Monocle’s spring style forecast

2025-12-10 22:07:03 By Robert Brown

Jacket and gilet by HaaT, T-shirt by Hollywood Ranch Market, trousers by Saman Amel from Mytheresa, glasses by Giorgio Armani, scarf by Canali

Jacket, Shorts and Bag by Dior Men, Rugby Shirt by Rowing Blazers, Socks by Drake’s, Sandals by Birkenstock, Hat by Aimé Leon Dore, Sunglasses by Jacques Marie Mage from Mytheresa

Jacket by LoveFrom, Moncler, Shirt and Trousers by Tod’s, Socksby Rototo, Shoes by JM Weston

Coat, Zip-up Knitwear and Shorts by Miu Miu, Shirt by Hevò, Octo Finissimo Perpetual Calendar Haute Horlogerie Watch by Bvlgari

Jacket, Shirt and Trousers by John Smedley, Socks by Falke, Shoes by Sebago, Glasses by Jacques Marie Mage from Mytheresa, Scarf by One Ear Brand from Clutch Cafe London, Belt by Dunhill

Coat by Bally, Shirt by Glanshirt from Slowear, Trousers by De Bonne Facture, Cap by Drake’s

Jacket by Giorgio Armani, Jumper by Zanone from Slowear, 
Trousers by Goldwin0, Shoes by John Lobb, Bandana by Glarner Tüechli, Bag by Berluti

Coat by Warehouse & Co from Clutch Cafe London, Jacket and Trousers by Incotex from Slowear, Shirt by Hevò, Scarf by Jupe by Jackie

Jacket and Trousers by Casey/Casey, Jumper by Auralee, T-Shirt by Sunspel, Socks by Massimo Dutti, Sandals by Birkenstock, Glasses by Mykita

Jacket by Sacai from Mytheresa, Jacket and Trousers by Kestin, T-Shirt by Hevò, Socks by Rototo from Clutch Cafe London, Trainers by Asahi from Trunk

Bag by Bottega Veneta, Shoes by Dunhill

Gilet by Goldwin0, Hat by Herno Laminar

Jacket and Shorts by Herno Laminar, Gilet by Goldwin0, T-Shirt by Hevò, Lanyards by Cacta x Monocle, Hotaka Peaks’ Spring Drive GMT Watch by Grand Seiko

Stylist: Kyoto Tamoto
Grooming: Hiroshi Matsushita
Prop stylist: Emily Beaman
Props: House of Modern Vintage
Model: Alain Gossuin

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Top three European brands to keep an eye our for this season
Fashion

