By now, you're probably aware of an impending battle happening this week: Barbie vs Oppenheimer. The two blockbuster behemoths in their own right are scheduled for wide release on the very same day. Of course, there's nothing remotely similar about the two films—it's Barbie and Ken against a biographical thriller about the development of nuclear weapons—apart from sharing overwhelmingly positive first reactions.
The contrast in tones of the two films has also been reflected in how the two male leads (specifically Ryan Gosling and Cillian Murphy) have been dressing while promoting their respective films. True to the nature of Barbie, Gosling had been appearing in just about every spectrum of bright pastels imaginable; Murphy opted for the exact opposite.
Now, Murphy has hardly ever been one to gravitate towards a colourful fit. But the man is not opposed to it, based on several instances on the red carpet as well as in between the pages of Esquire US. His main style repertoire however, favours clean and minimalist lines with a penchant for elevated staples.
He's been taking it up a few notches for Oppenheimer's press tour. And if you think quiet luxury (or at least semblances of it) is on its slow death, Murphy's saying otherwise.
It's been said since the beginning of fashion annals: an all-black fit does no wrong. Murphy gets it down pat every time. But it's all in the brilliant styling choice for this particular look—a tie rakishly worn askew for a brilliant addition of dimension to an otherwise safe outfit.
The tie may be experiencing some sort of a resurgence on the menswear runway shows, but in everyday fashion, not so much. Murphy's Prada ensemble suggests that it could very well work for that special dinner date coming up. Again, it's the smart choice of opting for a tie in the same colour as the shirt. Here, it's a specific nod to the military aspect of the film with khaki as the star colour.
Honestly, we're running to get ourselves a well-made cardigan after this. There's nothing heavily overdone (or under) with this, but it perfectly underscores how the right kind of wardrobe staples (Murphy's cardigan is by Studio Nicholson) are all one needs to be stylish.
We definitely weren't expecting this sheer Saint Laurent fit for the London premiere of Oppenheimer. It definitely still keeps within Murphy's style leanings, all while venturing into something out of left field. But then again, who ever said being a minimalist meant being predictable?
It takes skill and taste for someone to take something as unanimously ugly—I'm not even going to bother sugar-coating this—as Crocs, and turn it into a design that's contemporary and at the same time, shifts one's perception of the item. Yes, I caved. The Salehe Bembury-designed Crocs are the only ones that deserve to be bought—at least, until another designer aesthetically reinvents it.
The American designer has quickly risen up the ranks as one of the footwear designers to watch. While Crocs may have afforded him global recognition, his career already includes time at Yeezy and Versace as well as partnerships with brands the likes of New Balance, Vans, and Clarks. Which is why when Moncler Genius announced its 2023 lineup during London Fashion Week earlier this year (although Bembury teased the partnership sometime in November 2022), this style director was especially elated.
Moncler x Salehe Bembury—also titled, 'Moncler ēquipements'—is a landmark collection for both Moncler and Bembury. Not only is the collection the first collaboration between the two, it is also Bembury's first foray into ready-to-wear. "'Moncler ēquipements' is an exploration of palette, shape, and utility. From extensive time spent in the wilderness, I have developed a deep appreciation for nature and the elements that come with it," Bembury says. The avid hiker opted for an outdoor-ready collection inspired by Moncler's mountaineering line from its '50s archive.
There's no doubt that Bembury definitely put his stamp throughout the collection. His signature 'grain' thumbprint has been reinterpreted as part of Moncler's quilting and are apparent on the collection's range of padded outerwear, vests and a number of lighter layers. It also makes its appearance on Bembury's known expertise: footwear. For Moncler x Salehe Bembury, the Trailgrip sneaker features the motif done in a combination of treatments and textures while retaining the sneaker's functionality.
The ready-to-wear is certainly not to be overlooked. Practical utilitarian elements form the foundation of the collection. Pockets are aplenty and water-resistant GORE-TEX INFINIUM™ add further versatility and comfort to parkas. Teddy fleeces, leggings, caps and beanies complete the entire assortment made for the intrepid outdoor adventurer.
The Moncler x Salehe Bembury collection is now available.
Back during the Dior Men fall 2023 presentation—a once-in-a-lifetime spectacle set against the backdrop of the pyramids of Giza, Egypt—the house also previewed its collaboration for the season. It sits separate from the core Dior Men fall 2023 collection, but at the same time, serves as an extension.
Aptly named Dior Tears, the capsule collection sees artistic director Kim Jones coming together with longtime friend Tremaine Emory's Denim Tears brand. Emory is also Supreme's current creative director.
