Alessandro Sartori is a fan of the Formula One races. He must be—he’s been travelling here for the Singapore Grand Prix since 2018, taking in the race from the top of The Fullerton Hotel while Zegna holds a by-invite-only trunk show and party during race weekend. It has become a sort of Zegna tradition with friends of the brand flown in from around the region to revel in the atmosphere annually. You would see mannequins dressed in Zegna and racks of clothes positioned around the suite but no one is pushing for a sale—at least not on the evening of the finals.

I don’t think Sartori cares much for it too.

It’s not that the artistic director of Zegna isn’t particularly interested in heading a profitable business; he knows that his directional menswear designs sell. And they do. Zegna Group’s preliminary first-half revenues for 2023 reached more than EUR900 million, of which Zegna-branded products (Sartori-designed pieces as well as licensed products) account for EUR541 million, a 27.3 per cent increase from the year before.

Everything that Sartori has been doing point to the year-end financials looking to be just as promising.

The recent trunk show in Singapore was a celebration of Zegna’s traceable Oasi Cashmere collection and its debut collaboration with Los Angeles-based brand The Elder Statesman. “It was very organic. We didn’t think to collaborate. [laughs] I met Greg (Chait of The Elder Statesman) through common friends. I was in love with his collection because I love the homemade-handmade aesthetic. He was actually doing things with a very grandmother quality, you know?” Sartori tells me.

Zegna’s expertise in cashmere led Chait—who was in Italy to source for the material—to Sartori at the recommendation of a mutual friend. A one-and-a-half-hour coffee meeting later, Sartori invited Chait to visit the brand’s headquarters Oasi Zegna, while he was invited to visit The Elder Statesman atelier in Los Angeles. They realised that they both share the same values and decided to talk about collaborating a year after.

The Zegna x The Elder Statesman collection is not one you would expect from Zegna. It’s a burst of colours in contrast to Zegna under Sartori where the use of colours is more keenly calculated and monochromatic in nature. It’s also more tactile in the kind of “grandmother quality” that The Elder Statesman is known for. But what’s truly Zegna is in the level of craftsmanship, the luxury leisurewear aesthetic, and of course, the use of Oasi Cashmere throughout the collection.

Sartori says that the goal was to be very precise in what would end up on the final line-up. “If we thought that the garment was not good for The Elder Statesman or for Zegna, we edited. And we edited beautiful pieces but the aesthetic was too much of this or that, or too strange,” he explains.

The result was a collection with each look striking a balance between Italian savoir-faire and luxury coupled with a laid-back Californian vibe.

The fact that this is only the third big-name collaboration that Zegna has produced makes it an industry outlier. While fashion brands big and small continue to seemingly churn out buzzy collaborations at least once a season, Zegna released its first collaboration—a phenomenal one at that with Fear of God—only in 2020. One might say the brand was simply late to the game, but Sartori never felt the need to keep up.

“I was very surprised Zegna collaborated with Fear of God, because it was the first-ever and I always felt like the brand didn’t need to go that route,” I tell Sartori.

“You like it?”

“I loved it. I tried to buy a piece but it was sold out everywhere.”

According to Sartori, he still receives requests to produce more of that landmark collaboration. When asked if the success of his first collaboration created pressure for him to do more, Sartori was quick to dismiss it. “I could have done plenty but I don’t want to. I want to do what we feel is right for the brand, something that has meaning and connection to the work we do,” he says. “We don’t do collaborations to make money. Of course, we need them to sell because if you don’t, that means you don’t deliver. But they’re made with the purpose of connecting different communities.”

With Zegna x The Elder Statesman, the idea of bridging different communities not only refers to the two different customers of both brands, but also to amplify the possibilities of creation using Zegna’s excellent quality and traceable cashmere. Oasi Cashmere is one of two material sustainability efforts that Zegna is investing heavily on currently—the other is Oasi Lino, traceable linen for the warmer months. The beauty of directly owning a number of Italian fabric mills allows Zegna to control the production of textiles right from the source, including the origins of the raw material itself. “I say this quite often lately, ‘One day, a generation will arise where if a garment isn’t tagged with a digital passport, they won’t buy it’,” Sartori opines. He likens it to the food industry where manufacturing details are extensive and clear on labels.