Top three European brands to keep an eye our for this season

2025-12-10 22:07:03

Best for resort wearKalita, SpainKalita Al Swaidi has been designing elegant resort wear for her eponymous fashion label for nearly 10 years, dividing her time between bustling capitals such as London, her home city, and the island of Bali, where her collections are produced. More recently, Al Swaidi made Ibiza her permanent base, seeking a gentler pace for her professional and personal lives. Now fully settled into island life, she meets monocle on a sunny afternoon near Sant Joan de Labritja on the north of the island. She is strolling barefoot across a dusty path, having just finished picking herbs and vegetables from the nearbyfinca– a small regenerative farm run by one of her friends. This is a place that she returns to often, both to work and to unwind. “It cancels out the noise and reminds me of what matters,” she says.Her recent collections, which are built on a principle of elegance without excess, reflect this sense of clarity: think floor-skimming kaftans, breezy shirts, feather-light jumpsuits made from lightweight silks and natural-dyed cottons. “You wear these clothes,” she adds. “They don’t wear you.” Al Swaidi at homeHarvesting ingredients for dinnerBorn in London to a Texan mother and an Iraqi father, Al Swaidi grew up surrounded by vibrant colours and textures. “Middle Eastern fabrics, sequins, patterns – my parents had a strong sense of style,” she says, recalling how clothes became her language at a young age. “They helped me to feel as though I had arrived. They gave me a presence.”In her early twenties, she quickly gained recognition as a lingerie designer but was still feeling unmoored. During a solo trip to Greece a few years later, however, the idea for her brand began to take shape. She remembers seeing a woman on the beach, barefoot and wrapped in linen, her hair wild from the sea. “She looked incredible without trying – natural, free and not styled in any way,” says Al Swaidi. That image and everything that it represented became the inspiration for her debut collection for Kalita, which was quickly picked up by renowned retailers such as London-based Matches Fashion.It was the same pursuit of freedom that drew Al Swaidi to Ibiza: she had been visiting the island since her twenties and had always been captivated by its layered history, open spirit and unpolished corners. “It was rougher then, less about brands and more about character,” she says, as we sit down for dinner with her friends – a group of entrepreneurs and creatives who have also chosen to decamp here. Much has changed since Ibiza’s countercultural 1970s heyday but artists, musicians and designers are still drawn to this corner of the Mediterranean. “There are tribes,” she says. “The mystics, the makers, the old hippies: people building things slowly and consciously. That’s who I connect with.”Fitting a Kalita summer dressKalita Al Swaidi’s workspace at her friend’s regenerative farmLos EnamoradosAl Swaidi’s days follow a rhythm shaped by nature and intuition. Morning swims in Los Enamorados cove, hikes through pine forests, meals with plenty of vegetables and olive oil – here, summer is a state of being. Ibiza is her muse and her new lifestyle informs her collections. A recent range called Journey pays homage to moonlight swimming and watching shooting stars at the rugged beach of Pou des Lleó. “The island’s energy can be grounding,” she says. “If you’re off course, it puts you back on track.”Al Swaidi recently pared back her label’s production to focus on smaller runs and made-to-measure orders, with pieces still handcrafted in Bali. This summer the collection will be available at a few specialist retailers, including Ibiza’s Agora, a boutique dedicated to slow fashion inside the Six Senses hotel. “I don’t want to grow the business for the sake of it,” says Al Swaidi. “Instead, I want to make things that feel right. Style should be freeing.”kalita.coAl Swaidi’s Ibiza shopping tipsAgora at Six Senses hotelThe place I go to when I need a hit of all that is sustainable and beautiful. Carrer Camí de sa Torre 71, Ibiza 07810 Luna MentaA gem of a shop that’s hidden at the base of the Old Town. Carrer de Manuel Sorà 18, Ibiza 07800El Chiringuito at Salinas beachEverything you hope to find at a good beach shop is here.Camí des Cavallet, 07818, IbizaBest for footwearAkvo, FranceIt’s highly likely that the sandals you wear to nip down to the beach are made from PVC or one of the other synthetic materials plaguing the footwear market. Belgian-Canadian designer Daphne Wattiez wanted to offer an elegant alternative. After years of research, she debuted her sustainable footwear brand, Akvo, just in time for the arrival of sunny days in the northern hemisphere. “I realised that when people were shopping for sandals, they onlyreally had two options: it was either pvc flip-flops or, at the higher end, leather,” says Wattiez, from her