"I want to share that moment in time, that beautiful moment in time where Black writers and musicians and artists were coming from America, running from America, and finding some level of acceptance in certain European cities and being able to have their art respected and who they are respected," says Emory in the collection notes. "It wasn’t perfect but it was just a moment, a beautiful moment for Blacks to have the privilege and opportunity to escape from the terror, the horrors of America, a segregated Jim Crow America. Artists like Miles Davis and writers like James Baldwin found refuge in Paris."
It's a converging of ideas between New York and Paris. Much like the African-American experience that inspired Emory, Dior Tears takes stylistic references of Black jazz musicians from the '50s and '60s and mashes them with French savoir-faire. At the heart of it is a denim-rich collection (coincidentally, the material has its origins in France) that's then complimented by Dior Men's techniques and craft.
A constant technical conversation between France and America takes the form of the latter's homespun fabrications mixed in with French jacquards and precise tailoring. Dior Oblique motifs are of course, splattered sparingly throughout the Dior Tears capsule collection, while the colour palette sticks to a healthy dose of brights that are reminiscent of the African diaspora.
What's especially noteworthy—as with most Dior Men collaborations overseen by Jones—is that the Dior Tears capsule collection leans neither too heavily on either collaborators' aesthetics. There's a synergy and somewhat equal marriage of ideas—just like how a collaboration should be like.
The Dior Tears capsule collection is out now at Dior Men boutiques. View the full collection in the gallery below.
Taylor Okata grew up in Oahu and cut his teeth styling all around the fashion industry. “I thought leaving the islands, I had to pursue a very definable career, but I've always been interested in fashion since I can remember,” he explains. His past client list includes giants like Nike, Adidas, New Balance, Reebok, and Puma. Currently, though, he’s focusing on his role as the creative director of personal care and grooming brand Hawthorne. He still works with the occasional client—fellow Hawaii kid Evan Mock is a notable example—but to make room for the day job, “I've been styling less and taking a step back from it,” he says.
Taylor has always impressed me with his distinct style—hard to describe, but always well-put-together. Below, Okata and I talk about his career in the fashion industry, how he incorporates elements of his Asian origin into his personal style, and a host of other subjects.
How did you make the transition from styling into creative direction for the self-care brand Hawthorne?
I studied photography in high school and studio arts in college, so I come from a background of more knowledge of graphic design and typography and colour theory and two-dimensional design than fashion. Fashion was always just something I enjoyed as a hobby. Even freelancing as a stylist, I'd be on set and I would make certain comments about lighting or about layouts of magazines and things like that. And then they understood, “Oh, this guy actually has a knowledge of design.”
Phil, who is one of the co-founders of Hawthorne, and an amazing designer as well, met me before he even launched the brand. He was designing for brands like Hood By Air. He created their logo. We've always talked design, more than just fashion. And so, when they wanted to do a brand refresh, he reached out and asked, "I don't know if this is something you're interested in." And it was, because to me, creative direction encompasses everything that I love.
Can you share some thoughts about Hawaii and how it's changed since you were a kid growing up there?
My family has been there for so many generations that we couldn't even trace a lot back on my mom's side. We became a state in 1959, so for me, growing up there was this weird push and pull of wanting what you saw on TV and kind of wanting to be Americanised, but the day-to-day culture was very unamerican. I didn't have internet in my house at the time. Growing up before social media, the exposure was very different. I never fully felt the Western idea of what it means to be American, even though technically we are. But it's a very special place. It's very complex because we were illegally occupied by the military, and it gets really dark.
When I moved to the States, I was exposed to a whole new country, and I was pushed to the side in a way that I wasn't used to. Hawaii, for the most part, is a very multicultural place. We're all multiracial and we're all very prideful of our culture. Then to move to the states and hear, “You're not Asian. You don't look Asian. You don't look Latino. You're obviously not Black. You don't really look white.” It was just so interesting that those were really the only four pillars that people could identify you as. That's when I really understood how special of a place Hawaii was. We speak a different dialect back home called Pidgin. At first, I had a really hard time trying to assimilate into American culture. When we greet people, for instance, we kiss on the cheek, and that was seen as weird. People in college said I sounded funny. So, I really tried to morph myself into this idea of what it means to be accepted in America. As I got older, I realised what makes my perspective so special is where I'm from and how I was raised—my culture, the food, the music, and the street culture I grew up with. Then I really started to own it, and once I did, and was prideful of where I was from, everything else just started to fall into place.
How do you tie your identity into your personal style?