Before you deem this as merely Zegna jumping on the sustainability bandwagon that every other fashion brand is on, the very foundations of the brand is rooted in caring for the environment and community. It goes back to 1910 with founder Ermenegildo Zegna planting the first tree in the area surrounding his mill. And about 20 years later, he constructed a 26-kilometre road to make Oasi Zegna accessible to the local community and link them to its natural surroundings, providing a public space for leisure and outdoor activities among nature.

“I’m almost surprised that Zegna had never spoken about Oasi Zegna before,” Sartori expresses. “We thought it was a mistake and something we needed to communicate because it’s the honest and authentic vision of the company.”

It’s one of the rare instances in our interview that Sartori agrees that if there’s something the brand needs to be “louder” about, this would be it.

On Sartori’s part, it had already been a guiding principle for his designs. He sees sustainability as more than simply using recycled materials—Zegna continues to do so with its #UseTheExisting fabrications made from recycled sources—or one-off capsule collections. To Sartori, it’s a mindset that goes down to the very make of a garment. He cites the example of the very basics of tailoring: quality construction made to last. From the stitchings of the shoulders to how a buttonhole is made, everything has to be built with the idea that it should last for a very long time.

“If I designed a jacket that after three years doesn’t hold together and breaks during travel, I wouldn’t have done my job. The goal is for you to wear a jacket that after 15 years might have a little hole, but remains completely wearable. That is my dream,” he says.

Sartori calls this “designing for sustainability”, where there needs to be some foresight in constructing a garment in ways that would allow it to last, as well as have the possibility of being recycled. A jacket constructed with a lot of fusing, for instance, wouldn’t be recyclable because disassembling it is near impossible.

While seasonality is still apparent in Zegna’s collections, Sartori doesn’t design specific to each season. The collections have been streamlined such that ideas transcend seasons, but still rooted in a specific aesthetic that he’s crafted to be Zegna’s version of modern tailoring. It’s unabashedly louche and relaxed with foundational elements consisting of knitwear, the overshirt, the chore jacket, the signature Triple Stitch sneakers, voluminous trousers and the like. The look has been consistent since the Autumn/Winter 2021 collection as part of an evolution that was already in the works but accelerated by Covid.

In the consistency lies timelessness. You wouldn’t easily part ways with a Zegna piece from one season; there’s seamless integration between pieces from different seasons. Let’s face it, a Zegna piece is an investment that you’d want to hold on to and wear for as long as possible anyway. And Sartori continues to make that easier.

So yes, Sartori may be a fan of the Formula One races. The speed and the sounds (he’s unfazed by the zooming of cars below us, audible towards the end of our interview) may thrill him. But at his core, he’s not one to condone needless speed, but a still, calm force that pushes ahead with intention.

This article was first seen on ESQUIRE Singapore’s October 2023 Issue. 

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Bold moves continue to shake up the fashion industry in the wake of Paris Fashion Week Spring/Summer 2024 collection showcases. On the runway, Pierpaolo Piccioli took inspiration from the body presenting the Valentino collection in “a natural state, rather than a means of provocation”. At Balenciaga, Demna highlighted the Maison’s signature tailoring exaggerated silhouettes focusing on craft over convoluted theatrics. Off the runway Alexander McQueen appoints Seán McGirr, succeeding Sarah Burton as head of ready-to-wear of the fashion house while Chemena Kamali replaces Gabriela Hearst as Chloe’s new Creative Director. 

Chanel

Virginie Viard paid homage to Gabrielle Chanel in an incredibly modern way. The collection saw a nod to the 1920s with black lamé wide-legged pajama suit and Art Deco-style prints. Described by Virginie as “a kaleidoscope of vitality” the clothes evoked the artistic spirit of the villa Noailles in the south of France. Graphic tweeds and floral embroideries contrasted with laid-back sophisticated silhouettes in a showcase of “nonchalant elegance”.

Balenciaga

Balenciaga’s previous Autumn/Winter 2023 collection saw creative director Demna take a step back from theatrical runways (Spring/Summer 2023’s muddy runway for instance) and a celebrity-laden front row focusing more on the clothes and craftsmanship. For the Spring/Summer 2024 showcase, Demna arguably found a sweet spot between the two. The clothes were refined yet dynamic, nostalgic yet modern. Inspired by real people (or rather people who Demna has come across in his own life) the collection still featured Balenciaga details of exaggerated, structured shoulders, voluminous trenches and bomber jackets alongside body-hugging vinyl and immaculate floral and sequin gowns. We have come to know (and sometimes love) Demna for the severity of his collections and while they may at times be polarising, the talented eye for craftsmanship and taste at the house of Balenciaga cannot go uncredited.