showroom-cum-office in Paris’s seventh arrondissement. “We want to revisit very universal, classic styles, marrying artisanal craftsmanship and bio-sourced materials.”The result is a collection of easy-going unisex styles, including flip-flops, pool slides and cross-over sandals made using a trio of co-certified, bio-based parts: a natural latex rubber outer sole, a sugarcane-foam foot bed and hemp-and-Tencel-blend straps.Daphne Wattiez at her Paris showroomInspirations for Akvo’s launch collection“Usually, you would go to your shoemaker with your sketch, asking them to work with whichever material that they think is most suitable,” she says. “In my case, the materials are a big part of the added value, so I had to do [three years] of research and test it all myself.”For instance, the natural fibres that she chose for the straps were selected for both strength and softness, and consist of two-thirds hemp for durability and one-third Tencel (a common silk replacement). Woven in a small atelier in Italy, they are designed to stretch gently over time, moulding to the wearer’s foot, much like denim.After finally settling on the components, Wattiez scoured the Mediterranean to find a manufacturing partner who was willing to experiment with materials other than leather and synthetics. “You need to find a person who is open-minded but also has the know-how,” she says. Her search eventually led her south of Porto, where she discovered an artisan workshop, which now hand-assembles all of her collections.The brand’s Maro modelTerracotta is just one of the sunny shades in the paletteWorking with someone from Europe’s sunnier, southern side was equally important, since the spirit of the Mediterranean is a big influence on the brand, from the sun-soaked colour palettes of terracotta and yellow to the Roman numerals stamped on the foot beds of every pair of Akvo shoes.But to call Akvo a label of eco-friendly beach shoes wouldn’t do Wattiez’s ambitions full justice. She believes that the sandals, with their sturdy rubber soles, are just as suited to urban environments as they are to the beach. Keep an eye out for them: you’ll probably spot just as many handwoven slides on the streets of Athens or Rome as you will on the Croisette.akvoshop.comBest for linen God’s True Cashmere, ItalyDesigner Sat Hari Khalsa and actor Brad Pitt launched God’s True Cashmere in 2019 with a simple mission: to create the perfect shirt using the material. Khalsa journeyed across Italy in search of manufacturers that could craft a shirt made from pure cashmere – she has zero tolerance when it comes to elastane or other synthetics – and hand-carved gemstone snap buttons.With their beautifully draped silhouettes and extra-soft textures intended to mimic the feeling of a “loving embrace”, the results set new standards in the luxury market. Prestigious retailers such as Selfridges in London and Antonia in Milan soon invested in the label and its collections expanded to include cotton-cashmere denim and cosy blankets. Cool linen looks from God’s True CashmereBright stripes for summerThis summer the brand is expanding its scope to include linen, which, says Khalsa, has significant health benefits. She is a firm believer in adopting a holistic approach to life and that includes the fabrics that we put on our skin. “Linen is a natural fabric, it’s sustainable and it’s antibacterial,” she says. “In the army, they used to wrap up wounded soldiers in linen sheets because it would help to heal them. It’s so calming.”The summer-clothing market is flooded with extremely lightweight linen pieces – the kinds that crease after a few minutes of wear. Khalsa was determined to make a far more elevated proposal. “We wanted to give it our own twist and use heavier linen, so that it hangs and drapes in a different way,” she says. She also points out the collection’s vibrant colour palettes, from breezy banana-yellow tunics to the azure stripes on shorts.The brand’s signature setThe collection is produced from start to finish in Italy, where Khalsa, who is based in Los Angeles, spends weeks visiting the brand’s manufacturing partners. “We want to work with artisans who share the same values as us,” she adds. “If you look for them, these peopleare out there and when given the opportunity, they are very excited to create to such a high level. But it takes patience to get to know your partners – and kindness too. We’re a small company so I always have to approach manufacturers and explain that we might not be producing in the thousands but we will create these small, beautiful collections and we’ll take care of every step of the way. The answer is usually a resounding yes.” The close-knit relationships that Khalsa and Pitt have nurtured have helped to bring to life one of the most luxurious linen ranges of the season, with pieces that are guaranteed to last for years to come. We’ll be wearing the range’s blue Amalfi shorts for sundowners on the beach.godstruecashmere.com

