Correct me if I'm wrong but it's hard to find truly wearable merchandise these days. Most of them come off as tacky or cringeworthy, with oversized brand logos splashed across the entire piece... I can't describe any further but if that's relatable, lemme introduce a collection from Desa Potato Head that's actually wearable and stylish. And believe it or not, it's from a hotel (I'm still mildly traumatised by those ClubMed shirts that I wore as a kid so my parents could keep track of me, IYKYK.)
Named one of the World's 50 Best Hotels of 2023, Desa Potato Head is more than just a hotel—it's a creative hub where music, art, food, and wellness converge. Set on the shores of Bali's Petitenget Beach, the 225-room hotel has built a global reputation as a lifestyle and hospitality leader that's now branching into sustainable merchandise.
At the helm of this new venture is Lisa Yamai, the former president and creative director of Snow Peak, who will be bringing her expertise in product development, creative direction and branding to Potato Head. As chief product officer, Yamai is working to bring the hotel's vision to life through its product line.
Potato Head invites customers to bring a piece of the Desa experience with them wherever they go, embodying the brand's distinctive way of life. The collection's prints and graphic designs capture their ethos, "Good Times, Do Good", blending elements of music, art, design, and wellness to reflect the hotel's vibrant and multifaceted identity.
The line includes printed shirts, shorts, beachwear, and rainy season gear, all made from recyclable, bio-based, and organic materials. This eco-conscious approach highlights Potato Head's commitment to making a positive impact, without sacrificing style or quality.
Priced from USD52, the collection will be available at Desa Potato Head and online.
When TOMORROW X TOGETHER made their way to Paris for the closing of the Fashion Week Men's Autumn/Winter 2024 show season in January this year, they were given the complete Dior experience. The quintet did the usual touristy things—visiting the Louvre and strolling around the Seine—but also had the opportunity to visit La Galerie Dior, the exhibition space located within the House's iconic 30 Avenue Montaigne address.
Throughout their adventures around Paris, TOMORROW X TOGETHER were dressed completely in Dior Men, ranging from artistic director Kim Jones' more casual streetwear-leaning proposals to impeccable tailoring that stayed true to the haute couture spirit of the House. The latter was on elegant display as the group entered (to a cacophony of screams and camera clicks, no less) the show space of the Dior Men Winter 2024 runway show at Paris' École Militaire in the city's seventh arrondissement.
TOMORROW X TOGETHER's outfits were a calculated move, both by the group as well as the House. Tapping on his own personal experiences and roots—as he often does time and time again at Dior Men—Jones' inspiration for the Dior Men Winter 2024 collection revolved around the perceived reality of a ballet dancer's life versus the actual reality of it. The ballet dancer in question is Soviet-born Rudolf Nureyev, one of the most renowned male ballet dancers in the world and just so happens to be a friend of Jones' uncle, photographer and former ballet dancer Colin Jones.
Before delving deeper into the inspiration behind the Dior Men Winter 2024 collection, it's important to note that the very beginnings of the collection was an exploration of Monsieur Dior's own relationship with ballet. English ballerina Margot Fonteyn is said to have first discovered the house of Dior in 1948 while on a trip to Paris and became a fan of its creations. A friendship with Monsieur Dior naturally developed and Fonteyn often chose to wear Dior on numerous occasions.
This is where an almost unbelievable happenstance begins. Fonteyn's most famous dance partner is none other than Nureyev—effectively linking Monsieur Dior and Jones in the most amazing way.
"When Colin became a photographer, he maintained strong links to the ballet world and, in 1966, Time Life asked him to document a day in the life of Nureyev, regarded by some as the greatest male ballet dancer of his generation. Bonded through their shared history and mutual sense of fun and mischief, the pair went on to forge a great friendship," explains Jones.
The resulting Dior Men Winter 2024 is one of contrasts: the difference between ready-to-wear and couture, between onstage and backstage, and between the life of Nureyev theatrically and in reality. "Here, it is a meeting of the dancer's style with that of the Dior archive," expresses Jones.
There's no doubt that Jones is already more than familiar with crafting from points of contrasts. His oeuvre at Dior Men has always been merging elegant signatures from the archives with contemporary stylings. The Winter 2024 collection takes references from Saint Laurent's time at Dior, translating the late designer's tailored volumes, vents, pleats and necklines. The iconic Bar jacket created by Monsieur Dior is contextualised once again, this time, combined with Jones' very own Oblique tailoring.
While the runway collection is imbued with more extravagant flounces as well as the debut of Dior Men's haute couture—as nods to Nureyev's theatrical career—the dramatic flair as seen on TOMORROW X TOGETHER are more nuanced. '60s- and '70s-inspired tailoring are cut with a rigid straightforwardness, especially in the single-breasted variations, that are then paired with gently flared trousers. Conversely, the collection's more commercial pieces lend a more streetwear air. Take this as the contemporary equivalent of a dancer's off-duty look with slouchy cardigans and hoodies worn over essential white T-shirts and paired with the roomiest of trousers.
It may be a stretch to compare the duality of Nureyev's life with that of TOMORROW X TOGETHER's, given that the former didn't have to contend with the accessibility of social media and in turn, the almost instant, global fame achieved by TOMORROW X TOGETHER. Yet, what remains a similarity is in the versatility and adaptability of both to weave in and out of their lives onstage and off that echo that contrast of two opposing worlds within the Dior Men Winter 2024 collection.