I can never leave the house if it doesn't feel like me. I know that sounds like such a generic statement, but I truly have never gotten dressed for anyone else. Even if I know I'm going to be made fun of or people might not understand it, my style is what has gotten me to where I am. It's honestly saved my life. It's opened up doors for me, but it's also made me feel like I belong somewhere even if I don't feel like I belong—when I know inside that I belong because I get to present myself how I want to present myself. That really is tied to my culture, like my Japanese heritage and growing up with my dad's side of the family always being very well put-together. Even the island culture and surf and skate—all the things I grew up doing—influences my style. Sometimes I feel like it's a hodgepodge, but it's just my style. Something has to be thrown off. I can't be fully prepped. That's just not me. I love wearing ties or a dress shirt, but then I need to have my earrings or my Hawaiian jewelry on, or I need to have a baseball cap on—something to offset it that makes it feel like me. I can't just pick a genre and fit in. It'll never happen because again, my culture's such a huge part of my life. It's inescapable at this point, so that obviously translates to what I wear.
How much of that identity is tied into your styling and creative direction? How do you separate your personal style from work?
With styling, specifically celebrity styling, people come to me because of how I personally dress. That's great because they know what they're going to get from me. I never really got as heavy into commercials and TV and film… It's a very specific outline where I don't really get to express my talents and my capabilities. With Hawthorne, for instance, or when a client brings me on to do full image—they want their client to have a new hairstyle and new outfits—that's where I really thrive. I'm like, "You're coming to me exactly for what I can give you, and I can really art direct this image." I think that's why I've been styling less; I just have too many interests and I think of too many other factors. I can't just think about the clothes anymore. I look at the hair or I look at the casting or I look at the lighting or I look at the set design. I can't just worry about the clothes.
What are some brands or designers that are exciting you currently?
It's so funny that you asked the prior question about my culture and my heritage tying into my personal style because I realise that a lot of what I've worn or brands, even if they're mainstream, like Comme des Garçons or Issey Miyake or Yohji—who I owe so much to—they're all Japanese designers. I'm just really drawn to that aesthetic. But currently, of the brands that I'm really drawn to, some are still AAPI, like Commission and Luu Dan. Not only do I see myself in the designers, but I think that the perspective that they're designing from fits how I like to present myself to the world. It just makes sense that way. For instance, with Luu Dan, I'm short and he makes great clothes for short guys. Even though it's so oversized some way, it still looks great on me. Like Peter Do, who just got announced as creative director of Helmet Lang, they're really bringing something that I identify with. There’s also Raul who does Luar. His eye is so special and it speaks to me so much, not only as a queer boy living in New York City—he's a born and raised in New York and I'm not—but just the soul where he's designing from resonates so much in me that I'm so drawn to what he does.
If you had to wear one outfit for the rest of your life, what would it consist of?
That would be where I thrive the most, which is in Hawaii, and I think about what I wear there, and it's obviously hot as hell. A cream V-neck sleeveless vest of some sort, baggy denim shorts, fresh white socks, and a lug-sole, lace-up, derby-loafer situation, because I always like feeling dressed. I can't feel too casual. And all my jewelry. I can't live without my earrings and my Hawaiian jewelry and Oakleys.
Originally published on Esquire US
As the cape is to the superhero, the navy double-breasted blazer is to the man. Put it on and, boom, you’re transformed. But instead of flight, your superpower is to fit in anywhere and stand out as the best-dressed guy. Wear it to impress your partner’s parents, score an upgrade, attend any and every party. You will never feel over- or underdressed. The double-breasted blazer is the low-effort, high-reward piece that your summer wardrobe simply should not go without.
Hold on. Summer? Damn right. If you get the proper jacket—easy, breezy, and lighter than air—you can wear it when the sun’s high and the mercury is even higher. Enter Canali’s Kei collection, which is all about stripping tailoring down to the absolute essentials. The jacket is entirely unlined and unstructured, so it breathes beautifully. And thanks to Canali’s masterful cut and craftsmanship, it fits as well as something weighed down by padding and lining and all that other stuff. It goes with everything, and it’ll take you everywhere—even if you have to fly commercial to get there. Canali Blazer in Navy Blue Cotton
Originally published on Esquire US
How long does it take for a collaboration to manifest? Six months? A year? If you're like Sole Superior and Saint Barkley, the road to the end product can take up to four years. But it's worth the wait as the union borne out of mutual admiration for each other yields these limited-edition kicks.
Limited to 500 pairs, this collaboration caused quite a kerfuffle back in 2022. A sample pair was first introduced at Sole Superior last November and then at the Jakarta Sneaker Day in February 2023. It was during the latter when the samples were absconded from its display case.
But when life gives you lemons, you turn it into a marketing opportunity—Saint Barkley and Sole Superior offered a reward to anyone who turn in the stolen samples. In an IG post, Saint Barkley and Sole Superior extoll the sneaker thief for their "terrific taste" and chided their "terrible ethics". The samples were never recovered.