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London’s most pointless event is also its best dressed
Fashion

London’s most pointless event is also its best dressed

2025-12-10 22:07:03

“Where are we headed?” asked a moustached man in a Saville Row suit so sharp that it would have made Tom Wolfe feel underdressed. “Haven’t the foggiest,” said a tall gent in a pith helmet. “But someone’s in charge, surely?” No one was. Yet that was precisely the point of this saunter sans purpose. And so the accidental leaders of some 100 dandies ambled off – perhaps by muscle memory – in the direction of Soho.Granted, the intrepid duo didn’t have far to go. The Grand Flaneur Walk, organised byChapmagazineand now in its fifth year, starts at the statue of Beau Brummell in St James’s and has no set destination. Brummell, the quintessential 19th-century dandy who spent a mere five hours getting dressed each day, once said that “to be truly elegant one should not be noticed.” By that logic, this writer was among the event’s most elegantly invisible participants. It’s hard to stand out when the person next to you is wearing a floral-patterned Gucci suit with a straw boater and the serene expression of someone who has never heard of cargo pants. Another attendee was dressed like an 18th-century corsair after a particularly lucrative raid: period buckle shoes, velvet dress breeches to the knees, a waistcoat that looked incomplete without a pair of flintlock pistols and a cravat accessorised by – wait for it – another cravat. Even London made an effort with a day adorned in clement May sunshine.Gustav Temple, editor of Chap, was busy distributing lapel pins and posing for photographs. “It’s getting bigger each year,” said Temple. Indeed, the 100-strong crowd was big and bright enough to have been Instagrammed from orbit. “But the interesting thing is that people are dressing better too, every year they’re raising the bar.” That bar was somewhere between Soul Train and an Edwardian séance. Floating through London like a flotilla on the Thames, the procession of flâneurs had come from far and wide to kick it with their kin. An American woman flew in from Munich just for the stroll, so too a contingent from Italy. “There has to be some way for us to parade,” Temple added. “I just wish we hadn’t gone down Shaftesbury Avenue. But a true dandy accepts.” Soho, however, was a fitting backdrop. The district’s dandified history was close at hand as the procession drifted past Meard Street, once home to Sebastian Horsley, whose unauthorised autobiography, Dandy in the Underworld, shows the lengths some will go to stand out from the crowd (Horsley had himself crucified in 2000). One is reminded that dandyism isn’t just about dressing up. It’s a reaction against tired trends and feed-filling algorithmic conformity, a refusal to be boring or – God forbid – generic. The dandy, once presumed drowned under a high-street tsunami of lycra, puffer jackets and sweatshop-made sneakers, is today sauntering toward a 21st-century comeback, albeit at a suitably meandering pace. From museum exhibitions to last week’s Met Gala theme of black dandyism, the figure’s 21st-century incarnation is reasserting the right to overdress for absolutely everything.Beneath the panama hats and parasols there was something sincere. At one point in the limbo between pub pit stops, someone produced a clutch of scotch eggs and distributed them among the crowd. The cry went round: “One should never saunter on an empty stomach!” Nothing is too high nor too low for dandies, all the world’s their stage – or in this case, their snack. Far from snobbish, the event’s overarching mood was supportive and celebratory – individuals enjoying a rare jaunt together as a tribe. One exquisitely dressed dandy, whom Monocle was assured had never been seen without a waistcoat, was saying his goodbyes when someone entreated him to fix a small frill of leather that was starting to fray from the handle of his vintage cane. “Oh goodness me,” he said. “I’ve let the side down.” He hadn’t. Next year, the tribe will return – lapels pressed and cravats aplenty, sauntering proudly without purpose. Matich is Monocle’s digital sub editor and a contributor.Want more stories like these in your inbox?Sign up to Monocle’s email newsletters to stay on top of news and opinion, plus the latest from the magazine, radio, film and shop.Your EmailSubscribe

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An Athenian outing: ‘Konfekt’, Le Monde Béryl and Mouki Mou celebrate summer
Fashion