Valentino

Taking inspiration from classical nude sculptures of women, Pierpaolo Piccioli’s Valentino collection was a commentary on feminism and the liberartion of women and the automony they have over their own bodies. “I wanted to use embroidery not as decoration, but as structure that becomes a fabric in itself,” Piccioli said. “I think this is the most exposed collection I’ve done; it shows skin, but in a different way”. Skin-baring looks and bold displays of defiance with faded Canadian tuxedos and exposed dresses were audacious for all the right reasons.

Alexander McQueen

Alexander McQueen’s Spring/Summer 2024 collection was also the last swan song for former creative director Sarah Burton who will be leaving Alexander McQueen after a 26-year-long run. Guests applauded as a teary-eyed Naomi Campbell strutted down in glitering silver dress with a structured corset and fringe skirt. The collection was a celebration of the female body with a multitude of textiles, cross-laced sticthing and of course, Burton’s signature floral motifs. Throughout her reign as creative director of Alexander McQueen, Burton was at times compared to her predecessor and her more “gentle” take to Lee MCQueen’s penchant for danger. Perhaps with that in mind, it was recently annouced that London-based menswear designer Seán McGirr will take over the helm at McQueen.

Chloe

Gabriela Hearst’s final collection for Chloé was a heart-felt one. Her last collection at Paris Fashion Week Spring/Summer 2024 saw what some described as a “full-circle moment”. Pieces included tailored three-piece suits, embellished pieces with gold trimmings on their collars and sequinned belts buckles. A black trench, embroidered with silver, sat atop a flowing white dress (a house signature) and was styled with leather boots while colour arrived in the form of marigold gowns.

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As winter begins to set in, staying warm and looking stylish can start to feel like polar opposites. Depending on what the weather brings, you might be able to step out of the door one day looking chic and stylish, while on other days it can seem like your only option is to bundle up in as many layers as possible.

You can still dress for colder climates without looking like an overdressed snowman. Besides having a good quality umbrella (ideally windproof) and checking the forecast before you head out, there are several ways to stay warm without compromising on style.

Invest in a Cosy Sweater

If the climate is especially frosty where you live, it’s likely that you’ll already have several sweaters on rotation throughout the season. Having a variety of go-with-everything colors (like the cashmere collection from Quince) makes getting dressed much easier, even on those dark winter mornings. If it tends to be warmer where you are, but you still want to lean into sweater-weather season), a lightweight wool such as merino is ideal. 

Layer Up

While the advice in cold weather is to dress in layers, this doesn’t necessarily equate to looking frumpy. The key to layering is to go from the thinnest to thickest fabric: starting with a good base layer (thermals can be especially helpful when it’s really cold), add midweight layers over the top, and finish with your chosen jacket or winter coat on top. Paying attention to hemlines (a skirt that doesn’t peek out of the bottom of your coat) is also key.

If the Hat Fits

Choose a style of hat that suits your face shape. While oval faces can wear pretty much any style, other face types look best in hats with contrasting features to their face shape: for example if you have a longer, narrow face, opt for something with a shallow crown and more width, such as a beret or a wide-brimmed hat. 

Short and Sweet

While leggier types may be able to get away with long length pants in winter, it’s not always feasible. Having soggy hemlines that drag on the floor is never a good look – so come winter, you may want to consider packing away those maxi length skirts in favor of something a little shorter. The added bonus of cropping your pants and skirts to at least ankle level is so that you can show off your winter footwear.

Winterproof Boots 

On the topic of footwear, there will be days that call for something a little more substantial. The key components for the perfect winter boot are a waterproof fabric and a rugged sole: for wintry weather, a pair of rubber or snow boots earns style points when worn with a pair of jeans and fluffy jacket, or if you want something smarter, a classic Chelsea boot looks great with any outfit.

Accessorise

Choose scarves and gloves that complement the rest of your wardrobe. In addition to having a choice of coats, having a variety of winter accessory options is a great way to add little changes to your outfit that make a big difference.

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Avenue George V was Cristóbal Balenciaga’s first home, the House makes a prodigal return to its roots after dropping its couturier title 55 years ago.

To know Balenciaga is to know the French house’s origin of haute couture. While the Maison momentarily shifted away from its fine dressmaking in favour of commercial prêt-à-porter, 2021 saw creative director Demna return the House to its roots. As the House expands its physical couture quarters at the iconic Avenue George V — a space helmed by Cristóbal Balenciaga as office, runway, and home — the question of couture’s longevity is begged: will history repeat itself?

