemakers and leather factories, Seongsu-dong is now considered one of Seoul’s artistic districts where galleries and cafes are found next to existing manufacturing hubs and warehouses. There’s a certain grittiness to the area, punctuated by colourful graffiti. The campaign saw Burberry Streets take over the space for an entire month, ending on 5 November.
Murals, billboards, flags and awnings featuring the Burberry rose print motif stretched across a 10-minute walk along Seongsu-dong. They seem to be presented at random. At one point, the motif sat right atop the sign for an operational leather workshop, while EKDs were spray-painted on roads. But they all pointed in the direction of three Burberry pop-ups.
The first (depending on where one set out) was at Seongsu Shoe that’s dedicated to all things footwear from the Winter 2023 collection. At the other end was the bright yellow Seongsu Bottle, featuring the colourful hot water bottle accessories that are emblematic of the collection. Both were planned as micro pop-ups to flank the main Seongsu Rose pop-up—a massive space drenched in tarp emblazoned with the rose motif. It was here that visitors got to experience Lee’s debut collection in its entirety. Imagined within a “Petal Maze” installation, the collection is segmented into categories—bags, shoes, menswear, womenswear, accessories and more—encouraging visitors to explore each English rose-inspired element of the installation to get better acquainted with the new Burberry.
To underscore the Britishness of the entire takeover, Burberry brought over Norman’s for a dedicated pop-up right next to Seongsu Rose, serving up an all-day selection of British classics. And of course, also introducing a sliver of Norman’s interior to those unfamiliar with it.
The beauty of the Seoul takeover lay in that it was a visual feast of all things Burberry under Lee, exuberantly integrated into its local surroundings. The rose motif and the EKD stood out, yes. Yet they felt like artwork that you would typically find at Seongsu-dong.
It certainly helped too that the opening event of Seoul’s Burberry Streets takeover was attended by a curated list of Korean celebrities and creative figures. Fans came in droves, armed with their mobile devices and some professional camera equipment as they readied themselves for appearances by the likes of Lee Dongwook, Lee Jongsuk, Seventeen’s Wonwoo, Burberry ambassadors Bright and Jun Ji-hyun, and of course, Lee himself.
Let’s just say, every photo taken by every single fan that evening would have included their favourite idol dressed in Lee’s Burberry and with the hard-to-miss rose motif in the background. Need we say more?
We now are familiar with Jacob Elordi as the man who's been seen on the streets with a number of luxury "it" bags. From his pretty impressive Bottega Veneta collection—the Cassette and the Andiamo—to Pharrell's newest iteration of the Louis Vuitton Speedy and even a Chanel bag, Elordi has been making a strong case for bags being essentially genderless.
The man undoubtedly has style and plenty of it.
But aside from his penchant for fresh-off-the-runway bags, Elordi has been slowly expanding his acting repertoire since appearing on Netflix rom-com Kissing Booth (and its two sequels). The actor has a couple of projects releasing in theatres this year with his biggest role to date arguably in Priscilla.
Just how big? Elordi plays the incomparable Elvis Presley—only recently portrayed by Austin Butler.
Priscilla is based on Priscilla Presley's 1985 memoir Elvis and Me. Written, directed and produced by Sofia Coppola, the film focuses on Priscilla and her relationship with Elvis up till his death. Based on the trailer and critics' reviews, it looks to be a contender during next year's film award season.
To help Elordi get into character, Valentino crafted two custom looks for the film. While Elvis may be iconic with his onstage persona and style, the film's more autobiographical perspective meant that a more varied representation of Elvis as a whole was needed. Valentino creative director Pierpaolo Piccioli and Coppola worked together in creating two bespoke looks that truly capture Elvis' insistence on coordinated looks for himself.
The two looks comprise of a three-piece mohair suit in blue as well as a navy camp-collar shirt paired with a pair of black trousers. And inside every piece, a hand-sewn "Valentino for Jacob Elordi" tag highlights the bespoke nature.
Considering that Piccioli is becoming a master at crafting modern menswear while still referencing familiar silhouettes and design tropes, this collaboration exemplifies his capabilities beyond what he's shown on the runway. It's a skill to recreate era-specific fashion while still making them relatable to audiences, and judging by the stills alone, Elordi makes for one stylishly accurate Elvis.