An Athenian outing: ‘Konfekt’, Le Monde Béryl and Mouki Mou celebrate summer

2025-12-10 22:07:03

In the past few years, a new generation of creatives has been flocking to Athens to discover its rich heritage – but also hoping to add a more contemporary flavour to its cultural landscape. Every corner of the city now offers the promise of discovery: a newly opened gallery, an elegant boutique, a buzzy bar offering the best of Greek wine. But what does a perfect afternoon in Athens look like? To celebrate the launch ofKonfekt’s new summer issue – a sunny edition that delves deep into travel, Greek craft and slow Mediterranean living – I recently experienced the city’s creative momentum first-hand with Lily Hanbury, co-founder of luxury footwear brand Le Monde Beryl. The classical ideal: Mouki Mou’s rooftop terrace looks up at the Acropolis(Image: Courtesy of Mouki Mou)Raising a glass: Preparing to toastKonfekt’s summer issueAfternoon delight: Issue 19 launch party in full swingAfter a challenging climb up the steep marble steps of the Panathenaic stadium (Konfekt’s editor, Sophie Grove, and I were the only ones brave enough to ascend the staircase in the Athenian heat), we stopped for ice-coldfreddoespressos at the Foyer Espresso Bar before moving onto the Cycladic Museum, where painter Marlene Dumas’s works were on display next to the permanent collection. The museum’s art historian, Deligina Prifti, explained that this was one of the first archaeological museums to develop such an ambitious contemporary-art programme; Louise Bourgeois and Ai Wei Wei are among those who have exhibited their works here over the years. Dumas was instantly drawn to the simple forms of the Cycladic figurines, as well as their lack of embellishment. By placing them next to her works, she sought to explore themes such as age, sexuality, the passage of time and the complexity of human relationships. “She believes in being part of a collective,” said Prifti.A short walk away, the modernist work of Ron Nagle, one of Hanbury’s earliest sources of inspiration, was on display at the Melas Martinos Gallery. It felt as though there was a citywide conversation between the contemporary and the archaeological, the local and the international. This made Athens fertile ground for design inspiration.Inside and out: Even Athenian rooftop parties spill indoors sometimes“The colours and the stories behind these works become a huge reference point for each collection, season after season,” Hanbury told me between our gallery visits. “But it’s also this idea of living a life of travelling and learning as much as possible. We create shoes that accompany you on that journey.”A pair of Le Monde Beryl’s buttery-soft leather shoes are currently on display at Mouki Mou Athens, another recent addition to the city’s creative scene. Thanks to Mouki Mou’s founder Maria Lemos, a wider array of independent fashion labels, including Niccolo Pasqualetti and Los Angeles-based Dosa, is now more readily available in Greece.Aside from a beautifully curated shop floor, Mouki Mou also offers one of the city’s best roof terraces, with panoramic views of the Acropolis. This was where we finished our day, with golden-hour drinks from the nearby Wine Is Fine bar and restaurant.As the sun set over Athens, we toasted the new issue ofKonfektand celebrated with readers and friends: hoteliers shared news of their next projects; fashion designers spoke of plans to host summer pop-ups (make sure to catch Harilaos Kourtinos’s artisanal designs at The Rooster in Antiparos); and foodies shared tips (Goldie restaurant is the new name to know).All smiles: Flicking throughKonfekt’s summer issuePerfect pairing: Sundowners and a summer read as twilight takes over the Greek capitalIt’s time for Greece to be celebrated for all that it has to offer but, as the country steps further into the international spotlight, it will be up to this generation of creatives to sustain the momentum and manage the pace of growth.See the Le Monde Beryl summer collection and read more about Athens in thenew summer issue of ‘Konfekt’.To read Monocle’s full City Guide to Athens, click here.

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Interview: Junyin Gibson, brand and creative manager at Drake’s
Fashion

Interview: Junyin Gibson, brand and creative manager at Drake’s

2025-12-10 22:07:03

Junyin Gibson is the brand and creative manager for UK menswear outfitters Drake’s. Unsurprisingly, he’s a great dresser. “I like to think of my style as practical, considered and reflective of my life; there’s a blend of Hong Kong, my birthplace, and British styles,” says Gibson, who is now based in London.Gibson oversees collaborations for Drake’s, which include collections with celebrated London restaurant St John and Maine-based boat-shoe specialist Sebago, as well as the making of its lookbooks. Over a drink at Leo’s, his favourite east London spot, Gibson tells us about his sartorial choices and sources of inspiration.When did you begin to develop an understanding of style?When I moved to the UK [from Hong Kong] aged 17. Being able to don wax jackets and caps was an exciting change of scene. I became passionate about layering these styles and playing with more colours and textures than before. While I love traditional Eastern styles, Hong Kong is a financial city – and a hot one too – so there’s a limit to which fabrics you can wear.Who influences what you wear?First, Drake’s creative director, Michael Hill. The consistency of his styling is what inspired me to adopt more of a uniform and focus on timeless styles rather than reacting to what others wear. When we travel together, he makes sure that we put time aside for exploring – some of my best finds have come from scouring Koenji’s vintage markets in Tokyo. Elsewhere, films such asIn the Mood for Loveand actors including Tony Leung and Toshiro Mifune have all had an effect on me from early on.Are there items that you consider to be must-haves?JM Weston’s 180 loafer is my staple shoe. I never wear lace-up shoes like Oxfords, only loafers. I like the way a good pair of trousers falls above them and they truly make an outfit. You’re always on the move. How do you dress while travelling? You have to be logical and prioritise utility but that’s what some of the best design does. In that regard, a utility vest is perfect for the airport: it’s light, everything you need is on-hand and you can layer it over anything.How do you weave Eastern styles into your wardrobe while representing such a British brand?Drake’s travels all over the world and takes inspiration from Japan, the US and beyond. For my own wardrobe, I love to pick up Lee Kung Man’s Henley tees – even Bruce Lee wore them.Should we all adopt a uniform of sorts?It makes mornings easier. The majority of my wardrobe works together because I’m always collecting timeless styles and similar silhouettes. When you have a good base of neutrals that work well, you can then throw in pops of colour. I always recommend a jumper or scarf wrapped over the neck.