After all, the fashion industry relies exclusively on the pillars of brand growth, sales, and clout. Would there then be space for couture to coexist, much less thrive? The Avenue George V site itself is constructed with intentionality. Modernised finishes are incorporated without dramatically overwriting the House’s heritage.

Clear considerations of past, present, and future are observed, as original stucco arabesques and carpets are patinated to replication, while futurism is indicated by Demna-signature darkness (in the shape of smoked glass cabinetry). The expansion welcomes couture clients and hosts atelier activities for the brand, signalling an upper-level approval for the revived subdivision.

Yet, to question the intentionality behind the couture venture is to understand the industry player that is theatrics. The recent Fall ’23 couture collection was widely discussed — perhaps partly for the enduring discourse of its 2022 scandal — but more so for the show’s closing look: a 3D-printed, chrome armour gown. Like a metaphor for Balenciaga’s reverence for then and now, the gown was reflective in underscoring its sensibilities for new-age craftsmanship that exalts a historic dressmaking past.

Digitally, it was “Another Cool Age Thing”. But in an age where social currency reigns supreme, Balenciaga’s “cool thing” crown earns it just enough capital to cement its spot among Gen Z favourites. Regardless of how Balenciaga’s trompe l’oeil jeans sell, its amped-up couture homecoming signposts a new revenue stream: online fanfare.

This article was first seen on Men’sFolio.com

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Every artist eventually returns to their roots. Pablo Picasso did so for a brief while in 1918, where it was theorised that the effects of World War I influenced a realism moment for the known surrealist artist. Madonna took it against label executives’ warnings and produced a laid-back, country-inspired album at the height of her high-profile career. But what did Picasso and Madonna have in common that transpired the need to return to their roots? A sudden sense of self-discovery.

When a certain result or quality is expected of you, after years of cultivating and refining it to your name, stumbling upon a need to start again is a chance to restart things. It is a fresh take on your abilities to remove the noise surrounding your name and your work and eventually find something new to talk about.

Then there is Balenciaga, specifically its Winter ’23 collection, where creative director Demna did away with the meta, camp-induced click baits he has induced the brand towards for years. Instead, he leaned his attention towards stripping back to design fundamentals — a feature that will trickle down even to his most recent 52^nd Couture collection in July.

Here, the designer took the shoes of the brand’s founder, Cristóbal Balenciaga, and abandoned his own. A change in the air brought to life immediately by using simple white canvas drapes in the collection’s show or the backdrops of the still-in-progress restoration of the ateliers at 10–12 Avenue George V in its campaign. It is undoubtedly a startling contrast, given the inescapable gritty, techno-infused landscapes and attitudes of Demna’s Balenciaga that has been tied to his name.

So what of the beginning for Balenciaga? Simple, it meant full steam ahead on focusing on design — the way Cristóbal Balenciaga had established the brand. Not just meaningful design that ceaselessly draped the body to perfection or produced outfits drawn out of the archives and tweaked to modern interpretation. But to begin again meant new ways of thinking about fashion, just as Balenciaga was known for being a master in deconstructing the perceived. It would explain why Winter ’23 still looks fresh and modern despite its connotations of heritage.

To steer the house back to its beginnings would be to respect Christobal’s Balenciaga intentions. His commitment to deconstruct was palpable, a trope that made him all the more powerful given his awareness that not everyone favours rebellious thinking. That line of thinking would lead Demna to produce new forms of deconstruction.

While producing volume was Cristóbal Balenciaga’s forte — who achieved it by breaking the rules of forms back then — Demna replicated it using air. Zip-up hoodies, motorcycle jackets, tracksuits, and puffer jackets are reconstituted with inflatable shapes sewn into the linings. Its intention is completely Cristóbal Balenciaga, but its execution — produced with everyday aesthetics — has Demna’s inklings shown throughout still. Silk georgette gowns with draping and gathering of extremely asymmetrical cuts also suggest new forms of volumes.

There might be things that Demna’s Balenciaga has yet to accomplish at Balenciaga, but of all the designers who have been given the title of creative director at the house, Demna is the only one who comes as close to Cristóbal Balenciaga’s original intentions. Even jersey — a material unknown to the original Balenciaga house — has been remade through deconstruction in the collection.

