Saint Laurent creative director Anthony Vaccarello has unveiled a captivating series of short films inspired by French novelist Marcel Proust's iconic masterpiece, In Search of Lost Time. The series, entitled As Time Goes By, delves into the intricate themes of love, time, desire, togetherness, dreaming, and memory that lie in the heart of Proust's celebrated work. The novel was famously cherished by Monsieur Saint Laurent himself, reflecting the brand's deep-rooted ties to artistic and literary heritage.
Directed by Nadia Lee Cohen, the collection of shorts features a star-studded cast, including Charlotte Gainsbourg, John Waters, Chloë Sevigny, Addison Rae, Joey King, Travis Bennett, Cooper Koch, and more.
The evocative nature of the season is seamlessly integrated into Cohen's intimate cinematography, creating a sensory experience that bridges past and present while offering viewers a fresh lens through which to reflect on the universal themes.
What sets As Time Goes By apart is its auteurist approach, blending nostalgia and irony to reimagine Proust's meditations in a contemporary context. Originally published in seven volumes, Proust's masterpiece contemplates how the past shapes our personal identities—a profound idea echoed throughout the films. The collection not only brings these themes to life but also challenges viewers to consider the enduring relevance of Proust's reflections in a modern, fast-paced world.
Through the dynamic collaboration of iconic figures, high fashion, and poignant storytelling, As Time Goes By showcases Saint Laurent's continued prominence in blending art, literature, and fashion. It transcends traditional boundaries, paying homage to literature while redefining contemporary storytelling. This innovative series stands as a testament to the brand's legacy of pushing creative boundaries—a milestone in the ever-evolving intersection of fashion and film.
As Time Goes By is now available for viewing.
Understated elegance is an underrated attribute, especially when it comes to bags. This Loro Piano Bale hobo bag in extra-large size has all the makings of a timeless piece, and versatile to boot. The shape is inspired by the brand’s unparalleled cashmere manufacturing, with a suppleness that reflects the quality and care behind every Loro Piana creation. This should be the only baggage you bring over to the new year.
Moisturised lips are a universal need, so imagine finding this limited-edition Hermès creation under the Christmas tree. L’Orange en Fêtes is a lip balm housed within a folded paper ornament shaped to resemble an orange and dressed in Hermès’ signature hue. It’s a simple touch of luxury that, if anything, reminds you that life may be full of uncertainties but the condition of your lips shouldn't be one of them.
There is reason why this particular Royal Salute expression is all kinds of huat. Firstly, there’s the hue of red that in many Asian cultures signifies prosperity and success. And then, there is the use of the finest first-fill French oak casks (a first for Royal Salute) to create a complex taste profile that appeals to Asian palates. Basically, this is what you should be toasting the new year (and Chinese New Year) with.
The Rush bumbag could be considered an entryway bag—one that’s left near the doorway and constantly packed with everyday essentials ready to go. It’s easy to pair with just about any outfit and the nifty top handle (something you’d rarely see on a bumbag) adds more adaptability to an already versatile piece. The charm is removable if you don’t fancy it, but the bottomline is this: we’re all about seizing new opportunities in 2025 and having a bag that’s always at the ready is key.
Whether they are prescription or reading glasses, it’s always nice to put a stylish spin on an essential accessory. This Oliver Peoples optical frame comes in a flattering lens shape that’ll suit most faces. The gradient hue is a contemporary take on simplicity in design, showcasing the frame in its very essence and highlighting its curves. Here’s to seeing and looking (better) ahead.
It’s 2025 soon and high time to get smart about how you are travelling. This Samsonite backpack and luggage combo is perfect for those quick trips, especially with the easily accessible compartments and expandable volume. The backpack is what one would expect of a thoughtfully designed piece that’s centred around functionality, but with the added boon of design simplicity.
If you do not understand the hype behind the Labubu plushie decorating bags the world over, let this Prada combination persuade you. The leather tote bag is roomy enough to be an everyday work companion (those wide handles are a nifty design choice). And when paired with the brand’s latest bag charm that consists of an abstract robot and utility cords, what you have is a carrier with the bells and whistles, but in wholly grown-up way.