But what is it about the Sole Superior x Saint Barkley sneakers that made it so seductive that theft was its only recourse?
Well, taking inspiration from the 'Scratch N Sniff' stickers of the 1980s, the shoes sport bubblegum-scented tongues. These releases that contraband scent when your foot comes in contact with it. The upper is a peach /suede with light-reflective stitching. Adorned with Saint Barkley's signature volt green sole, the white vulcanised rubber midsole looks striking from the contrast. ensuring your sneakers and surroundings smell as fresh as they look. To top it all off, the sneakers come in a special clear window shoebox. Each purchase of the shoes will also get you three exclusive Saint Barkley x Sole Superior air fresheners.
Not only do you have a sneaker release, there's also the limited apparel capsule collection. A t-shirt, cap, and coach jacket—these items complement your new kicks. These are available in limited quantities as well.
Saint Barkley x Sole Superior limited kicks retails for SGD66. The collection drops today at Saint Barkley's physical store in Indonesia or if you're not based over there, you can purchase them online.
Kim Jones' futuristic endeavours were ever-present throughout the collection, from the innovative construction of the garment to the avant-garde accessories. The construction of a jacket from one continuous piece of fabric is testament to the maison’s impeccable savior-faire.
The Dior Men fall 2023 collection came to light amid the vast, boundless Egyptian desert plains. The majestic peak of the Great Pyramid of Giza painted the backdrop as Kim Jones’ parade of men emerged from a sea of sand in the dark of night to the command of booming techno beats. Jones may have taken the fall 2023 presentation to the grounds where the oldest of the Seven Wonders of the World stood, but his vision for the collection was far from the timeworn. Instead, it carried a distinct futuristic quality that, on many occasions, called to mind Frank Herbert’s dystopian universe, Dune. The otherworldly landscape aside, a palpable Martian sensibility was rife across the 75-men strong crusade. Jones’ army sported futuristic sunglasses topped off with protective face shields, chest guards over knitwear and underneath jackets, and utilitarian combat footwear. Their uniforms, mostly a subdued colour palette of neutrals and varying hues of grey, were occasionally punctuated by pops of bright yellow and zesty orange.
As Jones took to space for inspiration, he naturally had his eyes set on the stars, just as founder Christian Dior and the ancient Egyptians had in the past. The result: a series of astral prints conceived alongside the National Aeronautics and Space Administration (NASA), fittingly transposed onto jackets reminiscent of astronaut suits.
It was clear: Jones had little interest in being overtly referential to the history books of ancient Egypt. Instead, he had his nose buried deep in the archives of the Maison—the storied past of its womenswear realm, in particular. By now, Jones’ affinity for drawing from the feminine to inform his menswear outings is an enduring fixture in his modus operandi at Dior Men.
This season, Jones’ points of womenswear reference centred around three archival dresses—the “Junon”, “Bonne Fortune”,and “Caramba”. While the “Junon”, and “Bonne Fortune” dresses were rehashed as meticulously embroidered tank tops and pleated demi-kilts respectively, the “Caramba” dress informed the distinctive cord-stiffened detailing employed in the construction of the collection’s modern wool tracksuits.
The jackets were a tip of the hat to space suits worn by astronauts. Led by expert workmanship, the nuances of the collection were hidden in plain sight. Jones’ vision for the uniform of the future is replete with juxtapositions of experimental accessories against updated menswear classics.
The past and the present, steered by Jones’ vision for the future effortlessly came together where old world techniques were adopted in tandem with cutting-edge technology. These nuances, peppered across the collection, were hidden in plain sight. Astral-printed jackets were purposefully cut to reflect light at precise angles to replicate the shining effect of a star; desert boots featured 3-D printed foot-guards; and demi-kilts were handcrafted with an ingeniuos trompe l'oeil of pleats.
Jones’ work at Dior Men is a wardrobe proposition for men ahead of their time. If not as far a head into a dystopian future as the show presentation might have you believe, the fall 2023 collection offered an ultra-modern sartorial update to quintessential wardrobe pieces. The tailored suits, knitwear separates and tactical jackets would fit into everyday life just as easily as they did in the utopian terrains of Cairo—sans the avant-garde head gear and billowing scarfs.
We're still in somewhat of a limbo with Louis Vuitton's menswear division. Pharrell Williams' first collection as creative director already made its debut during this past Paris Fashion Week Men's. But the collection will only be available in boutiques for the spring/summer 2024 season.
Of course, Louis Vuitton isn't halting any semblance of newness while that happens.
The Taurillon Monogram and Monogram Macassar collections—both featuring the maison's Monogram pattern—have been refreshed with colours that reflect the sense of vibrant energy typical of the season. Icons the likes of the Christopher backpack, Sac Plat mini as well as the Keepall 25 take on new iterations while retaining the unbridled spirit of travel that's at the heart of Louis Vuitton.