Small-fit sweatsuits in jersey or velour, animal print leather trenches, and floral print plissé dresses were all rebuilt to highlight shoulders and provide a prominent, rounded form thanks to armoured patches.

Its Couture line also makes an appearance: floor-length gowns that were painstakingly sequinned, crystal-studded, layered with beaded fringe, knit with sparkling yarns, lace embroidered, and hand-embellished with single drops of silicon draws extreme parallels to the usage of everyday items and Balenciaga’s context of Haute Couture techniques. Bags were blown up in proportions too, but soft in touch — the collection introduces the Monaco Bag and an evolution of the Crush Bag.

Photography @markingdistance

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First impressions matter, particularly in business, which is why the right accessory can speak volumes about your personal style, professionalism, and attention to detail. Browse the top picks for luxury leather briefcases from the high-end leather accessories brand Von Baer, including business briefcases and laptop bags.

Best High-End Leather Briefcase

The No.1 is a strong briefcase for those who want to make a statement. It includes a spacious triple-gusset design, a dedicated laptop sleeve, and just the right amount of internal pockets. It’s made from the highest quality full grain Italian leather, handmade in Florence, Italy.

The detachable shoulder strap is excellent when moving between meetings, and the lockable main compartment helps to keep important tech and documents secure. The bag is ideal for business professionals, lawyers, accountants, and anyone else looking to make a strong statement. It is available in brown, tan, or black leather.

Luxury Laptop Bag

The CITY laptop bag is luxurious and modern, allowing it to fit perfectly into both a professional and casual setting, so you can use it all day, everyday. Made from full grain Italian leather, it will develop leather patina over time, adding to the bag’s unique character. It comes with a detachable shoulder strap, and can be personalized with a laser engraving.

Slim Profile Work Bag

The Exquisite has a really slim profile, which is ideal for those who want a more sleek and understated briefcase. Despite this slim design, it still has a dedicated 14 inch laptop compartment and a large internal section with extra zipped pockets. It comes with a detachable shoulder strap, and can be personalized with a laser engraving.

Modern Leather Laptop Bags

For something a little more contemporary, consider the Essential and Elegant laptop bags shown below:

These bags combine the traditional full-grain leather material with a modern design. They are ideal for those in creative industries, or who don’t want to appear older than their time.

Business Garment Travel Bag

The Grand is ideal if you want to get changed at the office after your commute; or carry your suit with you on a business trip.

 It’s a Duffel-style leather bag with a built-in garment bag, allowing you to zip up your suit inside the bag lining to prevent creases, while still having a carry-on size-compliant bag for the rest of your things.

Why Authentic Italian Full Grain Leather?

There are many reasons to choose authentic Italian full-grain leather:

1. Quality and Durability – Italian leather is well renowned for its high quality and exceptional durability. Full grain leather, in particular, is the top layer of animal skin, and so is incredibly strong and long-lasting.
2. Craftsmanship – Italy has a long-standing traditional of artisan craftsmanship, and they are well respected for their ability to make handmade goods really well.
3. Timeless Style – Italian leather products never go out of style, offering elegance and sophistication that’s a symbol of luxury.
4. Unique Aesthetic – the natural grain of full-grain leather products keep the imperfections of the skin intact, giving each accessory a unique look.
5. Leather Patina – over time full-grain leather develops a wonderful pattern called leather patina, further adding to the unique story of your bag.

How To Tell if Leather Is Real?

The best way to tell if leather is real is to read the authenticity label. All real leather products should be able to certify where the leather came from. For example, Von Baer bags include a certificate of authenticity with the trademark Pelle Conciata al Vegetale in Toscana to show it’s an authentic product made from Tuscan (Italian) Vegetable-Tanned Leather.

What Makes a Good Briefcase?

A good briefcase should have the following characteristics:

1. High Quality Leather – it needs to be made from high quality, full grain leather. This ensures it will look professional for many years, unlike cheaper or imitation leathers.
2. Stylish – the briefcase must be stylish, but also match your personal style, so it looks right with your favorite work outfits.
3. Practical – finally it needs to be able to carry your work essentials without bulging or becoming too difficult to carry. If you carry a laptop, it needs a dedicated laptop compartment.

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Fall has only just begun, but the fashion world is already busy with the new season’s ready-to-wear collections, the big four fashion weeks and of notable interest, yet another luxury collaboration. This time, all eyes are on two Houses of Prada — Miu Miu and Church’s. 

