“From the very beginning, of course there was some pressure,” Harold Israel tells me. We’re sat in a room at the Fondation Simone et Cino Del Duca in Paris, a 19th-century private mansion that became the site of Berluti’s Spring/Summer 2025 presentation this past June. The vice president of marketing and image at Berluti regaled me with details of the challenges that the Maison had to overcome in creating the outfits for Team France for the opening ceremonies to the 2024 Olympic and Paralympic Games.
Israel doesn’t downplay the monumental pressure that the Berluti team felt from the moment that the House was chosen to outfit the French national team. Parent company LVMH’s signing on as premium partner of the 2024 Olympic and Paralympic Games—an announcement that was made in July last year—involves the participation of a number of its maisons through different facets of the Games. Louis Vuitton’s trunk-making expertise sees it crafting Medals Trunks as well as Torches Trunks to house the competitions' medals and relay torches respectively; Chaumet’s design studio took charge of the medal designs; Sephora created activations that will travel along with the Torch Relay; Dior has adopted more and more athletes into its fold as ambassadors; and Berluti will dress 1,500 athletes representing France. Arguably, Berluti’s task seems the heaviest.
On 26 July, 400 members of Team France will officially make their debut to billions of spectators worldwide. Not only will they be representing France, they’ll be representing the host country and by association, French style and elegance that have long been regarded as one of the blueprints of fashion as we know it. And thanks to Berluti, they’ll be doing so in a rather elegant manner.
“The two main points that were really on our minds throughout this project were elegance and comfort,” explains Israel. “The outfits for the French team during the last Olympics were very much sports driven, given that the partner was different. Being the partner for this edition, our expertise isn’t sporty, so we really pushed for a more elegant aesthetic.” He goes on to say that the Maison was given carte blanche in the design, save for the usual guidelines enforced by the International OIympic Committee.
The decision was to go with what Berluti knows best: craftsmanship. Working within the framework of its time-honoured craftsmanship across footwear, leather goods, and tailoring, the tuxedo became the starting point. Israel tells me that a lot of considerations were made with respect to the nature of the event—it’s a ceremony and not a red carpet event after all. At the end of the day, Berluti wanted the athletes to “dress up, feel very beautiful, and be proud and empowered”.
The tuxedo is undoubtedly a powerful piece of item that’s by definition the epitome of elegance in dress. Berluti’s challenge was to tweak the idea of the tuxedo such that it could be manipulated to fit into the grandeur of the ceremony while paying homage to the nature of the Games, and at the same time, incorporate codes of the Maison. “We didn’t want to put 'Berluti' on it—we felt it was a bit cheap and not elegant. We needed to brand in a very subtle way. Berluti is about savoir-faire and we are quite well known for the patina effect that we’re the only one to master, so we decided to apply this on the silk shawl collar of the tuxedo, making it very singular and outstanding,” explains Israel.
I asked if the Scritto—another Berluti signature—was ever considered to be part of the design. Israel quickly reminded me of the subtleties that Berluti wanted to imbue into the final design. The Scritto might have been considered “too much Berluti” for an event that was not about the Maison, but rather, the French athletes. A fair point indeed.
The chosen patina cleverly utilises the three colours of the France national flag and was done in the same handcrafted manner typical of patinas seen in every Berluti creation. It stands out against the midnight blue hue of the tuxedo but not glaringly so. Israel tells me that once the patina and silhouette of the tuxedo was set in stone, the small details fell into place and were carefully designed—a small team emblem stitched right on the bottom-left pocket, a detailed label specially designed for the Games and positioned inside of the tuxedo, and even belts, scarves and pocket squares rendered in the “French flag” patina to tie the entire look together.
True to the Maison’s personalised nature, semblances of it have been adapted into the opening ceremonies outfits. Female athletes have the options of choosing between a pair of trousers or a wrap-around skirt. Together with the coaches, they will also be afforded the option of wearing either the Berluti Shadow trainers (also trimmed with the specially designed patina) with the trousers or the more formal Lorenzo loafers to be paired with skirts. Male athletes will stick to the standard tuxedo and paired with the Shadow trainers—a mash of elegance and comfort that’s the very basis of the project.