Onitsuka Tiger isn’t just about its iconic sneakers. The Onitsuka line is the formal expression of Onitsuka Tiger’s Japanese craftsmanship and comfort tech, with a twist. Take these wingtip brogues for example. They are of a classic silhouette, set on a chunky outer sole meant for durability and enhanced cushioning. They have tweed inserts that are woven in Japan’s Iwate Prefecture and combined with the glossy finish of the Japanese Kobe beef leather, making them a pair to be treasured.
Canine elegance aside, there is something particularly appealing about this Dolce&Gabbana dog collar. Made out of leather decorated with a leopard print, it comes with a dog paw charm. It's quite perfect for your non-human bestie. Or (and we won't entirely be surprised) you might actually be persuaded to adopt one.
To tell, keep and make time for all that is coming in 2025, you are unlikely to find a timepiece as nostalgically handsome as the Vacheron Constantin Historiques American 1921. It is designed to stay true to the spirit of the 1921 original, with that iconic diagonally placed dial that allows you to make quick work at telling time.
Nothing puts you in the mood of the season quite like the smell of woody effervescence. Maison Francis Kurkdjian extends its olfactory expertise to a limited-edition scented candle that celebrates mistletoe with a subtle one-two of musk and creamy woods. It’s calming, but not overtly festive, so you can burn it any time of the year.
As its name suggests, Byredo’s Desert Dawn takes you on a journey to the vast expanse of the desert with a warmth that’s felt with every spritz. The scent opens with the sweetness of cardamom and rose before the woodiness of cedar and sandalwood sets in. A body of silk musk and vetiver, together with the lightness of papyrus rounds off Desert Dawn for the right amount of depth.
Photography: Jayden Tan
Styling: Asri Jasman
Stock Images: Unsplash
Long before waxed cotton and tweed gave way to Gore-Tex and fleece, a tailored jacket was one of the most popular pieces of sportswear for men. Initially designed for the horsey set, the hacking jacket—hacking being the term for riding cross-country—was a linchpin of the male wardrobe in the UK, where it originated, and in America. It was built to withstand thornbushes and passing branches while providing warmth in the saddle. By the 1930s, the jacket had become a fixture even for non-riders, a way to say, “I may be off duty but I’m still keeping up appearances.”
Back then, the jacket was made of tweed, often with pronounced patterns in natural, country-inspired colors, and finished with details like slanted pockets and throat latches to make long rides more comfortable. Crucially, none of this had much to do with fashion. It was all about function, with a necessary nod to remaining presentable even when wandering around the outskirts of some far-flung estate. Fast-forward a century and the hacking jacket remains—blissfully—largely unchanged. The equestrian details are still there. The fabric is reliably a variation on tweed. And it’s still a great way to elevate your wardrobe without getting too fussy about things. Now you might find yourself pairing it just as comfortably with denim and loafers as corduroy and brogues. And the tie—much like the horse—is entirely optional.
Photographs by Ryan Slack
Styling by Andrea Rios
Grooming by Devra Kinery
Model: Thomas Gibbons at State Management
Originally published on Esquire UK
It is September, the month magazines typically turn their attention to the subject of style. Esquire Singapore may be far less conformist than many of this city-state’s publications, but delivering a fashion-centric September issue is one rule we’re glad to adhere to.
For much of my 20 years as a journalist and editor, I’ve covered fashion, among other subjects of vital socioeconomic importance.
Up until the pandemic, I would often spend much of each January and June at Pitti Uomo and the fashion weeks in London, Paris and Milan. Though I mostly focus on menswear, on several occasions, I had the privilege of attending the women’s couture presentations in Paris.
Being lucky enough to see Raf Simons’s spring 2013 Christian Dior couture show remains one of my most memorable fashion moments. Then a newbie to couture, Raf brought a crisp futurism to this classic discipline, creating structured gowns and mellifluous frocks that were ‘pretty’ and glamorous yet modern, and immaculately tailored suits that lent couture an almost everyday practicality.
(DIOR MEN'S SUMMER 2024)
The 2015 documentary Dior and I, which explored the frenzied eight-week creative process behind Raf’s first couture collection as artistic director for Dior, brought into sharp focus not only his passionate perfectionism but the incredible skill of the artisans toiling in Dior’s Avenue Montaigne ateliers. As much as the designer’s vision, it is these craftspeople’s painstaking execution of minute details that gives a couture garment its magic—contributing to a price tag that can stretch well into six figures.