The collaboration introduces a refresh of two of the English heritage shoemaker’s long-standing dress shoe models — the oxford and double monk strap — for Miu Miu’s 2023 Fall/ Winter collection. Miu Miu says the collection is meant to espouse the Italian womenswear House’s “signature play between the traditional and the contemporary”, featuring a deconstructed presentation of archetypically formal womenswear in vibrant hues and shimmering embellishments. Overlaid jewelled panties on exposed stockings, three-dimensionally floral-embroidered cardigans and elegant collared dresses in a polka-dotted sheer finish are of the few sneak peaks the House has offered at its new season on social media. 

The Church’s shoes take up this play on disrupting the traditional, opting for the more recognisable as well as eye-catching brogue finish on both pairs along with the Miu Miu logo, playful in its own design, embossed on the tongue and the sides of the soles which are themselves made of functional non-slip, flexible rubber instead of the traditional heavier leather.

More than Meets The Eye

The campaign appears exciting in the onset, but those in the industry know better about the underlying flows of commercialism which drive fashion partnerships. Collaborations may be touted as a transient design platform to reinvent and reinvigorate, but many often fall short of the mark when serving mostly to combine market audiences under a single campaign or product. This might be the case for Miu Miu and Church’s, both Prada subsidiaries whose mutual success is of vested interest to the Prada group. Rather than an Italian luxury house making the effort of reaching out to a 150 year-old Northampton shoemaking pioneer from one end of the continent to the other, the collaboration could have easily been decided upon in a corporate board meeting on how to sustain better profit margins.

The corporate narrative is especially resonant when you consider Church’s falling popularity in recent times, one part of a larger shift away from traditional men’s tailoring and formal dress. The decline of Church’s has been a slow burn, with news stands talking about how the shoemaker has “lost some of its lustre” as early as 1999 when the Prada made headlines with its USD$170 million acquisition shortly after purchases of Jil Sander and Helmut Lang. The gradual decline had eventually led to the exorbitant brand-wide price hike of around 40 to 50 percent in 2021, packaged as a reframing of Church’s shoes as a true luxury good. 

The storied shoemaker may have lost a fair share of its fans and aficionados in the past two decades since the Prada takeover, but it remains undeniable that Church’s is near synonymous with traditional men’s tailoring and English shoemaking at large. Church’s was famously James Bond’s shoe of choice, worn by Pierce Brosnan throughout the late 1990s as he shot scene after scene of suave car chases and rooftop stunts all in tailored suits and various pairs of Church’s dress shoes.

Corporate agenda aside, it still stands significant then that a luxury womenswear line would choose to spotlight an English heritage brand historically rooted in formal menswear, merging the figures of the contemporary feminine and traditional gentleman in the form of a pair of brogues. 

Shomaking’s Legacy 

It is perhaps only the famed leather shoe that wields the power to transverse such boundaries of identity and style. Parisian house Hermès for all their expertise in luxury leather goods chose to invest in acquiring historic English shoemaker John Lobb’s Paris outfit in the 1970s, operating parallel to the original family-owned shop in London till this day. It stands that shoemaking has always been a trade ubiquitously agreed upon to be best left to its master craftspeople.

Before wars throughout the 19^th and 20^th centuries and the consequent industrialisation age gave rise to mass production, shoes used to always be “bespoke”. Long before “bespoke” meant luxury, it was virtually necessary for the earliest shoemakers which did not yet have international size charts and could only commence crafting shoes after doing individual measurements. One would visit a shoemaker to get shoes made for oneself, rather than visit a store in hopes of finding a pair which could only approach the “best fit”. 

It is then perhaps a collective amnesia which has displaced the fact that shoes have always been made specifically for comfort. While leather dress shoes or boots today get a bad reputation for being brick hard, blister-inducing and difficult to “break in”, leather rose to prominence in the earliest shoes precisely because it was sturdy yet flexible. Its versatility as a material was a rare one which met the demands of a variety of uses like horse riding, military combat and eventually, formal dress.

The Shoes Make The Man

The power of a well-fitted pair of shoes to elevate one’s gait and even esteem was not lost on famed stiletto proponent, Christian Louboutin. Louboutin had always insisted that a good pair of heels with the necessary skills required to walk confidently in them could transform the way a person looked, felt and acted, designing shoes with the goal of making legs look as long as they possibly can. Louboutin’s imprint can be found all over haute couture throughout the 1980s when he designed shoes for the likes of Chanel and Saint Laurent before founding his own studio in 1991, his influence and love of the stiletto reaffirming the forgotten truth of shoemaking — a trade crafting not mere accessories, but pieces central to both dressing and feeling well.