Expectedly, one of the greatest challenges was in dressing a very diverse group of individuals, not just in terms of body measurements, but also in very specific ways. “From the beginning, we had a lot of interactions with the athletes because they are the ones who will be wearing the outfits, and some of them have experiences from previous Olympics or Paralympics opening ceremonies,” Israel expounds. “They came in with a lot of feedback and expectations. Once we collected all those notes, we started to understand what we were supposed to do and what not to do.” The Paralympians, for example, had to be given a more bespoke treatment due to their individual needs. “I think, in that sense, this was also what was expected of us, not to do a one-size-fits-all approach,” affirms Israel.
The results speak for themselves. Looking at the outfits up close, I could tell that the make was every bit Berluti—the fine attention to details, the handcrafted tailoring, and the use of fine materials. But that’s me, someone who won’t be wearing it on a boat sailing along the Seine for the opening ceremonies. Israel informs me that reception from the athletes were very much positive.
“One of the first things the athletes told us when we met them is that a competition can be won from the very first day of the Olympics—even before you enter the field. And they always mention a kind of power that the US team has because firstly, they have fabulous athletes and then they’re all dressed up in Ralph Lauren. Or the Italian team with Armani. The French Team didn't feel they had such a charisma before, so they felt it's super important from the beginning to feel empowered with the way they’re dressed. Now, they’re looking forward to 26 July and 28 August to show the world that they are proud and happy to be in Paris, and they will compete by being super elegant and super comfortable,” expresses Israel.
For a small Maison like Berluti, that in itself is a win. Then again, it’s not exactly surprising that Berluti could craft something that feels characteristically French while at the same time exuding the kind of elegance befitting of a significant global event. If anything, it proves that despite its relatively small size compared to the rest of the maisons under LVMH, Berluti is able to take up just about any sartorial challenge and to do so in the way that stays true to the spirit of the Maison.
When buying clothes, do you prioritise longevity, practicality, functionality or style? Perhaps all these aspects can be challenging without resorting to Gorp Core. However, the collab between Dior's haute couture legacy and Stone Island's utilitarianism might tick all your boxes. This collection combines the romance and precision of Parisian haute couture with the skilled, detailed craftsmanship of Northern Italy.
This fusion of clothing traditions showcases the expertise of both brands, epitomising Dior Men's identity. It captures modern skills, highlighting the romance, precision, and detail that define both traditions. Neither is just about looking functional, practical, or handmade. Instead, both brands' styles are respected, followed and, may we add, improved.
Dior and Stone Island unite through their use of high-quality materials, especially silk. Ah, yes silk—this staple in haute couture and military garments alike. This is the material that brings all the sophisticated boys to its yard. Stone Island’s dyeing technique appears throughout the collection, reimagined by the Parisian atelier with garment-dyed embroidery on both outerwear and knitwear.
(ETHAN HART)
Colour takes centre stage in this collection. Stone Island's signature colours and silhouettes are intensified and transformed. Iconic elements like Dior's cannage pattern and the compass are woven into the designs, from quilting to leather constructions. Standing proudly alongside Stone Island’s iconic silk-based compass badge, the Dior logo is enhanced with the cannage motif.
(ETHAN HART)
The shoes in this collection blend functionality with traditional formal shoemaking. Boots and Derbies—a classic Dior element—inspired by hiking shoe design, featuring thick soles, both practical and elegant.
(ETHAN HART)
The bags showcases modern craftsmanship for men. Combining high luxury with advanced usability, these bags are more than just material and finish. With traditional leatherwork, contemporary craftsmanship and high functionality these defines the essence of Dior Men today. Additionally, the bags and clothes can also be enhanced by accessories. This collection reflects countless hours of work, merging traditional techniques with modern demands in a generational project.
