The air was thick with a mix of sombre resignation and a palpable sense of excitement on 22 June 2024. Right on the outskirts of Paris, beloved Belgian fashion designer Dries Van Noten was about to stage his Spring/Summer 2025 menswear runway show—his final. Thirty-eight years, 150 collections and 129 shows later, Van Noten was prepared to take his final bow.
That the show venue, a stunningly rundown defunct factory, was also the location of his still memorable 50th runway show was not lost on longtime fans of the Antwerp Six member. I asked a PR rep if Van Noten was set to recreate the same Spring/Summer 2005 womenswear show where the runway was essentially a long dinner table. “Not at all. But it will be very special,” he said. But of course; I should’ve known better. Van Noten’s oeuvre has rarely been about looking back. His deft use of colours, prints and textures have been stylistically refreshing collection after collection, and while he dealt with both menswear and womenswear, the former became a blueprint of how men choose to dress.
The physical show invite was simple: “LOVE” printed on a silver foil card. And there was plenty of it going around. Pre-show cocktails revolved around a massive cube onto which Van Noten’s illustrious moments were projected. As the crowd streamed in, I began noticing the wonderful array of Dries Van Noten archives that accompanied them, each interpreted in one’s own sense of style. And while it was a given that editors from around the world had congregated, so too had Van Noten’s contemporaries and fellow designers. At one corner was Diane von Furstenberg chatting with Derek Blasberg, Pierpaolo Piccioli arrived together with Haider Ackermann, Harris Reed’s imposing figure was hard to ignore, Thom Browne was in classic Thom Browne, and of course there were fellow Antwerp Six members Ann Demeulemeester and Walter Van Beirendonck.
Van Noten made his rounds after a while. Together with his partner, Patrick Vangheluwe, he greeted and thanked guests for their attendance, both visibly touched by the quietly deafening awe and respect that permeated through. They say to “never meet your heroes” but I took the opportunity to ask for a photo together.
“I’m a forever fan. Thank you for your brilliance,” I managed to muster after our quick snap.
“Thank you,” he replied.
His brilliance continued on in the next room as pitch black curtains fell to reveal a silver foil runway set atop the concrete floor. The 69-look collection was showcased by male and female models old and new to the brand. From Karen Elson to Cole Mohr to Clément Chabernaud to Sang Woo Kim, it was a true-to-form diverse cast. I spotted Thomas Riguelle—a model I’ve had worked with before and who I’d gush with over Dries Van Noten collections he’d walk for throughout the years—in a multi-layered fit consisting of clashing floral prints. He told me the day after: “I’m still emotional.”
Van Noten is far from the only designer we’ve lost in menswear this year.
Just a few months prior, Piccioli announced his departure from Valentino after 25 years at the Maison. Piccioli joined Valentino in 1999 and eventually became co-creative director together with Maria Grazia Chiuri in 2009. He then took sole creative reins in 2016, continuing the legacy of the Maison in his own dreamy vision of bold menswear proposals founded on Valentino’s couture heritage.
It’s difficult to find a Piccioli for Valentino menswear collection that was nothing short of awe-inspiring. This was after all, the man who cleverly collaborated with Japanese designer Jun Takahashi of Undercover in 2019 to create arresting graphics set against contemporary fusions of tailoring and streetwear that would still fit in with today’s sensibilities. He mashed typically couture fabrications like silk taffeta in rich hues with denim, and made them relevant and wearable for the everyday. Who could also forget that one collection where Piccioli created his own shade of pink and bathed half of the collection with it, juxtaposed with all-black ensembles.
Then, for Valentino’s Autumn/Winter 2024 menswear collection, it seemed like Piccioli finally had an off moment. Showcased in rooms that were painted a specific shade of azure blue, it was as though he attempted to recreate the Valentino Pink PP magic that had us all enthralled two seasons prior, but without so much as a spark. The collection was so pared back that I was left completely unaware that it was all he had to give. Little did we all know then that he would part ways with the Maison a couple of months later.
Unlike Piccioli’s rather shocking departure, the rumour mill was in overdrive for months with regard to Hedi Slimane’s exit from Celine. It became an unescapable, ongoing topic among editors and insiders—the whats, whys and whens of his leaving. It was almost baffling too because Celine was then on the cusp of finally launching its first makeup line, and it even launched a few new fragrances that were very much Slimane-concocted. The Maison was also doing relatively well, buoyed by the presence of its strong army of ambassadors the likes of Lisa and Park Bogum. But where there’s smoke, there’s fire.
The exit was confirmed on 2 October. The announcement was short, listing Slimane’s overarching vision for the Maison for the past seven years that saw it expanding into menswear, couture and haute parfumerie. And then within hours, the announcement of Celine’s new artistic director was released. Michael Rider, who had worked under Phoebe Philo during her time at the Maison, is due to make his return.