Think of the ubiquitousness of now classic silhouettes like those of Nike’s Air Force 1s or Adidas’ Stan Smiths — these leather-crafted performance shoes were the first of their kind in their respective sports of basketball and tennis, going on to become some of the most worn shoes in contemporary street culture. While performance technology has gone leaps and bounds ahead, these early sporting pioneers were exceptional for their time and featured heavily on the feet of professionals and street-side amateurs alike.

Having the right shoes for the job is perhaps of paramount importance in sporting performance, but it speaks to something more ethereal to feel changed simply by putting on a pair of shoes. It speaks to not only the trust that we place in the shoemakers who made them, but also the sheer gravitas a pair of well-crafted shoes can imbue in a person. As that timeless — if not slightly outdated — adage goes, “the shoes make the man (person)”.

The Verdict

A science for its craft and an art for its spirit, shoemaking’s legacy continues to draw fashion back to its craftspeople for the final say on what makes a good pair of shoes. In that vein, it seems almost necessary for both Miu Miu and Church’s both to seek each other out for such a collaboration. For Miu Miu, it is perhaps a required salute to the art-science of shoemaking in their inclusion of such a timeless figure in their contemporary collections; whereas for Church’s, it is perhaps an opportune time to cast themselves back into fashion’s limelight and remind the industry why they are the masters of their craft — a two way revival.

Miu Miu fans hesitant to try on such formal dress leaning footwear will be relieved to read that the collaboration has opted for a silhouette “rounder and broader in shape than the originals that inspire them”, perhaps in efforts to lower the barrier for entry for buyers new to Church’s, and maybe also lost Church’s aficionados keen to reconsider investing in a pair of Church’s brogues without the growing pains of breaking in the shoes. As quoted from the official collaboration page, it is “the reassurance of the familiar… at once celebrated and subverted — undone — to create something new”.

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The fashion industry has made international headlines from luxury designers making high street collaborative collections to widely-recognised 90s supermodels’ endorsements, and it so happens to have coincided as we reach this year’s Spring/Summer fashion week calendar. As lead up to the coming New York Fashion Week, LUXUO looks back at the impactful movers and shakers that have caused ripples in the fashion industry.

Noteworthy Collaborations And Appointments

Helmut Lang helmed of his eponymous label from 1986 to 2005 and during that tenure Prada acquired a 51 percent stake of the company in 1999 before acquiring it completely in 2004. Between 2001 and 2004 saw the brand sales drop from US $46.3 million dollars in 2001 to US $24.8 million dollars in 2004. Since Lang’s departure in 2005 a slew of creative directors were brought in, each with their own take and sensibility however one concesus remained – the brand still lacked a clear direction. Enter Peter Do. As reported by Hypebeast, Do will showcase the Spring/Summer 2024 collection for the brand later this month during its showcase at New York Fashion Week (NYFW) and this will be Helmut Lang’s first NYFW runway show since 2020. So will Do deliver in ways his redecessors could not? Peter Do’s work combines mysticism and miminalism with a dynamically contemporary take. While time will tell if he can bring the “brand back to its former glory”, his creativity to go beyond predictability to the realm of provocative (from his tailoring to his silhouettes and fabrications) certainly make him a contender.

Just months after it was annouced that Peter Do would take over Helmut Lang as the label’s new creative director in May, Banana Republic annouced last month that Do would come on board to release an exclusive collaborative capsule collection. Set to be released both online and in physical stores this October, the collection will include a reimagined take on “Banana Republic’s quintessential shapes” with pieces ranging from structured outerwear to soft knitwear and utility silk shirting.

It is also interesting to note that Phoebe Philo the designer who took Peter Do under her wing at Céline is also making her return to fashion with her own independent fashion house with her inaugural collection set to be unveiled in later this month.

Read More: Luxury Fashion’s Ever-Changing Creative Directorships

Claire Waight Keller on the other had, has been tapped to launched a collection With UNIQLO. The 30-piece collection is comprised of a range of versatile, relaxed selections including outerwear, tops, skirts dresses and more.  “… I also wanted to bring my sort of British sensibilities—the fact that I’ve always loved a little bit of this boy-meets-girl style, and the idea of attitude dressing,” Waight Keller told Vogue.