The Dior x Stone Island capsule collection would be available in stores on 4 July.
Nothing feels quite as satisfying as purchasing a piece of garment that fits like a glove. It’s a stroke of luck unless your body is conventionally shaped and match the standard dimensions of pattern blocks used by ready-to-wear manufacturers. Even then, these standards can differ between brands, and finding the right fit—for those who care about the subtleties of a well-fitting ensemble—can be challenging.
Ready-to-wear makes up a significant chunk of the clothing market, ranging from fast fashion to luxury assortments offered by major brands. While the designs and the levels of craftsmanship (if any) vary, the ease and relative speed of producing ready-to-wear make it the default choice for the everyman.
The idea of ready-to-wear fashion isn’t new, and its proliferation and mainstream access had arrived by the 20th century. Driven by the Industrial Revolution, ready-to-wear gained traction with the accelerated speed of producing yarns, as well as the invention of pattern-cutting and sewing machinery. Technology would continue to advance, capable of producing new yarns and blends of fabric at quantities commanded by economies of scale. This is why we’re able to rock up to a store, pick a shirt, try it on in the fitting room, and pay for it at the cashier, all in less than 30 minutes, or cart out a piece of garment in a matter of minutes online.
“It was a time of big fashion corporations, globalisation and an impersonal approach to design,” says Giorgio Armani. “I believe it is important to remember where fashion design started—with the desire to make beautiful clothes for people to wear.” With this intention, the Italian maestro decided to embark on a made-to-measure service in 2006 that is rooted in his design language of ease and comfort.
Fluid shapes and relaxed tailoring are Giorgio Armani signatures and its made-to-measure service simplifies the offering into two categories. The “Soho” is more suited to those looking for contemporary and sophisticated silhouettes, while the “Wall Street” range offers classic and traditional silhouettes. Both feature designs from the Giorgio Armani ready-to-wear collections too for daywear and eveningwear.
The new Ngee Ann City boutique is one of a select number of Giorgio Armani shops around the world offering the made-to-measure service. Clients need only turn up for an initial consultation, where a trained staff will take their measurements needed and go through the customisations that can be done—from fabric choice to type of lapel, down to the lining and buttons.
The process is fairly streamlined:, and clients are given an option for a second fitting before the made-to-measure piece is finished. The final garment can either be picked up at the boutique or delivered to the client. And after that first piece has been made, the client’s measurements and unique pattern will be stored in the Giorgio Armani database—no further measurements are needed for subsequent orders, unless the clients’ figure change over time.
While more known for its slate of beautiful patinated leather shoes, Berluti too offers a tailoring service. And just like its bespoke shoe service, its Grand Mesure suits are technically bespoke—a piece cut exactly to the measurement of one’s body with personalisation options that are almost limitless. The brand partners up with Parisian bespoke tailor Arnys (acquired by parent company LVMH in 2012 and folded into Berluti) for its Grand Mesure tailoring.
More than just the garment itself, bespoke services often relates to the client’s lifestyle—how he lives, what he does, where he sees himself wearing the piece, etc. Because having almost a limitless range of options to choose from can be daunting, the tailor is able to guide and advise on fabric choices (over 3,000 in total) and even the tiniest details. If not, a Grand Mesure collection provides initial inspirations on pieces to work with, such as a safari jacket, denim jeans and the emblematic Berluti Forestière jacket.
Three weeks after the initial consultation, the first fitting is scheduled. If it’s a suit that’s being crafted, the unfinished jacket will be presented to determine if the fit is perfect. A completed pair of trousers is presented at this fitting. A month later, a complete bespoke suit will be presented during a second fitting where adjustments to length, width and overall fit can be made promptly. And just like that, about two months after the first consultation, a Berluti Grand Mesure suit is made to one’s unique dimensions.
But of course, made-to-measure and bespoke services aren’t restricted to traditionally tailored garments.