Photography: Brett Lloyd
Animation: Joan Tai
London is a city of manifold facets, and there's a home-grown fashion brand that represents every last one. On occasion, they align—taking the city's fluid, mutable nature as inspiration. The latest example of such a collab is between the respective figureheads of the metropolis' punk and skateboarding subcultures: Vivienne Westwood and Palace.
Following a teaser simultaneously posted by both brands' Instagram accounts, a lookbook shot by Shoichi Aoki (founder of FRUITS magazine) for the incoming drop—what's seemingly the first of a series of collections—has revealed its vibe.
Suitably, it's very Camden x Southbank.
For those who reside outside the M25, that means oversized graphic tees and shirts styled with slightly slouchy utilitarian trousers and conspicuously avant-garde accessories; co-ord denim, co-ord tartan and co-ord graphic sweats; and lots and lots of opportunity for layering. This is England, remember.
“This collection is a true reflection of our shared values and influences,” says Palace co-founder Gareth Skewis, “bringing together two distinct perspectives united by a common ground of independent thought, all with a uniquely London twist.”
“It felt natural for us to join forces, it was a very playful exercise,” adds Vivienne Westwood's creative director, Andreas Kronthaler.
The sharp-eyed will spot that the collection is littered with Palace and Westwood earmarks of past and present. Of course, the Vivienne orb makes several appearances; as does the Palace triangle.
Beyond that, the nods are more obscure. For example, a print named "salon" that harks back to Vivienne Westwood SS92 decorates several pieces, including a Gore-Tex jacket made ready for wandering through bustling markets and strolling beside the Thames this autumn.
Palace x Vivienne Westwood launches in the brands' respective boutiques—including their webstores.
Originally published on Esquire UK
Everything about Liam Gallagher is suddenly hot news. As announced last week, the famously opinionated Mancunian Brit-pop tearaway will heal a famous 15-year rift with his brother Noel and go back on tour with Oasis in 2025. In the UK and around the world, news of an end to the most notorious sibling rivalry since records began is driving a positive meme storm as fans adjust to the new and unfamiliar reality.
Gallagher may have softened a bit since the ’90s, when Oasis was the defining—and defiant—voice of the decade. But one thing he hasn’t softened on is his love for Stone Island, the Italian brand that has been part and parcel of Britain’s urban DNA since the mid-1980s. And as if to underline it, Gallagher is the official frontman for the brand’s latest billboard and media campaign, shot by David Sims. (Art-directed by Ferdinando Verderi, this campaign—which launched in spring of 2024—is an evolution of the iconic creative work made by Nick Griffiths and Simon Foxton in concert with brand director Sabina Rivetti, which was a Stone Island staple from 2008 to 2023.)
Shot against industrial white, Gallagher is dressed in a well-used Stone Island archival anorak, made of cotton canvas coated in thick, matte PVC, that dates to Stone Island’s second or third season. That’s 1983, by the way. Were it not for the obvious signs of wear, Gallagher’s anorak might easily pass for a piece from last winter’s collection. That’s 2023.
Because as a slice of urban mythology, Stone Island has always evolved at its own speed, on its own terms, and with a middle finger perennially cocked at capital “F” fashion. Die-hard fans would argue—and we’re inclined to agree—that it isn’t a fashion brand at all.
Launched in 1982 by streetwear visionary Massimo Osti, Stone Island (along with its progenitor, CP Company, founded in 1971) established a new way of making clothes and an entirely different way of thinking about getting dressed amidst a one-dimensional Italian fashion industry that was all about tailored, patrician cool.
In Europe—and in Italy and the UK particularly—the clothing resonated quickly and deeply on the street. It was expensive and hard to come by, which only added to its cachet. Distinct from mainstream fashion, it was an industrial uniform of sorts, recognisable to those in the know—a hardcore “Stoney” cognoscenti that now, all these years later, ranges from slim 20-year-olds up to paunchy men in their 60s.
Everything for Stone Island is about the product rather than trends. There are two factors that matter: design and textile research. The garments emulate the functionality of military and industrial clothing rather than the predictable suit and tie, and they’re made from highly specialised performance fabrics and finishes dreamed up in-house and unavailable from anyone else.
Since 2020, the 42-year-old brand has been owned by Moncler’s Remo Ruffini, functioning as a separate entity but benefitting from the broader infrastructure and marketing reach of the Moncler group. Creatively, little has changed. Longtime owner Carlo Rivetti, who came on board in the early ’80s, is still chairman of the board, helping preserve the fashion-outsider vibe while cultivating a larger audience, especially in the US. In the campaign, Gallagher is joined by actor Russell Tovey, DJ Peggy Gou and musician Sage Elsesser, suggesting that the brand still has the bona fides to onboard new generations without alienating the diehards.
Read on for Gallagher’s Q&A with the Stoney folks, pulled directly from the new campaign.
Question 21 of 100
What do you collect?
Just souls.
Question 28 of 100
What is your favorite season?
Football season.
Question 29 of 100
What is your favorite time of day?
I get up at four or five in the morning. Then I’m just waiting for something fucking spectacular to happen.