The all-leather Taurillon Monogram gets an electric blue makeover (referred to as Racing Blue) with a more muted colourway in the form of Mineral Gray. The hardware on each are done in contrasting tones with the Racing Blue iterations fitted with matte black hardware, while the latter features palladium silver hardware. The treatment is available on a slew of bags and small accessories; it's exceptionally stunning on the collection's bigger pieces such as the Horizon rolling luggage.
The Monogram Macassar on the other hand, keeps things a bit more traditional. Pops of Radiant Sun yellow leather add bold freshness, complementing the Monogram canvas base. On a number of accessories, they appear on handles as well as trims along the sides; on pieces like the Christopher backpack, they act as accents on straps and such.
What's interesting is that these new iterations of the Taurillon Monogram and the Monogram Macassar could very well be part of Williams' debut collection. Aesthetically, there's already the vibrant hues that were a big part of the runway show (and its Rihanna-fronted campaign) and done in such a way that stays true to the classic Louis Vuitton Monogram. And you can never go wrong with the staple Monogram anyway.
The latest variations of the Taurillon Monogram and Monogram Macassar are now available in Louis Vuitton boutiques as well as online.
That concludes fashion month, I suppose. Buyers, stylists, models, and celebrities have been traveling between fashion capitals over the past few weeks to learn how the world's best-dressed men will be dressing for next summer.
So, what's the verdict? Are we all going to be dressed like highlighter pens, or will neutral shades reign supreme once again? Will the silhouettes be baggy or Meet Me in the Bathroom-level skinny? Will our wardrobes be even more gorpcore-y or Y2K or... neither? Without further ado, here's our trend breakdown.
Showing at Fendi’s leather goods factory, Silvia Venturini Fendi presented a collection that played tribute to the callous-thumbed artisans that fill her team. Suits came with stitches for fitting alterations and shirts were printed with toolkits, but it was in the accessories where you could see a direct connection to workers’ uniforms. Models walked with F-monogrammed coffee cups (some in holders, some in hand), documents, measuring tape and name tags as if they were just clocking in for another day.
This trend for accessorising everyday items and elevating the supposedly mundane continued into Paris Fashion Week. Louis Vuitton also had a fellow caffeine addict walk their runway, this time with a straw poking out of the coffee cup lid, as well a model who sported a leather version of the LV shopping bag.
It’s natural for summer collections to be a bit on the brighter side, but no one was expecting the sheer amount of clothes that were imbued with a satsuma-esque shade of orange. While the colour can be intimidating for even the most extroverted dresser, designers made it look as effortless as an Easy Peeler: Dries Van Noten paired pumpkin shorts with a tucked-in double-breasted blazer, while Etro’s more brazen take—a tinsel tank and hoody combo—is for the risk takers. For a contemporary take on suiting, Zegna’s pastel pieces shouldn’t be ignored, and should prove to be a go-to for wedding attire next year, but for casual, everyday-wear, Bianca Saunders’ graphic tees are a must.
Recently, the baseball cap has had a comeback, and it appears that the sporting fervor will continue into next summer as well. Fendi, Martine Rose and Saul Nash all had their own takes, varying from Italian leather to acid-wash denim. But there was more outré headwear, too. Kim Jones had his models wear colourful beanies (at an askew angle) while at Kenzo, Nigo showed wide-brim sun hats and printed berets.
The rules of smart-casual dressing have always included a time-tested formula: pair a nice shirt with some more relaxed bottoms and... there you have it. Foolproof, which is why it featured heavily across the spring/summer ’24 shows. But for this season, you should expect shirt designs that are brasher and a lot more eye-catching. Dior, for example, bejewelled a work shirt with a load of blue crystals, while Ami and Dries Van Noten both had heavily sequinned button-downs within their collections. Prada even stuck on 3D florals and some fringing onto theirs. The message is clear: the bolder the better.
This season also saw brands embrace a concept that has been embraced in womenswear for decades: the going out top. Fendi had a halterneck shirt where the arms drape behind, and Loewe presented a metallic blouse that sparkled like a disco ball. And for more retro takes, Saint Laurent had sleeveless pussybows and sheer blouses aplenty.
It’s lucky that the Y2K low-rise trend has barely entered the menswear-sphere, despite having dominated womenswear for seasons now. In fact, brands are rebelling against it. Waistlines were well above the belly button at Loewe and Prada in both trousers and shorts form respectively, while the use of cummerbunds at D&G and Wales Bonner gave the visual illusion of longer legs and shorter torsos.