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Best boutiques in the world: Neighbour, Vancouver
Fashion

Best boutiques in the world: Neighbour, Vancouver

2025-12-10 22:07:03

Saager Dilawri, founder of multibrand boutique Neighbour, first set foot in the Gastown district of Vancouver in 2011. He sought to create a sartorial hub for men who were interested in craftsmanship and design – only without the pretention. “Going into shops in New York, they felt a little too cool for school,” he tells Monocle. “I wanted an approachable shop, where someone could come in and talk to me about clothes and I could learn from them, too.” At the time, there were only a handful of menswear boutiques in the area, focusing on streetwear, premium luxury or Americana. “I’ve always been more into Scandinavian design and minimalism, and I could offer [customers] a different option,” he adds. He has since introduced numerous brands that had never previously been on Canadian shores, including Swedish stalwart Our Legacy. His obsession with high-quality fabrics also led him to Japan, where he forged partnerships with labels such as Auralee and Comoli. “Everything fits so well with Comoli. It’s all black and navy but still super interesting,” he says. “It always comes down to the fabric in the end.” Dilawri also highly rates brands closer to home, such as San Francisco-based label Evan Kinori. “I’m lways in awe of everything Evan does – whether it’s his dyeing process, learning about the weavers or where he’s sourcing the materials,” he adds. For a business that operates very much locally (Dilawri and his wife, Karyna Schultz, have gone on to open three more shops within a 100-metre radius of each other), it has a decidedly global perspective – a reflection of the diverse makeup of Vancouver and Dilawri’s own scope of influence. His e-commerce shop, often featuring atmospheric imagery from Tokyo’syokochoalleys, has become a point of reference for menswear veterans around the world. “I’ve always been interested in photography and, when we started, most brands didn’t have an online shop,” he says. “That gave us an opportunity.”There’s a renewed appreciation for the neighbourhood shop, for intimate retail experiences and brands that prioritise craft over scale. As far as Dilawri is concerned, this marriage of storytelling and artisanal goods is what keeps customers returning to Neighbour, and what drives the future of the broader menswear industry. “People want something just a little bit different but not out there,” he says. “They want to know why they are investing $500 (€437) in a shirt. They want to know the story behind the brand and the makers. That’s not going away.” shopneighbour.comWant more stories like these in your inbox?Sign up to Monocle’s email newsletters to stay on top of news and opinion, plus the latest from the magazine, radio, film and shop.Your EmailSubscribe

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In a debut free of theatrics but rich in poise, Celine’s new creative head delivers a fresh vision for luxury fashion
Fashion

In a debut free of theatrics but rich in poise, Celine’s new creative head delivers a fresh vision for luxury fashion