It was details that distinguished the experience when I recently became one of the first customers of the Dior spa on Belmond’s Eastern & Oriental Express train, travelling through the jungles of Malaysia. Operating some of the world’s most elegant hotels, as well as several gracious sleeper trains and boats, Belmond was acquired several years ago by Dior-allied LVMH, making this collaboration very much a family affair.
Positioned between the dining and bar cars, the spa comprises two treatment rooms clad in rich tropical wood panelling carrying Dior’s canework motif, which figured prominently in Kim Jones’ spring 2024 Dior Men’s collection. Feature walls and bedspreads are dressed in Dior’s Toile de Jouy print, a graphic used across an array of apparel and accessories by the house’s current women’s artistic director, Maria Grazia Chiuri. The rooms look gorgeous, but where the Dior spa really impressed was in its attention to certain points that many five-star spas fumble.
(LUDOVIC BALAY)
Whatever plush fleecy textile was used to cover the massage table, it felt like lying on a cloud, and somehow, the face cradle miraculously avoided giving me the throbbing forehead-ache that most do. The music steered clear of meditative chants, nature sounds and panpipe cliché, instead opting for the type of laidback sounds you’d hear in a chic Parisian bar. (At several points, I wished I’d had Shazam handy. And a martini.)
Protecting my modesty, a zephyr-like cotton sheet of incalculable thread count was draped across me. It carried an embroidered quote from Monsieur Dior: “Au fond d’un cœur sommeille toujours un rêve,” which translates as “Deep inside a heart, there always lies a dream”—apt, as this spa experience was indeed dreamy. The massage itself was very nice, I might add. The vibrations as we rattled down the tracks added a certain je ne sais quoi.
(LUDOVIC BALAY)
I’d never been on a luxury sleeper train before, and it proved a terribly stylish way to travel. There’s an ineffable elegance to journeying at a pace far slower than an aircraft, relaxing and enjoying lush palm-treed scenery with a cocktail in one hand, a paperback of Paul Theroux’s Great Railway Bazaar in the other. “If a train is large and comfortable you don’t even need a destination; a corner seat is enough, and you can be one of those travellers who stay in motion, straddling the tracks, and never arrive or feel they ought to,” Theroux writes. Can confirm.
It was also pleasant to be in the company of travellers who’d made an effort to dress in key with the sophisticated surroundings. Prompting this, passengers on the Eastern & Oriental Express are issued with dress code guidance pre-departure, noting that the “atmosphere aboard is one of relaxed refinement,” suggesting that gentlemen should wear a sports coat or blazer for dinner, and to please avoid jeans or sneakers during meal times (where acclaimed chef André Chiang’s cuisine is served). Nearly everyone aboard stepped up sartorially, with a couple of gents going so far as to don a tuxedo one evening, adding to the sense of occasion and Agatha Christie-esque atmosphere.
(FRANKIE LIN)
Relaunched this year after a pandemic hiatus and a periodic spruce-up of its Art Deco interiors, the Eastern & Oriental Express currently navigates several different itineraries across Malaysia, and will soon also explore Thailand. Belmond operates classic trains in South America, Europe and Great Britain, but the man responsible for running the company’s mobile hospitality offering has a particular fondness for our local route, shunting from Woodlands to Penang and back.
“People always ask me which is my favourite train, and it’s like choosing between children—you’re not really allowed to say,” Gary Franklin, the vice president for Belmond trains and cruises, tells me. “But spending time on that train, sitting in the observation car, watching the Asian countryside go by, is amazing.”
Belmond’s philosophy centres on savouring both the destination and the journey, travelling in style, and much like the Dior atelier, having skilled personnel in place to ensure all the fiddly details are “just so”. “Luxury is evolving, it’s less about formality and more about genuine care. The art of hospitality is about creating an atmosphere where guests feel that everything is taken care of and that they are special,” Franklin believes.