Question 36 of 100
What is your favorite city in the world?
Manchester City. And Manchester the city.
Question 38 of 100
Do you prefer the desert, forest, mountain, or beach?
Any of them as long as there’s a cheeky little bar.
Question 39 of 100
What advice would you give your younger self?
Life’s been great. It’s had its ups and downs. But at the end of the day, you are playing it.
Question 75 of 100
Classic or modern or both?
All this news stuff doesn’t do it for me. It all stems from the past, which is classic.
Question 76 of 100
What do you eat for breakfast?
I have porridge for breakfast, then if I’m feeling really rock ’n’ roll I’ll have some almonds on it and a bit of honey.
Question 80 of 100
What are you grateful for?
Everything. I fucking love being alive. It’s amazing.
Originally published on Esquire UK
Noel Gallagher once claimed you could tell how many drugs Oasis were on by the clothes they wore on stage. The more ridiculous the coats, the greater the cocaine intake.
Liam Gallagher took a different view.
“I’m me in the supermarket,” he said. “The same clothes, the same haircut, the same shades on, when I’m fucking gardening or picking the kids up from school or dropping ’em off. I’m the same, there’s no double-life. I am what I am.”
It wouldn’t be hard to take issue with Gallagher Jnr’s dress sense over the last 30 years—there have been quite a lot of bad clothes, bad haircuts, bad shades and bad gear you’d think twice about wearing to the supermarket, doing the gardening in, let along picking the kids up from school or dropping them off. But it would be a brave soul who’d argue against Liam’s influenced on fashion for the British male.
For a significant swathe of men, the Oasis singer’s mod-adjacent “parka monkey” look has become Route One to effortless cool. Seasons come and seasons go, but there is a corner of an England that will forever be Knebworth, 1996.
And with some judicious editing of three decades worth of Liam’s photographs, there’s plenty of evidence to suggest that—yeah, on his good days, Liam looked pretty cool, actually.
He is what he is.
And you can’t really argue with that.
Originally published on Esquire UK
Michael Keaton knows a thing or two about wearing black. He is Batman, after all. This week at the Venice Film Festival, though, he wasn't repping the Caped Crusader but another creature of the night: the ghost with the most, accomplished "bio-exorcist," and returning big-screen star Betelgeuse. Still, at the photo-call for Beetlejuice Beetlejuice, Keaton hosted a master class on how to pull off one of the trickier stunts in the menswear repertoire and dress up a black shirt.
The secret to Keaton's success? He zagged where others zig. Most of the time, when you see an actor on the red carpet wearing a black shirt, he's opted for a black dress shirt in crisp, somewhat sheeny cotton poplin. Keaton, on the other hand, paired his textured sport coat and drawstring trousers with a black polo shirt. It made all the difference.
Yes, as we have acknowledged in the past, a black dress shirt can occasionally look fantastic. But it can also make you look like you're about to seat a four-top at the local Italian joint that overcharges for shaken martinis and microwaved eggplant parm. Making it work is a pro-level move, is what we're saying.
Dressing up a black polo shirt, though? That's a cinch. You simply... wear it. And pair it with an outfit that lends it more gravitas than, say, something you'd wear to down a couple daytime G&Ts with the boys at the country club. So skip the brass-button blazer and chinos and take your cues from Keaton. Darker colours and a tonal palette create a more elevated vibe, while a healthy infusion of texture is a nice way to lean into the literal feel of a polo, which is often made from nubby cotton piqué. (This is not the time for some stretchy "performance" material) And since you remember you can only get so dressy when a polo shirt is involved, feel free to do as Keaton does and anchor the whole look with classic black sneakers.
You may not be Batman or Betelgeuse, but trust us: You can absolutely be the person who wears a black polo shirt as well as the man who's played them both.
Originally published on Esquire US
We've long been accustomed to Western and European influences dominating pop culture and fashion. However, in recent years, Asian cultures have made profound impacts. They have steadily carved out their own distinctive niches. K-pop and anime have exploded in popularity, showcasing the nuanced aesthetics of traditional and contemporary Asian design. Chinese social media platforms like Douyin (Chinese TikTok) and Little Red Book (Xiao Hong Shu) are also driving this cultural shift, further amplifying Asia's influence. These platforms are shaping global trends and influencing consumer behaviour.
As you explore this list of Asian menswear brands, you'll find yourself immersed in a new world of fashion. There's no mere mimicking of Western styles; instead, it is a pioneering of unique and innovative approaches ripe for exploration and appreciation.
Post Archive Faction (PAF), a South Korean brand founded in 2018, is known for its utilitarian garments made from performance-specific materials. However, labelling it simply as an outdoor brand would not do it justice. PAF offers more than practical clothing, which likely led to it being shortlisted for the LVMH Prize in 2021.
The brand has showcased at Paris Fashion Week and launched a collaboration with Off-White, partnering with the late Virgil Abloh. Its "left, right and centre" approach to collections stands out the most, inspired by South Korea's political system. Each collection features a numbering system, indicating updates to previous models and designs.
Established in 2021 by Kartik Kumar, Kartik Research is an artisanal brand based in New Delhi, India. With a mission to "reintroduce humanness into clothing," it counters fast fashion's overproduction by prioritising craftsmanship and quality. Its collection showcases a human touch, with handcrafted shirting and quilts dyed using plants and herbs. Each piece bears hand-stitched embroidered details, embodying uniqueness and imperfection. Kartik Research strives to revive forgotten Indian craftsmanship, offering a blend of heritage and contemporary aesthetics.