2025-12-10 22:07:03

To mark the start of Haut Couture Week in Paris, Celine’s newly appointed creative director, Michael Rider, unveiled his inaugural collection for the house – a spring/summer 2026 line-up for men and women. His return has injected a much-needed shot of confidence into an industry fatigued by algorithm-pleasing presentations, offering a compelling vision for modern-day dressing. Rider’s first collection is brimming with new ideas but still includes familiar, practical clothing that customers will want to snap up.  This was a world-class case study in the art of the rebrand. Rider didn’t try to erase the past, alter the logo or impose radical changes from day one. Instead, he paid homage to the house’s heritage (founder Céline Vipiana’s flair for “couture sportswear” was reflected in his designs and so were signature styles of his predecessors Phoebe Philo and Hedi Slimane) and focused on delivering great-looking clothing. They’re pieces that become part of the wearer’s life, that speak of the past, the present, of fantasy and of life itself, to use his own words. Indeed, this was a collection that sparked a desire to shop. Perfect dress coats, sharp tailoring and an array of playful accessories were on display as the cast made its way through Vivienne, a 17th-century hôtel particulier and Celine’s current HQ. “Celine stands for quality, timelessness and style – ideals that are difficult to grasp and even harder to hold on to,” says Rider. “We worked on translating them into both a way of dressing and an attitude.” This inherently modern mindset extended into the execution of the show itself – an intimate affair, free of gimmicks and pretence. Fresh flowers and a paper invite wrapped in a discreet, black-and-white silk scarf were delivered to guests before the presentation. At the runway, the crowd was there to see rather than to be seen. Even the rain showers didn’t dampen the mood – guests kept smiling under chic Celine-branded umbrellas. For the luxury-fashion industry, the first half of the year was mired with speculation – amusing at first, exhausting soon after – about musical chairs inside C-suites and design studios of brands in Milan and Paris. Now, with a new set of creative directors installed in these sought-after positions, attention has been redirected towards their high-stakes runway debuts. In the coming months, about a dozen houses will present fresh visions under renewed creative leadership. Brand owners and CEOs will be sitting on the edge of their front-row seats, waiting to see whether they made the right hiring choices and whether their balance sheets stand a chance at recovery. In the case of LVMH-owned Celine, CEO Séverine Merle and group CEO Bernard Arnault no longer have anything to worry about. American-born Rider isn’t new to the French house: he spent a decade working under Phoebe Philo before moving to Polo Ralph Lauren, where he helped to reignite excitement for the label. In this new position, which he described as a homecoming and a “complete joy”, Rider has been thrust further into the spotlight. He finally has a chance to get the credit that he deserves and to make a bigger impact on the industry at large. A star is born. 

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Interview: Philippe Delhotal, the creative director of Hermès Horloger
Fashion