“It’s about making guests feel comfortable, well looked after, and relaxed, creating an environment where people feel like they’re at home—but better,” he explains. “It’s not just about the tangible things like the quality of the food or the type of champagne served, though those are important, of course. It’s more about the people who make you feel at ease, the generosity and care that go beyond what’s expected.” In couture or hospitality, it’s the personal touch that makes all the difference. That, and a sense of style. Human qualities AI has fortunately not yet learnt to imitate.
Long before fashion houses consciously co-opted colours as brand identifiers, Dior was one of the first few to have incorporated the colour grey (specifically Trianon Grey or Montaigne Grey) as part of its visual vocabulary. Grey has become such an integral colour for the house that you’d be hard-pressed to find a single collection without the use of it.
It is said that Monsieur Dior’s fascination with the hue first began when he was establishing the couture house on the now-historic 30 Avenue Montaigne address. He drew inspiration from his childhood home in Granville, which featured hues of blush pink and grey. The latter, he regarded as a practical and neutral shade that’s elegant in every material expression from wool to tweed.
Grey continues to be a core element of the House and one that Dior Men artistic director Kim Jones refreshes time and time again. Across renewed menswear tailoring, reimagined bag silhouettes as well as modern classic pieces, Jones typically includes grey as a part of an item’s colourway. We reckon it’s equal parts to honour Monsieur Dior as it is exemplifying just how elegant the pigment truly is.
As one of Dior Men’s explorations of reimagining its icons, the recently released Dior Gravity series now receives a greyed out treatment. The embossed Dior Oblique motif is achieved through a delicate technique that marks the leather with the aid of gravity—hence the name. The latest iteration of Dior Gravity adds another layer of craftsmanship with a gradient of greys beautiful executed through a hand-spraying process. Dior artisans then cut, assemble and sew the elements one by one.
A duo of backpacks and messenger bags as well as a clutch are dressed in the gradient Dior Gravity. And just as how Monsieur Dior himself had envisioned, the distinct Dior elegance is apparent despite the pieces crafted as more modern, casual accessories. The Dior Oblique motif is slightly obscured as the shift from life to dark glides over each piece, adding a sort of dramatic subtlety—a kind of intricate element you'd find on a couture piece.
Before he was a prince, a wizard and a master of the air, Callum Turner was a model. Runway. High fashion. Louis Vuitton Spring 2009: the London lad was clad in an all-white 'fit of Paul Helbers' design.
So, becoming an ambassador for the luxury stalwart feels like a 360° moment for the actor who’s just a swish and a flick away from becoming a household name.
“I’ve always loved LV from way back when, and I truly enjoy the full circle part of joining the guys,” he exclusively tells Esquire.
For the customary announcement shoot, LV kitted him out in its yet-to-release men's Spring/Summer 2025 collection (his prop, a supersized sakura shade Speedy) showcased in June at Paris Fashion Week Men's.
Turner says they're the kind of pieces he would wear for “going out out”—a phrase we're sure went over a few heads in Paris—but also “for every day”. He's not surprised that Pharrell, “a constant influence” in his sartorial choices, designs clothes that align with his style. “I love Pharrell in everything he does,” expresses Turner. “His clothes are incredible, [and] the collection is fresh and cool and exciting.”
Speaking of fresh and cool and exciting, Gabriel Moses was the photographer on set, much to Turner's delight: “It was nice to work with a fellow south London boy all the way in Paris. We had a lot of fun.”
The buzzy British-Nigerian photographer is something of an LV ambassador himself, having shot several moments for the maison during Pharrell's reign and walked in the first show designed by the musician-turned-creative director.
Once a Louis Vuitton man, always a Louis Vuitton man, it seems.
Originally published on Esquire UK
It's become almost a given that a brand would look outside of its own homeground for celebrities and personalities who embody what it stands for. The world isn't confined to just one country or continent, after all. Burberry realises this, already tapping into a globally diverse range of faces and bringing them into the fold as brand ambassadors.
One of Burberry's brightest ambassadors is Bright Vachirawit. The Thai actor has been a constant presence in almost all of Burberry's activations around the world as well as its runway shows in London. It's no surprise then that Bright has grown to be accustomed to London, its people, and of course, its weather.