Each collection draws inspiration from a subculture within India's heritage. The latest Autumn/Winter 2024 collection titled "Delhi-Jodhpur", explores the fractured dialogue of India. The collection blends emotional connections to India's past with optimism for its future. Shot at a sandstone mine in Jodhpur, it symbolises this dialogue, juxtaposing the aesthetic utopia of the past with the realities of modern commerce.
After graduating from Central Saint Martins in London, Taiga Takahashi moved to New York to hone his skills. Starting with cloth and textile, he expanded his practice to include sculpture, architecture, installation, and performance. Takahashi's work embodies a philosophy inspired by the ancient Japanese sense of beauty, refined through time and historical relics.
Describing himself as a "sartorial archaeologist," he draws inspiration from his extensive archive of American garments spanning the 18th to 20th centuries. In his designs, he transforms elements from these archives with each garment telling its own unique story.
In his art, cloth serves as a canvas where craft, design, history, and art converge seamlessly. This concept drove him to found his label T.T Gion in New York in 2017, and later established an integrated Kyoto-based art space and Tea Ceremony in December 2021.
Unfortunately, Takahashi passed away unexpectedly in the spring of 2022. His team continues his legacy, designing garments that draw from the past, are made for the present, and will endure into the future.
Doublet, the streetwear brand founded by Masayuki Ino in 2012, won the LVMH Grand Prize in 2018. Its debut Spring/Summer collection was unveiled in 2013, featuring casual daily wear infused with a sense of uniqueness. The novelty and unique details enhance the avant-garde and distinctly Japanese character of its designs.
The brand has showcased its collections at Tokyo Fashion Week and, as of summer 2022, Paris Fashion Week. Doublet has 25 stockists worldwide including Dover Street Market. Despite the fast-growing presence of the brand, it manages to maintain its relatively underground presence.
In 2016, Liu Dan Xia (Dan) and Shan Peng Wong (Shan) founded Danshan. The design duo strive to disregard gender archetypes and instead explore what is beneath the façade of machoism and strength. Danshan delves into the nuanced aspects of contemporary male existence, dissecting the evolution of male body language and investigating methods to imbue a masculine silhouette with femininity, all while respecting the traditional boundaries of menswear.
Growing up during the era of the "Single Child policy" in China, where sons were often favoured, Dan was raised as a boy by her family until the age of 12 due to societal pressures. Her unorthodox upbringing profoundly influences the brand's ethos, manifesting in garments crafted from "softer" fabrics traditionally associated with femininity.
Launched in 2021 by designer Hung La, Lựu Đạn emerged during the George Floyd protests and Stop Asian Hate movement. The brand delves into the intricacies of Asian identity, symbolised by its name, which combines "pomegranate" and "bullet" in Vietnamese to signify a "dangerous man." Embracing rich-coloured palettes, nostalgic prints, and bold silhouettes, Lựu Đạn pays homage to heritage while celebrating new legacies within its community. Celebrities like Billie Eilish, Justin Bieber, K-pop idols such as Felix (Stray Kids) and Heesung (Enhypen) have been spotted wearing Lựu Đạn.
Born and raised in Taiwan, Peng Tai graduated from the London College of Fashion in 2017 and moved to Paris. His eponymous brand actively explores the relationship between nature, humans, and cities, featuring two distinct lines: the main line and the "meditation room." His design philosophy, deeply rooted in the ancient Chinese principles of yin-yang and the five elements, seeks a precise balance.
Incorporating the five elements—earth, wood, metal, fire, and water—Peng Tai aims to achieve harmony through balanced design. The meditation room line leverages the power of Chinese medicine, using fabrics dyed with Chinese herbal medicine to blend traditional wisdom with contemporary fashion.
Established in 2019 by Danish streetwear enthusiast Tobias Billetoft and Korean designer Sangchan Lee, HGBB STUDIO seamlessly blends regional influences, reflecting their shared ideals. The collections are rooted in utilitarian shapes, enhanced with stylistic flourishes in fabric and detail.
HGBB STUDIO aims to transcend the "visual expression" of established brands by addressing rapidly changing trends and catering to a trend-oriented generation. They strive to carve out a unique identity through diverse projects and collaborations with independent partners.
Phyn Studio epitomises contemporary streetwear with its effortlessly cool vibe and a focus on gender fluidity, crafted by designer Phoenix Tan. Recently, the brand partnered with Levi’s for an upcycle denim workshop, transforming old denim into unique accessories. Tan also curates projects like Morph by Phyn, which deconstructs and reconstructs objects into new forms. Additionally, Phyn Studio collaborated on a capsule line for the 2022 Hennessy x NBA partnership.
Josh Tirados, a Filipino-born, Singapore-based designer and multidisciplinary artist, debuted his gender-neutral label last year with the collection 01-Anino. Working with deadstock fabrics, Tirados handcrafts nearly all his garments. His creations are often characterised as romantic workwear with subtle sensuality, influenced by his background in the Japanese dance form Butoh. They showcase neutral earthy tones, meticulous tailoring, and rustic textures. Alongside his clothing line, Tirados also designs his own jewellery and accessories.