In celebration of the 20th anniversary of the Billionaire Boys Club, the Pharrell-founded luxe streetwear label unveiled their highly-anticipated Moncler collaboration. The collection features the combined house logos that are comprised of the “BBC’s astronaut motif inside Moncler’s classic blue logo shape”. The new emblem makes its appearance on both the down-filled puffer jacket and Melton wool varsity jacket.

From one luxury streetwear label to another, Supreme’s creative director Tremaine Emory left the company last week, citing alleged “systematic racism…within the structure of Supreme” in his resignation letter. Emory was Supreme’s first-ever creative director when he first held the role a year and a half ago. His appointment came shortly after “the streetwear label was acquired by VF Corp, which also owns North Face, in a US $2.1 billion dollar deal,” according to a report by The Evening Standard.

The Year of Pivotal Acquisitions 

After coach-owned Tapestry announced that it was acquiring Capri Holdings, the Q4 fiscal year saw earnings fall short of expectations. The acquisition was initially intended to create a new fashion conglomerate to rival that of Kering and LVMH. According to Hypebeast, Tapestry reported sales of US $1.62 billion dollars, down from last year’s US $1.625 billion dollars and even further behind Wall Street’s estimate of US $1.653 billion dollars. 

Read More: Luxury American Company Tapestry to Acquire Capri Holdings in a Bid to Rival European Luxury Conglomerates.

The Return of the 90s Supermodel

The famed foursome comprised of Naomi Campbell, Cindy Crawford, Linda Evangelista and Christy Turlington reunited once again to front the joint British and American September 2023 Vogue covers. The cover also marks Edward Enninful’s last September issue as the the editor-in-chief of British Vogue.

The cover and spread (photographed by Rafael Pavarotti) comes in line with Apple TV+’s much anticipated, new documentary series dubbed “The Super Models” and over three decades after Peter Lindbergh’s January 1990 cover of British Vogue which is perhaps one of the most prolific editorial and fashion magazine covers of all time. The 1990 cover also featured the late Tatjana Patitz who passed away earlier this year.

Alongside the cover of Vogue, 90s supermodels have also made a resurgence by becoming the ambassadors of multiple luxury brands. Naomi Campbell is the face of Boss’ Fall/Winter 2023 Campaign, Cindy Crawford fronts MCM’s Autumn/Winter 2023 campaign while Kate Moss is currently featured on both Diet Coke and Saint Laurent’s Fall 2023 campaigns. Last year also saw Linda Evangelista face the Fendi Baguette Winter 2022 Campaign while Kate Moss posed for Aigner’s Fall/Winter 2022 campaign. Take Kate Moss for instance, to continuously front a luxury campaign year after year is a testament to her staying power and legacy even with a large beverage brand like Coke (regardless of the “luxury” appeal). Nostalgia and sentimentality aside, why this cover is particularly poignant is the shift in the notion of what a “supermodel” is in 2023. Brands are opting to feature influencers with large social media followings in the new era of the “Nepo Baby” with the likes of Hailey Bieber, Kendall Jenner and Kaia Gerber. As models are continuously discovered online it appears as if social media prowess comes first, modelling “talent” comes second. Naomi Campbell, Cindy Crawford, Linda Evangelista, Christy Turlington and Kate Moss could very well be the last generation of the traditional “supermodel”.

The Diet Coke Break Collection By Kate Moss features four limited-editions designs, inspired by Diet Coke’s archives, reimagined and rewritten by Kate Moss.

So why now you may ask? While Gen Z are enamoured wth the Y2K fashion trends of the early 2000s (a “style” that Millennials are all to familiar with having grown up during the era), Gen Xers are seemingly left out as brands shift their aim to the burgeoning market of younger, Gen Z consumers at times alienating the Gen X demographic. That’s where nostalgia comes into play. Staple faces parents of millenials grew up with like Moss or Crawford connect a relevancy in the generation and cater to the nostalgia.

Naomi Campbell for Boss Fall/ Winter 2023. Photo: Hugo Boss

It is clear that September 2023 is only the precipice of change the fashion industry will see moving forward. With Peter Do cementing his legacy in New York as a design powerhouse to the return of Phoebe Philo and Clare Waight Keller alongside supermodels fronting both editorial spreads and fashion brand campaigns and Tapestry’s acquisition of Capri Holdings, this shift is perhaps the culmination of nostalgia, business strategy and brand ingenuity.

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