Hemlines have also started retreating north, despite seasons of the long and slouchy silhouette. All of the longer-length bottoms at Dior were cropped just above the ankle, and at Hermès the hems were turned up to give full view of the models' fisherman sandals. Waistbands and hemlines are moving on up.
Perennial plants have been blooming in menswear for the last few years, and seeing them blooming in this season’s collections isn’t all that unusual. However, they were blown up to larger and slightly darker sizes as opposed to the more twee prints we had previously seen. As mentioned earlier, Prada had 3D lilies stitched onto shirts, but also positioned them alongside prints of slightly gloomier (potentially underwatered) styles. Emporio Armani centred their black-heavy collection around a ginkgo leaf, where it featured as cut-outs on peak lapel blazers and woven onto lattice-like tops. Valentino had singular roses, an enlarged poppy motif and peonies as part of its sartorial garden, and Kenzo had rose heads printed and stitched onto its denim pieces.
While pairing a linen suit with sandals isn’t exactly a revolutionary move, the catwalks this year were particularly... toe-heavy. Expect wedding wardrobes to follow suit, for better or worse. Dries Van Noten paired a waist-hugging black suit with leather flip flops, and the toe-dividing footwear was also seen at Wales Bonner, where it was styled with a structured linen two-piece. If you have an aversion to seeing your tootsies outside of beach locations, follow Hermès’ lead by sticking to a fisherman sandal. Suited and booted? No, it’s about being suited and sandaled.
The sheer volume of suits and tailoring on the spring/summer '24 runways proved that, despite the pandemic's best efforts to the contrary, they are still in demand. Still, it was clear that there was one cut that reigned supreme for the season: the double breasted suit. They opened the show at Givenchy, worn with hands in pockets at Loewe, paired with contrasting trousers at Ami, as part of a three-piece suit at Paul Smith and in a horse-bit check print at Gucci.
Originally published on Esquire UK
It’s kind of baffling to think that Tom Holland has only just turned 27. The British actor got his big break on the West End stage as Billy Elliott in the heady days of 2008, and the well-received film and TV roles that followed were enough to convince Marvel to take a chance on him as their new Spider-Man. That was nine years ago, and he’s been (quite literally) hanging around our screens ever since, in some of the highest-grossing movies of the past decade. Not too shabby, and that’s without mentioning a certain Lip Sync Battle…
It's a formidable rise, and one that’s reflected in the evolution of his ever-impressive wardrobe. Over the past few years, Holland has increasingly found himself at the centre of a fashion multiverse. You might have heard that he’s in a relationship with Euphoria actor Zendaya, and that the couple once shared a stylist: retired fashion behemoth Law Roach. Over the years, Roach became the right-hand man to Z as well as the mastermind behind looks worn by Lewis Hamilton and fellow Spider-Man, Shameik Moore. Roach’s assistant Crystalle Cox has travelled everywhere from Italy to LA alongside the self-styled “image maker” and after a number of years getting to know Holland along the way, it seemed the perfect time for Cox to take on the mantle of overseeing Holland’s outfits.
The actor’s looks, of late, have straddled contemporary menswear and vintage classics: 50s rockabilly meets cool, calm 70s tailoring, with a dash of minimal modernity for good measure. Easy, breezy pieces imbued with personality and a well-fitted silhouette were what both Cox and Holland aligned with in his press run wardrobe for Apple TV’s latest release The Crowded Room, a true crime drama inspired by Daniel Keyes’ 1981 non-fiction novel The Minds of Billy Milligan, in which he plays a man accused of a gruesome crime.
The 10-episode drama takes place during the summer of 1979, and Cox was significantly inspired by the stars and styles of the era for the show’s press run. She tells me that “off-duty Steve McQueen, Robert Redford’s tailored looks, and even John Travolta’s Saturday Night Fever suit” were big points of reference. Disregarding a buttoned-up shirt and tie look for formal engagements, collars were left open and suiting, courtesy of Prada for The Crowded Room premiere’s red carpet, came in a retro-inspired forest green (which, during the fitting at his home, both Cox and Holland noticed the shade mirrored that of his kitchen-come-dressing room).
The actor became the face of Prada after being snapped by David Sims for their SS22 campaign, so approaching the Italian fashion house for Holland’s custom looks was a no-brainer. The process, according to Cox, was seamless: “Tom is incredibly easy to work with and the Prada team were so forthcoming and collaborative. They went to lengths to create a look that felt elevated for Tom, but still in-keeping with his personal style”.
Cox delved into the Prada archive, selecting standout looks from seasons old and new and approached the Prada team with preferences: look 28 and 31 from their AW23 men’s collection. “Tom gravitated towards the slick straight leg of the trousers and I liked the boxy shape of the top,” says Cox. Striking middle ground, Prada added a zip to the top, modifying the runway look into an effortlessly everyday jacket for Holland.