Much can be said about style and functionality. They're often two sides of the same coin, yet to be able to exist harmoniously in a way that makes perfect sense requires equal parts technical know-how and a great sense of taste. Montblanc has both.
The brand known for its artistry in crafting writing instruments, has made a name for itself translating the same level of craftsmanship and attention to detail onto timeless style accompaniments. Luxurious bags and leather goods, travel and tech accessories, as well as timepieces are designed to not only last, but be part of one's journey through a life well-lived.
South Korean actor Lee Jin-wook—most recently starring in Netflix's Sweet Home as well as a new cast member of the much-awaited second season of Squid Game—showcases just how well Montblanc crafts pieces that are meant to be classic mainstays. Paired with equally classic menswear silhouettes, you'd be hard-pressed to not be able to find a Montblanc piece you wouldn't be able to integrate into your own style.
Photography: JDZ Chung
Fashion Editor: Kim Yujin
Styling: Lee Hajeong
Grooming: Gu Hyeonmi
Production: TwelveSixteen
Styling Assistant: Zoe Lee
Assistant: Sin Dongju
Art Designer: Kim Daeseon
British designer Clare Waight Keller has logged time at some of the biggest fashion brands in the world. Born in Birmingham, England, she moved to New York to work on lifestyle labels like Ralph Lauren and Calvin Klein and eventually to Paris to oversee artistic direction at luxury houses Chloé and Givenchy. But when she struck up a partnership with Uniqlo in 2023 to create the Uniqlo : C collection for the juggernaut Japanese brand, she pulled inspiration from somewhere closer to home.
“The start of Uniqlo : C really came out of me working on a collection that was really inspired by Europe, and London in particular,” she explains. “I think because I’ve worked for so many different companies, I wanted a place that really expressed me more than anything. The portrayal of fashion that I really love is so much more about style than the idea of always having cutting-edge pieces. It’s about this sense of timelessness mixed with modernity, and London always has had that for me.”
Prior seasons of C have focused on different neighbourhoods around the English capital; for Autumn 2024, Waight Keller looked to the Barbican Center, a brutalist performing-arts centre that opened in 1982. “I’ve always had a fascination with the Barbican,” she says. “I wanted to just bring in the architecture, the brutalist nature, the fact that it is kind of a city within a city—it really sort of expresses something interesting.”
(UNIQLO)
The result is a collection of pieces that blend Waight Keller’s signature softness with sharp, architectural lines and a muted colour palette punctuated by plaids and checks. Each piece, from a stand-collar parka to a flowing pair of trousers, can be easily mixed and matched with pretty much everything else in the lineup. And most exciting for us here at Esquire, the collection for the first time includes a full array of menswear, with prices ranging from USD40 to USD130. (This isn’t to say shoppers shouldn’t consider buying from both sides of the proverbial aisle. In fact, Waight Keller encourages it, especially with oversized outerwear.)
We caught up with Waight Keller to talk about the collection’s highlights, why she decided to dive into menswear this time, and the one category she was particularly pleased to add to the offering this season. Read a few (condensed and edited) highlights from our conversation.
Because I’ve done menswear in the past, it was always in the back of my mind it would be great to do it, and especially with a company such as Uniqlo, which has a strength in menswear. What’s been fascinating to me over the last few seasons is you just see how much of the product crosses over. I often hear from the mainline collection how much product women shop in menswear and vice versa.
It felt natural to me to branch into menswear, but especially after launching the last couple of collections, we got so many requests through my social media, Uniqlo’s social media, through the online portal… “When’s menswear coming? When’s menswear coming?” It felt like there was a real need for it. In a way, actually, I didn’t push the conversation; it just came to us. It felt like a very natural thing to evolve into men’s.
(UNIQLO)
You become a lot more aware of how real people are dressing in real life. I really love that, because that’s a part of what I used to like injecting into my collections anyway. For me, it’s sort of tapping even more into an area, which I really think is the way forward in fashion. The reality is that it’s on the street, it’s what everybody’s wearing today, and though we have to keep pushing things forward constantly, the real excitement for me is the fact that so many people can wear this collection. It’s so accessible.
I suppose my specific reference comes from British roots, but also it has a softness. As a designer, I’ve been known to have a slight, soft hand in the way I develop my design narrative. I think there is that element of it, even with the menswear, especially this season—like this soft, sort of felted knitted jacket. It harks back to my knitwear heritage [as prior artistic director of Pringle of Scotland], but it’s the idea of this tailoring piece but completely like a cardigan. Then the long parka, which is ultra-ultra-lightweight, so it’s almost the same weight as something that you might find in womenswear. It doesn’t have as much heft, but it’s just the same warmth. It’s those touches of bringing in things that are much more from my point of view and differentiate from what Uniqlo U is doing and what JW Anderson does.
(UNIQLO)
I really hope that the menswear expands even further. I really do think what Uniqlo : C does, and all the collaborations at Uniqlo, is bringing that perspective of a fashion-centric capsule to the big brand that Uniqlo is, one that sells the best basics and the really great classic items. It’s a layer of a fashion focus. I like the fact that it’s a drop. It comes in, and it goes out, and these things are just there for a moment in time. I think between all of the designers that work with Uniqlo and what we do, expanding the menswear even further and making a bit more of a fashion statement in menswear is really key. I’m really excited to grow that even further.