In the brand's extension of its "Burberry Outerwear" campaign, Bright stars solo as he regales about his experiences in London and waxing lyrical about the undoubtedly "Burberry weather" of the city and its romantic nuances. His outerwear of choice to tackle the unpredictability of London is none other than the Burberry trench—a piece that in essence, is ubiquitously London.
ESQUIRE SINGAPORE: What does London mean to you?
BRIGHT: Burberry makes London special to me. Every time I'm here, it's always with Burberry—they make it feel like a second home.
ESQ: Was London how you expected it to be the first time you visited?
B: It was better than I had expected. At first, I thought it would be sad and maybe moody. But when I got here, it was moody—but in a beautiful way. It made me feel romantic in some way.
ESQ: What was the weather like?
B: The weather was cold and windy, but sunny. I'd heard of the "British weather"!
ESQ: What item of clothing do you always rely on when you're in London?
B: London weather is always unpredictable. You need something that can protect you from all conditions while looking effortless, like a Burberry trench coat.
ESQ: What do you enjoy doing when you're in the city?
B: I love going to bars at night to see live music, and going to football stadiums. Every time I travel, I like to experience as many stadiums as I can. There are a few more I'd love to go to in London.
ESQ: How would you describe Londoners?
B: People in London are so friendly. The way they dress is very classic. It's not just in fashion, but it's part of the culture and the rich heritage; it's the way Londoners dress themselves.
ESQ: What were some of your most memorable moments from the Burberry Outerwear shoot?
B: The entire shoot was very memorable for me. It was another great opportunity for me to work with new people. It was a truly impressive new experience. If I had to choose one moment, it would be the time we cruised along the Thames River on the boat. The vibe was really good and it was a time when you get to see the city, its scenery, and interact with everyone on the boat. It was truly a memorable time.
ESQ: What is “Burberry weather” to you?
B: I think “Burberry Weather” is... a little gloomy sky with unpredictable weather. Never too sure if it’s going to be sunny or rainy. It also reminds me of cool air but windy. And a sense of cosiness. This is why I love a Burberry trench. It protects me from those kinds of weather.
ESQ: What's the best drink to have in rainy London?
B: Tea is good. A cup of earl grey tea will freshen up the moment.
ESQ: You have visited London for a few times with Burberry. What's your favourite seasons and why?
B: I like how it is in February. It's still very cold, which I enjoy. I get to play with my wardrobe, layering up with clothes, outerwear, scarf, and accessories. It's a time of year with weather we don't have in Thailand.
This interview has been edited for length and clarity.
The year ends, which means a lot of looking back and hand-wringing. O Lordy, have we done much in our lives? To appease the soul, to fulfil the terms of the karmic machine, we present a way to give back via GastroSense's annual “Christmas with a Cause”. For this edition, the brand and communications consultancy raises awareness for mental health with a design collab with two idealistic cuisiners: Kenjiro “Hatch” Hashida, of Hashida Singapore and Hashida Tokyo, and Rishi Naleendra, chef-owner of Cloudstreet, Kotuwa, and FOOL Wine Bar.
Called “Tomorrow”, this project features a shared illustration about the importance of mental health. Starting with Chef Hatch's poem about the uncertainties of life, the march of time and the promise of hope. Inspired by the poem, Chef Hatch illustrated a jellyfish with flowing tentacles, illuminated by the sun. Chef Rishi drew from his Sri Lankan heritage to add to the vision. Incorporating "Liyawel,” a traditional floral motif, along with the two-headed “Bherunda” bird—a symbol of wisdom, resilience, and balance—the artwork becomes more than an artistic collab; it turns into a clarion call for mental health awareness, a message keenly significant in a year that’s tested the F&B industry.
While, the jellyfish illustration looks fantastic on a t-shirt (as exemplified by Chef Rishi giving his best Blue Steel look [see above), the artwork will also be plastered on tote bags and stickers as well. Net proceeds from each purchase will go towards The Tapestry Project, a local non-profit championing mental health through storytelling.
When Tiffany & Co. announced the Tiffany Titan by Pharrell Williams collection back in May, it somehow didn’t feel quite... well, Williams in essence. Don’t be mistaken—the first drop was a brilliant display of ingenuity in jewellery design. The spear-shaped links feel like a fitting update to gold chains popularised by rappers since the ’80s, and Williams conceptualising an iteration of that under a brand like Tiffany is historic. Yet, something felt amiss.