But it’s not just Prada you’ve seen Holland wear. For the Monaco Grand Prix, an AMI shirt – in his favourite emerald shade – was slung over a vest and finished with crisp Zegna trainers. In New York on his birthday, a striped knit from British menswear label King & Tuckfield was combined with Percival and good ol’ G.H.Bass loafers. Refreshingly, his press wardrobe is peppered with affordable and approachable menswear, meaning that fans don’t have to save up for a piece of Raf and Miuccia to nail a superhero’s style.
Which is to say, you don't need to be a movie star to replicate Holland’s look. “Our approach is uncomplicated really: it’s trend lead of course, but also relies on those foolproof classics,” Cox tells me. “The key really is keeping it fresh and elevated with simple but slick pieces, whilst considering comfort and wearability – particularly on those long junket days”.
Speaking of the publicity trail, Holland has temporarily hung up his Spider-Man latex in favour of dancing shoes, confirming he’ll be part of a Fred Astaire biopic that begins filming early next year. If Cox’s styling hasn't convinced you to invest in a perfectly tailored wardrobe this summer, just wait until that press tour rolls around.
Originally published on Esquire UK
Watch snobs, hear us out: Before you turn your nose up at fashion watches for men or any piece that does not bear the prestigious Poinçon de Genève, consider the possibility that jewellery and, yes, even fashion brands have been coming out with head-turning timepieces for ages.
Luxury French fashion house Hermès, for example, made serious inroads into the horological world by putting up its very own booth at Salon International de la Haute Horlogerie for the first time in 2018. French fashion brand, Louis Vuitton, produced a watch that earned the mythical Poinçon de Genève: the Flying Tourbillon, released in 2016.
Times are changing, and these fashion and jewellery brands have shown they take their watch departments very, very seriously. And there’s another thing these brands that combine savoir-faire with technical excellence can do: When it comes to producing true objects of desire, they have nailed it down to an art.
Still not convinced? Here are a few of the companies that have made some of the most beautiful timepieces over the years.
Say the name “Cartier” to any woman, and her eyes will no doubt light up with visions of its legendary jewellery—the Love bracelet, the Juste un Clou bangle, and the jaw-dropping Tutti Frutti and Panthère collections, just to name a few. But you, of course, will recognise that Cartier makes incredible watches, and you would be proud to have one on your wrist. Brand founder Louis-Francois Cartier did, after all, take over the workshop of master watchmaker Adolphe Picard in the 1800s, forming the company’s earliest foundations on innovative clocks and fashionable wristwatches. Thanks to the patronage of royalty that included King Carlos I of Portugal and King Edward VII of Great Britain, its reputation would later be cemented as the “jeweller of kings.”
Our pick: The Cartier Tank Solo
The Cartier Tank was inspired by the tanks used in World War I—as far as origin stories go, it doesn’t really get any cooler or more badass than that. The Solo is a modern addition to the collection, yet retains all the features that make the watch an enduring classic.
With its highly coveted handbags, such as the Kelly and the Birkin, true luxury definitely equates to Hermès. From its early beginnings as a harness and saddle supplier, the French luxury house is now best-known for its quality leather and signature silk scarves apart from branching out into perfumes, jewelry, and even accoutrements for the home. Naturally, the brand first created saddle-stitched cases for pocket watches and leather watch straps before dedicating itself fully to watches for men and women by establishing La Montre Hermès in Bienne, Switzerland in 1978.
Our pick: Cape Cod
Created by Hermès creative director Henri d’Origny in 1991 when he was tasked with making a square watch, the case and dial take cues from the brand’s distinct chaîne d'ancre motif, resulting in a shape that is unmistakably Hermès. Bonus points if you get it with the famous double tour strap, a twice-winding leather wristband designed for the house by Martin Margiela in 1998.
The Italian jewelry house was made famous by Elizabeth Taylor, who turned the Serpenti into an icon when she was photographed wearing it on the set of Cleopatra while filming in Rome. In her personal life, she was known to be a prized Bulgari client, too, care of a tumultuous romance with Richard Burton that resulted in even more gifts of diamonds and jewelry for the Hollywood star. But Bulgari’s watches are worthy of just as much admiration and awe for the way it blends the Italian flair for design with Swiss watchmaking’s technical expertise. The company showed how serious it was about the latter with the establishment in 1980 of Bulgari Haute Horlogerie in Neuchatel, Switzerland. It also acquired the Daniel Roth and Gérald Genta brands in the year 2000, leading it to introduce its own in-house mechanical movements by 2010.