This season is the first time we’re launching any kind of footwear. For me, that was a really important part of finishing the look. We have these monochromatic black and white sneakers—natural sole, low cut, almost like a classic military sneaker. I think there’s that sort of essence of it, coming from a timeless origin and then brought into this new language with Uniqlo : C. It finishes the look both on the men’s and the women’s; they’re completely unisex. I’ve worn them as well. Really, really comfortable.
Originally published on Esquire US
What began as a simple e-commerce venture has now expanded into over five stores in Singapore, with branches reaching Japan, the Philippines, and most recently, Thailand. Beyond The Vines makes its debut in the country's capital with the opening of the Beyond The Vines Design House in CentralWorld Bangkok, a milestone that marks a significant step forward in the brand's ongoing evolution and global expansion.
This new 3,500-square-foot space in CentralWorld Bangkok is not only the brand's first Design House but also its largest store to date. Staying true to its signature style, the store features playful geometric shapes, bold colours and clean lines. The Design House presents an elevated concept, utilising innovative materials and interactive elements that embody the brand's forward-thinking ethos.
The space exudes a modern and dynamic atmosphere, blending industrial elements like brushed stainless steel and original concrete walls. It also explores a variety of materials, including EPDM, raw plywood, and glossy tiles for flooring. The brand's signature use of clear polycarbonate twin wall sheets add depth and texture, enhancing the overall design.
This milestone coincides with the launch of Beyond The Vines' latest iteration of its popular Dumpling bag. First introduced in 2019, the Dumpling bag is crafted to perfectly balance style and functionality. The new Denim Dumpling bag maintains the classic silhouette while introducing a new material for the series for the first time since it was launched. The Denim Dumpling bag is available in two distinct finishes—wash and foil—for a truly new take that sets it apart from the rest.
The Beyond The Vines Denim Dumpling bags are now available in all stores and globally online.
For his first menswear collection for Gucci, creative director Sabato De Sarno focused on strengthening house codes seen through a more modern lens. The Autumn/Winter 2024 menswear collection saw accessories making their own statements—distinct in form yet not brashly shouting to be heard. Dressed in the House's now signature Rosso Ancora shade, staples like the Double G belt and the Horsebit loafers-turned-creepers reflect a renewed Gucci aesthetic.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Photography Assistant: Chay Wei Kang
When, last year, customs officers at Los Angeles Airport spotted a number of small packages marked "bracelet’, "decoration" and "wall clock", their suspicions were aroused. And, rightly so. Opening them, they found USD1.3m worth of watches: Panerais, Patek Philippes, Omegas and lots of Rolexes. Or, at least, that’s what they would have cost had they been real. In fact, all 41 of the watches were fakes.
They also represent just a tiny fraction of the global trade in counterfeit watches, sales of which boomed over the pandemic, as the bored or comfortably-off looked online to fulfil their horological cravings. Figures are hard to rely on but upwards of an estimated 40 million fakes are circulated every year, according to the Federation of the Swiss Watch Industry, some 25 per cent more than the Swiss watch industry produces itself.
Those fakes make for a business worth USD3 billion dollars a year—with a record year of 2013 seeing 90,000 fakes confiscated in Dubai alone, the city the Federation identifies as one of the key strategic storage hubs through which fakes are then exported internationally in those many small packages. Watches now account for between 20 and 35 per cent of all sales of counterfeit consumer goods—that’s despite them being illegal in most countries.
Not that this seems to dissuade anyone buying a fake. Or those who manufacture them—mostly in China, Hong Kong, Singapore and, chasing cheaper labour, increasingly Vietnam and Thailand—often on sophisticated factory lines also making legitimate parts for the legitimate watch industry. They’ll take an order for so many “Rolex-style” cases, for example, as they would for any other watch component. Bit by bit these various components come together at various locations and, at some nebulous point involving the application of brand names, a look-a-like becomes a counterfeit and a criminal matter.
“The battle against the counterfeit watch market is very hard to win. It’s really about reducing their visibility as much as possible, about intervening on a diplomatic and political level,” says Yves Bugmann, president of the Federation of the Swiss Watch Industry. “Counterfeiters want to benefit from the value that often world-famous watch brands have created, and people want to access a certain social prestige that counterfeits present. But while some of them we just can’t influence, we find quite a lot do respond to a good argument.”
The problem is, perhaps, that no one of these arguments is a killer. Those countering the counterfeiters speak, for example, of the risk of buyers exposing themselves to malware, or to having their credit card details stolen—this does happen but the sophistication of the online marketplace, and the guarantees that underpin it, make this increasingly unlikely.
They speak too of the poor quality of counterfeit watches: the cheap metals, the likelihood of them lasting not long at all, their inability to fool anyone that they’re the genuine article. But that was then. We’re now in the era of the so-called “super- fake”, even of the ultra-fake. The counterfeiters’ embracing of the latest manufacturing technologies, from CNC machines to 3D printers, means the top-notch counterfeit today is all but indistinguishable from the real thing, at least to the naked eye of a non-expert. Knowledge accumulated over time means the fakers have only got better, and faster, at what they do. That’s concerning when, it’s been argued, the less distinguishable a fake watch becomes from the original, the more consumers become unwilling to pay the premium for the real thing.