Williams is a true multi-hyphenate. He’s a Grammy-winning musician and producer, a designer, a co-founder of streetwear brand Billionaire Boys Club and its sub-labels, and, of course, the men’s creative director for Louis Vuitton. But beyond that, Williams is a fashion icon in his own standing with a sense of style that often precedes him. The man knows a thing or two about accessorising and is hardly seen without a necklace or two. But what has always been somewhat of a mainstay is his penchant for pearls. Whether it’s a simple string of nacre or multi-layered like a statement Chanel piece, Williams dons them nonchalantly.
The latest drop of Tiffany Titan by Pharrell Williams is, in comparison, more Williams than its debut with the introduction of freshwater pearls. And, let’s not forget, diamonds.
“The inspiration of the collection comes from my affinity with water; andthenameofthecollection,‘Titan’, draws influence from Poseidon, ruler of the sea, King of Atlantis. ‘Atlantis’ is also the name of the community where I grew up in Virginia Beach,” Williams explains. “In Japan, it was believed that pearls were created from the tears of mythical water creatures; so I naturally gravitated towards them as a means of expressing this connection to water.”
High-lustre freshwater pearls of over 11mm adorn every piece, imbuing both sophistication and added refinement to the collection. By the size of the pearls alone, there’s no denying that these latest designs are meant to make statements. Even at its simplest—a pendant featuring a single orb seemingly pierced through with the collection’s spear-shaped motif lined with diamonds and on an adjustable gold chain—the eyes would instantly be drawn to the jewellery.
There’s no mistaking that pearls are the centrepiece. In place of the spear-shaped links, the collection’s bracelet and necklace consist of alternating pearls with gold spike rondelles; a trio of spear-shaped links act as the clasp on each piece with the middle on set with diamonds.
“With this new design, it’s almost like a harmonious juxtaposition. They contrast each other...the spear is bold and fearless, and the pearls are soft and precious, but they fit perfectly together. They almost look as if they are protecting each other,” says Williams. You could say the same of Williams—a man of constant juxtaposition across different disciplines and personal style. And just like he said, this iteration fits perfectly.
The second drop of the Tiffany Titan by Pharrell Williams collection is now available in Tiffany & Co. boutiques and online.
It's not quite the festive season in London until famed department store Harrods is completely decked out and lit up. And this year, Loro Piana has gone full on with a complete takeover of Harrods' façade and more.
Across 36 windows of Harrods, the Italian brand invites everyone on a fantastical journey of its inner workings. The various animations showcase Loro Piana's 100-year-long heritage and savoir-faire as quality materials and brand icons are transported from one scenography to the other in beautifully intricate displays. It's like a grown-up, more luxurious version of Santa's workshop where, instead of toys, cashmere creations and bags such as the Loom bag are the gifts. Each window is also a lesson into the Loro Piana story with blurbs of descriptions to things like its Coat of Arms, the Gift of Kings series, technology like the Storm System, and more.
Beyond the splendour of the windows and decorations, the Loro Piana takeover includes two special pop-ups stocked with a series of gift ideas made exclusively for Harrods. They span across both women's and men's ready-to-wear rendered in winter-ready fabrications the likes of Sopra Visso wool, Baby Cashmere, and Vicuña. Timeless pieces like scarves (in a variety of materials and designs) and a slate of tailored selections offer everyday style accompaniments with a British undercurrent of equestrian touches, checks and classic solid hues. A selection of scarves can also be customised with initials for that extra personalised touch.
While the takeover and pop-ups are temporary, they herald Loro Piana's expansion within Harrods. Two permanent spaces are due to open—one dedicated to a kids' collection, and another to Loro Piana Interiors. It's safe to say that with its 100th anniversary this year, the Maison definitely wants to end it big.
The Loro Piana takeover of Harrods London will run until 7 January 2025.
In 2007, I met a largely pre-problematic Kanye West at London’s Landmark Hotel.
I was there to interview him about his upcoming third album, Graduation.
West was busy, as befitted the overachieving multi-hyphenate.