Those are just three of the major menswear losses. Other recent exits include Glenn Martens out of Y/Project after 11 years, Phillip Lim from his namesake brand, Peter Hawkings’ quick two-collection turn at Tom Ford, and Peter Do from Helmut Lang. The circumstances that led to each are seemingly unique—Y/Project, for example, is experiencing financial troubles—but a creative loss is a loss nonetheless.
There are reasons why the departure of Van Noten, Piccioli and Slimane are especially upsetting. Each have built such strong legacies that they’ve amassed a fair share of admirers and fans—the ones that would turn up to a fashion show proudly bedecked in their creations, and those who have adopted the designers’ aesthetics into their own. Being an ardent fan of one is essentially a lifestyle.
Slimane’s singular vision at Celine was initially met with division. The stark contrast from his predecessor’s more structural forms and cerebral designs had many feeling that Slimane should have started his own brand instead of turning Celine into his own. Yet, the vision evolved and became a universe of its own, extending into a haute parfumerie collection that spawned new categories for the Maison beyond just fashion. The look was consistent: unapologetically Parisian luxe across fashion, beauty, lifestyle accessories and an assortment of curated artistic partnerships.
Change is constant. And while many are rejoicing over Rider’s appointment at Celine (assuming he is intent on bringing back the Philo era), those mourning Slimane’s aesthetic will either have to start binge purchasing his final designs or resort to resale platforms for their fix.
There is absolutely no pleasing everyone in fashion. Even the most celebrated designers have their fair share of critics, especially with fashion being as subjective as it is. But changing in hopes of appealing to a wider demographic is tricky due to a risk in alienating core customer demographiscs; customers who have grown with the visual language set by Piccioli and Slimane for more than five years now have to change with the maisons or divert their attention to a different brand. It’s an unfortunate conundrum as brands prioritise profits over a consistent identity.
Valentino has already begun its new era with Alessandro Michele injecting his own interpretation of what the Maison is. In many ways, it’s a familiar aesthetic to when he was helming Gucci, and has resulted in a reception similar to how Slimane’s initial collection at Celine was initially viewed. And as Slimane has shown, time is needed for a full universe to be realised.
On 9 December 2024, Dries Van Noten announced its new creative lead. Its Spring/Summer 2025 womenswear collection was the first after Van Noten’s retirement and was designed by the in-house studio team. The spirit of the founder was still there and it felt like it could have very well been designed by Van Noten himself, with all the elements that make Dries Van Noten beloved present. But if change is constant, at the very least, there's hope that newly installed creative director Julian Klausner—he's worked alongside Van Noten since 2018 on the women's collections—will continue the legacy beautifully.
At the end of Van Noten’s final show, he walked to the middle of the silver foil runway and waved to a standing ovation. The cube of projections that was the centrepiece of the pre-show cocktails was uncovered and out came a disco ball, spinning with enough speed to completely envelop the space with a kaleidoscope of lights. It’s so good, it’s so good, it’s so good coos Donna Summer as “I Feel Love” starts to play. At the end of the day, change is inevitable and all we can do is embrace it.
In season five of Friends, there's an episode aptly titled "The One With Joey's Bag". The central narrative was of Joey Tribbiani (played by Matt LeBlanc), having received a bag from Jennifer Aniston's Rachel as part of his desire to fit into a role of "a real clothes horse" that he's auditioning for, falling in love with said bag. But of course, given that it was 1999, his friends found every opportunity to ridicule him for even carrying the bag.
You'd think that the bag was in a ghastly shade of pink or a tiny purse that could barely fit anything (even so, there's absolutely nothing wrong with a man wanting to carry either) but in actual fact, it's reminiscent of a top-handle briefcase that's far from extraordinary in today's context.
How times have changed, and thankfully so.
The best bags this season are big. They're made to fit more than just the essentials, with some having the capability to be versatile enough to transition from work bag to gym bag. And of course, because we're all for longterm investments, they're crafted from sturdy and luxurious materials that'll not only last but age well too. From Loewe's latest Pebble Bucket bag to Bottega Veneta's massive tote, we've curated some of the best bags of the season made for every man that you are.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Grooming: Kenneth Chia using KEVIN.MURPHY and TOM FORD BEAUTY
Photography Assistant: Xie Feng Mao
Styling Assistant: Chua Xin Xuan
Model: Aaron C at MANNEQUIN
Valentino makes a return to the Paris Fashion Week Men's calendar after going back to splitting up its menswear and womenswear shows since the Spring/Summer 2024 season—shown during Milan Fashion Week Men's last year.
For Autumn/Winter 2024, creative director Pierpaolo Piccioli is calling it Valentino Le Ciel. Translated to English, "le ciel" means "sky". Which is interesting given the location of the show: the Monnaie de Paris. It is one of the oldest minting and manufacturing minting institutions in the world with many runway shows and events held there over the years. Could Piccioli attempt to connect the relationship between money and the heavens above? Or would we be seeing a collection completely done in the shade of blue (perhaps with some whites for a visual break) as exemplified in the teasers and the physical invite received?
For any confirmation, stay tuned for the show this Friday. And for an even closer look at the collection, follow @esquiresg on Instagram as we bring you the action live from Paris Fashion Week Men's.