Our pick: Bulgari Bulgari
You could say that this was the watch that started it all, originally intended to be a Christmas gift to the house’s top 100 clients in 1975. Recognisable by the engraved “Bulgari Bulgari” logos surrounding the bezel, it was conceptualised as a tribute to the design of ancient Roman coins.
By now, everyone is familiar with the French fashion giant’s humble beginnings as a travel trunk-maker in 1854. This later expanded into that famous monogram adorning just about everything, including a notorious punching bag designed by Karl Lagerfeld. But just as LV has a knack for turning all of the things it touches into precious objects of desire, so it goes with its watches. It’s a relatively new player, considering it marked its entry into the field with the launch of the Tambour fine watch collection in 2002. But it has certainly worked double-time and caught up since, producing many gorgeous fashion watches for men in between, leading up to the inauguration of La Fabrique du Temps Louis Vuitton in Geneva in 2014.
Our pick: Tambour Damier Cobalt Chronograph
It’s fitting we should throw it back to the Tambour collection, but this new edition comes with a twist: interchangeable straps that allow you to quickly switch up the look, even without specialised tools. The Damier canvas is also ever-so-subtly visible on the dial, but you’ll be able to spot that eye-catching V from across the room.
Now it’s time for the American entry into this list: Tiffany and Co., whose legend will forever be tied to New York, Audrey Hepburn, breakfast, and that instantly recognisable robin’s egg blue. Though of course it is primarily known for jewellery, thanks to its association with dreamy engagement rings and the famous 128-carat Tiffany Yellow Diamond proudly displayed at the flagship store on Fifth Avenue, the company has been selling timepieces since 1847. In fact, one of the flagship’s most recognisable features is the nine-foot Atlas Clock right above the door—also the inspiration for Charles Lewis Tiffany’s coining of the phrase, “New York minute.” Tiffany also created America’s first stopwatch, the Tiffany Timer, in 1868.
Our pick: Tiffany Atlas
An homage to the Atlas Clock that has been standing guard since the 1850s, the Atlas watch uses the same Roman numerals that New Yorkers have used to check the time over the years. In two-tone rose gold and stainless steel, it could prompt you to create a New York minute of your own.
From: Esquire Ph
The towering fountains by American artist Lynda Benglis weren't the only elements from the Loewe spring/summer 2024 menswear show that stood out on the runway. The moment the first model walked out—decked out in a completely crystallised look—it was certain that we were about to witness a show.
Although, if one was expecting nonplussed theatrics, it wasn't exactly that kind of a show. Sure, there were highly conceptual pieces peppered in between the 51-look collection—a number of tops fashioned as blown-up swatches of jacquard fabrics each complete with a dress pin, for example—but creative director Jonathan Anderson's work has been revolving around subtle theatrics of late.
As with the past couple of seasons, the Loewe spring/summer 2024 menswear collection was a focus on materiality set against familiar wardrobe staples. It was particularly a study of challenging perceptions; that the ordinary could be extraordinary by just a slight tweak. Crystal-embellished pieces were a common sight on denim and a slew of accessories from sunglasses to round-toe footwear. They dressed up what would've been classic striped shirts, jumpers, polos, and blazers.
Footwear merged ready-to-wear in a number of looks, blurring the lines between accessory and clothing. On the collection's leather jumpsuits—crafted in quite minimal fashion—hems quite seamlessly joined crepe soles.
The fit: Proportions were skewed in almost every look. Trousers were made to sit incredibly high on the waist—at least slightly above the belly button. The intent was to elongate legs, while at the same time, compressing the torso with tops intentionally tucked in, and in some cases, cropped to accommodate the distorted silhouette.
There was a sense of simplicity being not exactly that simple. Asymmetric cuts on knitwear drove the point of subtle-tweaking to achieve new forms, while still keeping to a relatively easy-to-wear colour palette.
The details: Anderson introduced the Loewe Pebble bucket bag. The name refers to the pebble-shaped Anagram-engraved hardware that acts as the bag strap's length adjuster. Available in suede and leather, the strap allows it to be both carried as a tote as well as comfortably draped across the body.
The collection's series of sunglasses echoed the glittery treatments that were key throughout. But unlike the ready-to-wear and a selection of bags and shoes, these were speckled with crystals instead of being completely drenched in them—perfect for anyone looking to make a relatively quieter statement.
Three exceptional looks: Look 10 may be a bit out there (and may not even be reproduced commercially) but captured multiple elements of the collection perfectly; look 16's glittery shirt and denim combination was easily the best of the lot; and look 47 that displayed Loewe's leather mastery.
The takeaway: It's always about proportions, even when you don't have the body of a model.
View the full Loewe spring/summer 2024 menswear collection in the gallery below.