Pre-owned watch dealer Watchfinder & Co noted in a 2023 report that five years ago 80 per cent of counterfeit watches sent into its stores were easily identified as fake, with 20 per cent needing closer inspection. Now those figures have been reversed. Of course, this is an aesthetic judgment, a question perhaps of less-than-perfect finishing; the counterfeit may still be well-made and contain a dependable movement, but it will lack the technology—in terms of materials and movement—of the genuine article. Some fakes can only be spotted in being handled—the hand-setting is off, or in daylight the colour isn’t quite right—which is no good to the online buyer.
“The fact is though that the counterfeiters’ emphasis is on the look of the watch because that’s all the guy who buys a counterfeit really cares about,” explains Fabrice Gueroux, author of Real & Fake Watches and an independent authenticator for many high-rolling collectors. “Yes, you can sometimes close your eyes and hold a counterfeit in your hands and there’s something that doesn’t feel right about it, but you need deep knowledge of the genuine watch for that and, of course, that’s what most people don’t have. With enough time even the best fake shows itself, and the best ones have put in the extra time on the paintwork, the fonts, the bracelet. But even I’m surprised by just how good a counterfeit can now be”.
That, he explains, is down to two factors. On the one hand, Gueroux laments, “the quality of some Swiss watches is not as high as is always claimed—so the borderline difference in quality between counterfeit and genuine watch can make spotting those counterfeits the hardest. With some brands [typically those seeking an especially high margin] the quality of the counterfeits is actually better...”
On the other hand, counterfeiters—and he says there are five mega-factories in China that collectively dominate counterfeiting, and which are known to make many millions of fake watches every year—used to have little competition and few, closely protected distribution channels. Now they have lots of competition and the internet has blown the market wide open, necessarily pushing quality up.
“Sure, many people buy a counterfeit because they just want the same look at the best quality for the cheapest price,” says Gueroux, “and they know that the real thing would cost, say, USD20,000. But then that person sells that watch on as ‘genuine’ and prices it accordingly to be convincing. And so on, such that there are so many good counterfeits [passing as genuine] on the market now.”
As for those Swiss makers still at the top of their games, they’re left facing off their counterfeiters, locked in an unending arms race of serial numbers, hallmarks, engravings and holograms—and, eventually, their inevitable copies too. “[And while] there are a lot of technical anti-counterfeiting and traceability measures now being used and developed,” notes Bugmann, “ultimately they’re of no use if the consumer deliberately wants to buy a fake”.
It does make the Swiss industry rightly worried about buyers being duped with, say, a dodgy IWC or Hublot though. And the most well- heeled and well-connected buyer can fall foul: the Brazilian footballer Neymar, rapper Little Baby and musician John Mayer have all bought watches they only later found out were counterfeit, leading to legal action in some cases.
Even brands and expert valuers can be conned: the most expensive Omega ever sold at auction, a supposed 1957 Speedmaster sold for USD3.4 million by Philips to Omega in 2021, turned out to be a so-called “Frankenwatch”, put together using parts from various vintage watches. Embarrassment perhaps prevents other stories of being duped from circulating; or, perhaps, people are just not duped in this way all that often.
Watchfinder & Co suggests that one in five watch buyers have been victims of purchasing a fake watch, the kind of figures, no doubt, that incentivised Rolex to take ownership of the problem by launching its own certified pre-owned programme in 2022. Of course, many other buyers—the small majority, according to one study—know full well that they are buying a fake watch. After all, the vast majority of fakes—Rolexes with quartz movements and the like—are still obviously so.
The counter-counterfeiters even make the appeal to guilt. There’s the rather tired line about morally minor crimes—as they may be perceived—being used to fund major ones, the likes of human or drug trafficking, though this is more a bogeyman argument than one that’s well-evidenced. The Federation of the Swiss Watch Industry speaks of counterfeiting’s negative impact on employment and revenue—to the tune of EUR1.9 billion annually—across the legitimate industry.
But the vast majority of people buying a fake would not buy the real thing were the counterfeit not available—they couldn’t afford it, yet still crave the status power that in part makes the genuine brands so appealing. This is especially the case in rapidly developing economies where peer comparison pressures are more stark. Indeed, the first in-depth studies of why sales of counterfeits are growing—led by Dr Xuemei Bian, professor of marketing at Northumbria University, UK—suggest that the motivation for buying a fake is far more sophisticated, and twisted, than the simple fact that of its relative affordability.
“One clear driver in purchasing [counterfeit watches] is the thrill of the hunt,” she argues. “There’s a fun factor in finding the best counterfeit for the right price. There’s a sense now of people who buy counterfeits belonging to a kind of ‘secret society’, one that’s curious about the original items and the counterfeits alike, especially in relation to their quality. There’s a transfer of the interest they would have had in the original article to the counterfeit. It’s a gateway to enjoying Rolex and other brands”.
In other words, Dr Bian’s research reveals, there is a growing culture of counterfeit buyers who buy them out of admiration for the artistry inherent in the fakery, as one might take a pleasure in just how convincing a fake Renoir is relative to the original. What’s more surprising, Dr Bian adds, is the incorrect assumption that counterfeit watches are only bought by those who can’t afford genuine ones.