(Graduation brilliantly combined elements of euro-disco, rock, rap, krautrock, dancehall and about a million other genres, featured guest spots from everyone from T-Pain to Chris Martin, and came with a cover drawn by the Japanese pop artist Takashi Murakami.)
West had, he told me by way of an introduction, been up all night mixing a video, planning his live shows and I forget what else—possibly designing trainers.
Not a problem, he explained.
“I don’t need sleep.”
It was 10am. As the interview got underway, West put his feet up on the sofa in the five-star foyer—and promptly nodded off.
It sticks in the memory because an almost identical thing happened to me in another hotel room a couple of weeks later, with Nas.
This time, as the Illmatic hitmaker slumped forward, his PR was on-hand.
“He’s just thinking,” she said.
But them the snoring started, and the game was up.
You can blame jet lag (American superstars flying into London to do last-minute promotion). You can blame my boring questions (to lose one rapper may be regarded as a misfortune, to lose two looks like carelessness).
Either way, the musicians’ blushes (as if they cared!) were saved to some extent by the fact they were both wearing sunglasses.
The precise point at which I switched up my Paxman-like interrogation technique to expertly put them at their ease to such a degree they were comfortable grabbing forty winks may never be known—their eyes were obscured by dark glasses.
The issue of wearing sunglasses indoors came up again this weekend, following an appearance by another overachieving American multi-hyphenate.
Pharrell was a guest on The Graham Norton Show.
As we’ve come to expect from the show’s charmingly random guestlist, he was sandwiched between Billy Crystal, promoting something called Before on Apple TV, and Emily Mortimer and Hugh Bonneville, doing the rounds for Paddington in Peru.
While Bonneville and Crystal were wearing traditional dark suits, Pharrell came dressed as Pharrell.
That’s to say he was wearing a navy zip-through top, mirrored Human Made cap, Louis Vuitton flared washed denim jeans, and a £1.8m Richard Mille x Ferrari watch.
The Daily Mail didn’t mind any of that.
But they did object to the fact he was wearing sunglasses.
“Pharrell is SLAMMED,” it thundered. His outfit choice apparently being both “rude” and “disrespectful”.
“Many viewers were less than impressed with Pharrell’s decision to wear sunglasses throughout the duration of the show,” it noted.
And it had the evidence from Twitter/X to back it up.
“Why is Pharrell wearing sunglasses? I know he’s cool but please!”
“Why is he wearing sunglasses indoors?... I love Pharrell, but take your sunglasses off #GrahamNortonShow”
“Why is Pharrell Williams wearing sunglasses on Graham Norton... you're embarrassing me in front of Billy Crystal”
Obviously, no one wants to be embarrassed in front of Billy Crystal—even if it’s through their TV set.
But it did raise an issue of etiquette: can you wear sunglasses indoors? Should you? And is it really rude and disrespectful to do so, in 2024?
Leaving aside that some people require dark glasses for medical reasons, aka The Bono Excuse—ironically, Pharrell used the Graham Norton interview to discuss his sound-colour synesthesia, meaning he sees specific colours when he hears certain sounds—Esquire is of a mind to suggest that, actually, indoor-shades are perfectly fine.
In fact, they’re literally a good look.
Sunglasses have long been a staple of the red carpet, both inside and out, of course.
And celebrities have always used them to “become” themselves.
“With my sunglasses on, I’m Jack Nicholson,” said Jack Nicholson. "Without them, I’m fat and 60.”
(This was a while ago. He's 87 now. Still in shades.)
But ever since fashion brands had the genius idea of marketing winter sunglasses at non-snowboarding city-dwelling civilians, hence making the accessory a credible year-round option, their take-up has grown exponentially.
Sure, you need UV protection in London right now in the same way you need shark repellent but that’s hardly the point.
Charli XCX has made perma-shades part of her zeitgeist-conquering look—and she’s from Essex.
Other fans include The Dare, Snoop Dogg, Julian Casablancas, Robert Downey Jr, Timothée Chalamet—possibly in prep for his role playing the don of dark shades, Bob Dylan—and, of course, Anna Wintour.
Gucci, Dior, Loewe and Saint Laurent all sent sunglasses down the catwalk for the traditionally unsunny season of Autumn/Winter 2024-5.
In the current Balenciaga lookbook every single model is wearing shades.