What: Valentino Autumn/Winter 2024 menswear runway show
Where: Paris, France
When: Sunday, 21 January 2024 at 1am Singapore time
We now are familiar with Jacob Elordi as the man who's been seen on the streets with a number of luxury "it" bags. From his pretty impressive Bottega Veneta collection—the Cassette and the Andiamo—to Pharrell's newest iteration of the Louis Vuitton Speedy and even a Chanel bag, Elordi has been making a strong case for bags being essentially genderless.
The man undoubtedly has style and plenty of it.
But aside from his penchant for fresh-off-the-runway bags, Elordi has been slowly expanding his acting repertoire since appearing on Netflix rom-com Kissing Booth (and its two sequels). The actor has a couple of projects releasing in theatres this year with his biggest role to date arguably in Priscilla.
Just how big? Elordi plays the incomparable Elvis Presley—only recently portrayed by Austin Butler.
Priscilla is based on Priscilla Presley's 1985 memoir Elvis and Me. Written, directed and produced by Sofia Coppola, the film focuses on Priscilla and her relationship with Elvis up till his death. Based on the trailer and critics' reviews, it looks to be a contender during next year's film award season.
To help Elordi get into character, Valentino crafted two custom looks for the film. While Elvis may be iconic with his onstage persona and style, the film's more autobiographical perspective meant that a more varied representation of Elvis as a whole was needed. Valentino creative director Pierpaolo Piccioli and Coppola worked together in creating two bespoke looks that truly capture Elvis' insistence on coordinated looks for himself.
The two looks comprise of a three-piece mohair suit in blue as well as a navy camp-collar shirt paired with a pair of black trousers. And inside every piece, a hand-sewn "Valentino for Jacob Elordi" tag highlights the bespoke nature.
Considering that Piccioli is becoming a master at crafting modern menswear while still referencing familiar silhouettes and design tropes, this collaboration exemplifies his capabilities beyond what he's shown on the runway. It's a skill to recreate era-specific fashion while still making them relatable to audiences, and judging by the stills alone, Elordi makes for one stylishly accurate Elvis.
It's easy to assume that a well-recognised brand like Valentino would already part of a fashion conglomerate—it's not. Well, at least not quite. The Italian couture house is owned by Qatari investment fund Mayhoola—backed by the Qatari royal family—since its acquisition in 2012. The group also owns Balmain as well as Italian menswear brand Pal Zileri.
Kering Group is about to change that. The French fashion conglomerate has made an announcement to acquire a 30 per cent shareholding stake of Valentino for EUR1.7 billion. The deal also includes an option for 100 per cent ownership of Valentino that's valid by 2028. While that's still quite a long way to go (should Kering decide to hold out to the very last minute) the potential for the group to exercise that option seems likely.
Valentino reported a revenue of EUR1.42 billion for 2022, a 10 per cent increase from the year before. That may not be much as compared to Kering-owned luxury houses, but it's a significant increase as compared to top-earner Gucci's revenue bump for the same period. Gucci reported an 8 per cent increase in revenue for 2022, while Saint Laurent and Bottega Veneta each experienced double-digit percentage growth.
Fully acquiring Valentino could help Kering tap into its couture-buying clientele. But more than that, a Kering-backed Valentino could signal a different future for the couture house.
Valentino's strength lies in its dreamy couture creations. It's the bedrock of the house that informs its other lines. And while the aspirational messaging is clear and undoubtedly beautiful, it often doesn't translate as efficiently across the more relatively affordable ready-to-wear creations. Kering's involvement could help strengthen Valentino's messaging and ensure a more intentional consistency across every facet of the house's overall universe and (hopefully) without impeding the awe-inspiring creativity of its haute couture.
It's not that Valentino is a stranger to collaborations—remember the one with Birkenstocks and Undercover in 2019?—but rather, it hasn't really capitalised on it much. Not being involved in many collaborations isn't a bad thing either but being part of a group like Kering, a bit more may be in store. Kering-owned brands Gucci and Balenciaga are big on collaborations—they've even partnered up in 2021 for an unprecedented two-prong series—and Valentino could probably do the same.
We're not expecting a random Disney-led collaboration either. Kering doesn't seem to be one to force an unlikely collaboration, finding partnerships that align with a brand's aesthetic such as Balenciaga with Crocs, and Saint Laurent's many artistic-led collaborations outside of fashion.
Kering Group has its own eyewear division that manufactures eyewear for its luxury houses as well as those outside of its umbrella of brands. Valentino is currently in a 10-year agreement with Switzerland-based Akoni Group that's slated to end in July 2032. Being part of Kering could see Valentino's eyewear manufacturing move in-house with a more focused narrative that seeks to strengthen the overall messaging of the house.
This may not be ideal but seeing how Kering—and counterpart LVMH—tends to operate, there could be a potential change in the creative director seat eventually. But hopefully, this ranks low in Kering's priority when it comes to making Valentino a force to be reckoned with.