“We found that even affluent people who can buy the real article buy counterfeits,” she says. “In part that’s because other people are less likely to question whether their watch is real or fake. They look the part. In part because they just see mixing up their watches—real and fake—as fun, or a bit naughty.”
So what of the ethical question? Don’t people just think buying a counterfeit watch is wrong? The Fondation de la Haute Horlogerie’s anti-counterfeiting campaign of a few years ago was based around the statement “Fake Watches are for Fake People”. But, Dr Bian argues, this highlights a disconnect between what a prestige watchmaker may think of as wrong, and what a consumer might.
Take, for instance, arguably the watch industry’s strongest case against counterfeits: the plain and simple one that it’s an infringement of their intellectual property, the investment the real makers have put into building the brand value that makes counterfeiting their wares worth it in the first place. This is not necessarily regarding design per se—this typically needs to be protected under patent, and when patents expire watch brands are free to copy one another’s designs, and maybe it doesn’t help their cause that they have done so most liberally—so much as of names, logos and other trademarked elements. A replica or ‘homage’ that’s a precise copy all except the branding isn’t a counterfeit— ethically maybe it is, but not usually in law.
“Of course a lot of people know what they’re buying even if the ad calls the counterfeit a ‘replica’ or some such kind of code. But what we’re dealing with here is theft of intellectual property, of the ‘Swiss-made’ label, of the maker’s reputation,” says Bugmann. “This can be frustrating for the industry especially given that, for the EUR300 you might spend on a fake, you could actually buy a good Swiss watch—maybe not one from a top luxury brand but from what’s still a prestige manufacturer.”
An affront to these intellectual property rights really can be detrimental to the top brands’ reputations too. If counterfeiters reduce the branded products’ exclusivity, people who could afford the real things are less inclined to buy them: if there are fake Rolexes everywhere, the appeal of the genuine article is limited, in part lest it too be considered a fake. Research by Moty Amar, professor of marketing at Ono Academic School, suggests that the moral disgust—to overstate it somewhat—felt towards a counterfeit not only negatively affects it use, but also attitudes towards the genuine item that, as it were, looks like the counterfeit.
“A copy of one of our watches—all copied except putting ‘Bell & Ross’ on it—is a counterfeit,” states Bruno Belamich, the brand’s co-founder, in no uncertain terms, “and that is an infringement of intellectual property rights. Counterfeit watches are not authentic products but imitations designed to copy the look and feel of the brand-name watch. It’s the desirability of the brand [that we have created] that’s ‘the cause’ of the desire to buy counterfeits.”
Unfortunately, further psychological studies have suggested that while the perceived risk can influence the rationalisation of why people buy counterfeits, ethical concerns—the likes of "what impact might I have on Cartier’s bottom line?"—don’t typically register at all. Yes, many strategies are used to dodge ethical consideration. Some see buying counterfeits as just making perfect consumer sense— they’re entertaining, cheap, almost disposable; others deny responsibility—"I’m merely the smallest cog in a long chain of events over which I have no influence"; while others argue that the market for counterfeits is beneficial to the brands copied. It’s a way of paying them a back-handed compliment.
Others, remarkably, even see their decision to buy a counterfeit as a form of retaliatory behaviour—a way of hitting back at brands they see as acting in a socially irresponsible way through their ‘unreasonably high’ pricing. But, whichever way you cut it, the idea that buying a counterfeit watch is in some sense wrong barely even figures, especially when it comes to dry legalistic matters of IP.
Besides, that’s only relevant to modern watches anyway. The whole world of fake watches is leaning towards ever greater complexity given the growing interest in vintage watches in recent years. Frankenwatches are said to now account for a fifth of all vintage watches sold in the US. Over the course of a watch’s lifetime it’s possible that the case will have been over-polished or the dial reconditioned; indeed, send a watch back to its maker for servicing and, until this vintage market won recognition, it was standard practice to make the watch look as new again as possible. But is a vintage watch with undisclosed reconditioned parts—perhaps reconditioned long before the current owner took possession—a counterfeit? Is, similarly, a customised watch, or a “modification”, in some sense counterfeit? These questions are still being worked through.
“Put modern hands on a vintage Monaco and it’s not exactly a counterfeit, and yet it will have a very real impact on its value,” stresses Jonathan Scatchard, founder of specialist dealers Vintage Heuer. “But the problem is that the quartz crisis [of the 1970s and 80s] caused all sorts of anomalies when so many Swiss watch companies went bust and parts were distributed and used across the industry. Authentification services have advanced considerably in recent years. But the vintage watch market has also made the question of what is a counterfeit and what isn’t even more of a grey area.”
And, adds Fabrice Gueroux, assuming that we will continue to live in a consumer culture that keeps telling us to define our self-worth through our possessions, it’s only going to get greyer still.
“The manufacturer can’t win this battle,” he states. “You have reality and you have PR. You see the manufacturers spending a lot of money on anti-counterfeiting tech but it’s all BS. They can’t keep up. You know the only way to tackle watch counterfeiters? It’s for manufacturers to push up the quality of their products, and to keep pushing. We’re getting to the point where that’s the only way that the fake watch is going to look fake.”
Originally published in Esquire ME