“Wearing sunglasses all year round, summer and winter, sunshine and rain, inside and outside, on your face or even on top of your head, is not quite the gauche, self-regarding faux pas it used to be,” says Esquire contributing editor and style authority Simon Mills.
“Without our sunglasses we are ordinary Joes—but buy a pair of knock-off aviators and a Mr Benn-like transformation occurs. We become stars in our own private Heat magazine drama.”
Plus, Mills points out, in the case of Pharrell and his Kenzo sunnies—it’s his thing.
“It would have been a lot weirder if Billy Crystal had worn shades.”
Stephen Doig, men’s style editor at the Telegraph and deputy editor of Telegraph Luxury, is a card-carrying member of the Shades Indoors Club—and is inclined to agree.
“As a disciple of the church of dark shades, online sniping about Pharrell’s sunglasses is tediously middle England,” he says.
“Yes, there are situations in which wearing sunglasses is impolite and socially unacceptable—see Anna Wintour wearing her signature sunglasses to sit alongside the late Queen Elizabeth. Wearing them in a church wedding, or to job interview? No. There’s an aloofness and an unapproachability to shades indoors that oozes attitude, and that can get people’s backs up. But sometimes you want to be a little inaccessible.
“Shades are part of people’s uniform these days, and they’re also helpful armour in today’s indoor landscape of hideous fluorescent lighting. Plus, they’re particularly helpful when you’re feeling weary and less than fresh.”
And perhaps also, it scarcely needs adding, should you want to grab a quick zizz during an especially dull interview.
Originally published on Esquire UK
For years now, the Christmas light-up along Orchard Road has been a sign that the year is coming to an end and that the festivities are near. ION Orchard's location as the start of Singapore's famed shopping belt means that it's also become a sort of landmark to the annual light-up—this year's sees French couture house Dior taking on the honour.
While it's typical for brands to opt for a somewhat traditional Christmas tree installation right outside of ION Orchard, we've seen over the years a penchant for more theatrical interpretations. Dior opts for a Dior Star once again this year (its takeover in 2022 was a Dior Star rendered in elegant dark hues of gold and black). This time around, the Dior Star stands 15 metres tall and reflects the Dior Cruise 2025 collection by creative director Maria Grazia Chiuri themed around Scotland's rich heritage.
The 2024 Dior Star installation takes reference from fairy tales as it's designed to resemble a giant pop-up book with the Dior Star exploding into the atmosphere surrounded by majestic animals the likes of a unicorn, lions, a deer, a monkey, and birds. It's definitely a non-traditional Christmas tree installation but the surrounding scenography of lush vegetation with accents of red florals do nod to the occasion.
As with takeovers go, Dior has more to offer inside the mall. Throughout the interior of ION Orchard, multi-sensory displays and Christmas decorations by Parfums Christian Dior can be found just about everywhere. They culminate in a duo of pop-ups at the Level 1 Atrium of the mall—a Dior Beauty Christmas pop-up and a Dior Café. The former is what one would expect fitting for the season with a number of gift sets conceptualised to make gifting easy (and luxurious) topped up with a number of personalisation options. The Dior Café is a collaboration with L'éclair Pâtisserie, featuring a specially curated high tea set consisting of familiar French sweets such as eclairs and macarons.
The entire Dior Holiday Season takeover officially launched yesterday evening. Attended by a number of local celebrities, the highlight was most definitely the appearance of Dior ambassador and South Korean actor Jung Hae-In. A constant figure at Dior and Dior Men shows, Jung was dressed in a sleek navy suit sans tie and finished with a Dior Charm brooch—all from the latest Dior Men Spring 2025 collection. He arrived to a cacophony of screams by fans waiting patiently behind barriers around the outside ION Orchard as well as outside the Dior boutique, as he first made his way to the Dior Star before making his way to the boutique. Somewhere in between, Jung was surrounded by a crowd but like the seasoned professional that he is, he stayed calm and obliged fans with waves and finger hearts as signs of acknowledgement.
And just like that, the festive season has officially commenced.
The Dior Star is located outside of ION Orchard until 1 January 2025, while the Dior Beauty Christmas pop-up and Dior Café are located at Level 1 Atrium until 2 January 2025.