Prada’s made-to-measure service extends to leather outerwear as well as knitwear. For the former, clients are able to choose between six outerwear styles: blazer, caban, coat, bomber, biker and overcoat. A selection of three types of leathers are used with a high level of customisation options. But because leather is a more precious material to work with, the artisan will only start cutting the chosen leather once a canvas toile is tried and fitted on the client with no further changes.
The range is wider for Prada’s made-to-order knitwear. Ten classic Prada knits can be customised using two lightweight gauge knits—superfine wool f.30 and superfine cashmere f.18. Colours can be taken from Prada’s extensive runway archives to create a knit that’s Prada in every way but still unique to one’s whims.
Drawing on the execution of a modern tailoring wardrobe, Zegna’s made-to-measure service consists of more traditional tailoring to the brand’s more relaxed proposals. Refined materials such as Zegna’s 100 per cent traceable Oasi Cashmere come in elegant monochromatic shades with knit tailoring exemplifying the contemporary aesthetic that is signature to the brand. Key outerwear styles such as the overshirt and chore jacket too are part of the mix, done in a choice of fine fabrics that traipse the line of performance and style seamlessly.
The idea of made-to-measure for brands largely involved in ready-to-wear but with an appreciation for traditional tailoring and craft, is to offer a level of service that’s one of the backbones of luxury. Anybody can go to a boutique and buy something off the rack, but not everyone can get the same piece tailored specifically for them.
“I realised that I have clients who really do want a unique product, made specifically for them. Hence, I decided to create a made-to-measure service, where a customer gets all the benefits of a tailor-made garment—unique fit, fabric, lining, buttons, details—as well as the signature Giorgio Armani look,” says Armani.
It’s also about appreciating the time and artistry behind the craft. With made-to-measure, it’s a given that a big portion of creating the garment is done by hand by skilled artisans. And to know that you’ve had a hand in designing your very own Prada knitwear or Zegna jacket? What could be more luxurious than that?
Many things come and go (and come again) in fashion. Yet, the elegance of formal menswear continues to stand the test of time. One may argue that there’s less of a need to be decked out in a full suit these days. But that doesn’t mean that the category has been rendered completely obsolete.
Louis Vuitton’s latest "New Formal" menswear collection reiterates the fusion of timeless elegance with modern tailoring. elevating formal staples with luxury craftsmanship. Following the Spring/Summer 2024 debut, this latest trans-seasonal instalment places a spotlight on slim suiting. Single-breasted jackets are paired with cigarette trousers for a timeless silhouette. It exudes an air of confidence and refined professonalism. Apart from being available in classic shades of black and navy, an option in white makes for the perfect fit for an evening soirée.
The Damier motif that’s been further emphasised by Louis Vuitton men’s creative director Pharrell Williams adorns everything from suiting to footwear. With a wavy motif and pinstripes cut on the bias, it add a subtle, dynamic flair. As if one needs more examples on how this isn’t your father’s idea of tailoring. Footwear styles such as the Sorbonne loafers, Varenne Chelsea boots and Richelieus in rich leather tones complement the tailored options. They prove to be key staples of the “New Formal” collection.
Formality here, however, isn’t just defined by suiting. This new instalment expands the idea of formalwear with tailored outerwear that act as complementary, timeless options. An elegant navy suede leather blouson, a beige peacoat designed with a shearling collar, as well as a parka constructed as a three-in-one piece, all offer the kind of versatility one would expect from a collection meant to be an indispensable investment. Wear them with the extensive coordinated options of the “New Formal” tailoring. Or pair them with other more casual wardrobe staples for an elegant quick-fix.
Iconic bag styles like the Keepall travel bag and the Aerogram Lock It tote suit every professional need. The Georges tote—introduced in the first instalment—makes a return as it becomes an emblem for the collection. Crafted in Millésime grained leather by Domaine des Massifs, the design is sleek, stylish, and hardy such that it makes for a brilliant alternative to an ordinary briefcase.
The suit is dead, long live the suit.
The latest Louis Vuitton "New Formal" collection is now available in Louis Vuitton boutiques and online.
Edited by Asri Jasman