Interview: Philippe Delhotal, the creative director of Hermès Horloger

2025-12-10 22:07:03

When Philippe Delhotal joined Hermès as its creative director of watches in 2008, he was tasked with establishing the French luxury house in horology – a highly competitive field dominated by Swiss specialists with centuries of watchmaking experience. Earning respect in the sector isn’t easy, even for a powerful luxury player such as Hermès. But Delhotal, who usually wears a T-shirt, loosely tailored trousers and brightly hued Hermès silk scarves (a far cry from the formal suiting that seems to be the watch trade’s uniform), approached the task with an open mind and a sense of humour.Philippe DelhotalRather than adhering to the industry’s playbook, Delhotal began rewriting the rules and asking questions about the concept of time. “If you can’t differentiate yourself, you can’t exist,” he says. So he introduced Le temps suspendu (French for “suspended time”), an award-winning complication that allows the watch to be stopped with the single press of a pusher.The innovative idea brought the house the acclaim that it had sought among the watchmaking community. It also created new opportunities to tell stories about the ultimate luxury that is time, riffing on themes such as the importance of having moments to yourself and being able to enjoy the present. This year the house has reintroduced its Le temps suspendu complication in refreshed versions, featuring an openworked dial and available in deep-blue, red or brown colourways.The summer months are a time of sunny getaways and seeking a slower pace of life, and Delhotal seems to capture the spirit of the season with his optimism and relaxed demeanour. He has often turned to nature for inspiration. Some of his sportier, more casual designs, such as the Hermès H08, are fitted with an array of yellow and blue straps, which look particularly good on the beach. The Hermès Cut, another recent hit featuring a round, satin-brushed case and sharp angles, was introduced last year on the Greek island of Tinos. Alongside marble artisan Giorgos Palmaris, who works in an open-air workshop in the village of Pyrgos on the island, Delhotal spoke about drawing inspiration from the ways in which materials such as marble and steel are shaped.The creative director of watches has made Hermès well-known for artistic, one-of-a-kind pieces featuring hand-painted dials and the same kind of intricate drawings that you’ll find on the house’s silk scarves. Now he is also experimenting with jewellery watches, rethinking what a watch should look like and how it should be worn. His latest design, Maillon Libre, can be clipped on a sleeve, pinned on a lapel or strung on a leather cord and worn as a necklace. Here, Delhotal tells Monocle about breaking design rules and viewing timekeeping through a new lens.Statue atop the Hermès shop at 24 Rue du Faubourg Saint-HonoréHow did you approach the challenge of establishing Hermès as a serious player in watchmaking?It wasn’t easy because from early on we were up against intense competition and a lot of important watchmakers. When it comes to mechanical movements, the big challenge is creating something different. We aren’t a watch brand – we’re a house that specialises in 16 different métiers – so we needed to have a movement that would prove to the horology community that Hermès was capable of entering this territory legitimately. In other words, we needed to chart our own path and come up with a compelling story. I quickly realised that this story should revolve around the concept of time. I wanted to talk about it in a different way than the rest of the industry and be a little unconventional. So we began discussing time that runs, stops and speeds up, as well as precious moments. Then we decided to explore the notion of stopping time and created a new complication based around this idea. We presented it in 2011 at Le Grand Prix d’Horlogerie de Genève and won. It was both a joy and a surprise. It allowed us to talk about Hermès as a maison that was daring to be different, to offer something that you wouldn’t find anywhere else. That’s our mission.Why do you think the concept of suspending time has proven to be so compelling?Horologists have always been making complications that are extremely precise in terms of telling the time but what we did is turn the concept on its head. When you stop time, it’s a moment of privilege that you can dedicate either to yourself or to others. Imagine a meeting in which you can talk without worrying about how much longer you have left or being in a space where nothing else exists aside from the present moment.Le temps suspendu put the house on the watchmaking map more than 10 years ago. Why did you choose to return to it this year?It has been three years since we activated the relaunch of the concept. But three years ago we weren’t in the situation that we’re in today, facing huge uncertainties both politically and economically. We all feel the need to escape, to talk about something else and take advantage of the present moment because the future seems so precarious.Is that also why you’re doubling down on humour with this year’s limited-edition art watches?Yes. We presented a watch that depicts a horse whose tongue sticks out because it’s funny. Watchmaking is a craft that is very serious. I have worked for many traditional watchmakers and that’s how they tend to be. At Hermès, it’s not that we’renotserious but we are different. We do things with lightness and people enjoy it. These days we need that, as well as a sense of fantasy that encourages us to stop and take a breath.Do you draw inspiration from other departments of the house?I’m always inspired by the silks, which are a canvas for so many types of drawing and colour experimentation. I find leather interesting too, especially when I’m researching colour. There’s a certain exchange between us and it’s interesting to see the collaboration between the silk, leather-goods and accessories departments. We share experiences because we are ultimately one house and all of our creations need to have stylistic coherence. The Métiers d’Art range of artistic, hand-painted dials is a signature because it reflects the drawings of our silk scarves. There’s so much richness and history in these drawings and every square also encourages us to speak about our heritage and play with colour.A selection of Hermès’ signature designs for men and womenAs well as unique Métiers d’Art watches, you have also introduced more casual, sporty designs, such as the Hermès H08. Why is it important for you to have such a wide repertoire?There are people who only wear one watch but others prefer to adjust to different situations. I would wear the Hermès H08 on the weekend because it’s more casual, while the Arceau is a watch that you can wear throughout the week. Every design has its own community. We have customers who are extroverted and fashion-forward and others who are a little more discreet. The diversity of our customer base is what makes it so interesting. Different times of the year also call for different watches. Sometimes people lean towards watches that are more elegant and jewellery-inspired, while at others they prefer something more sporty. We need to take advantage of this with a sufficient offer that caters to various types of people and occasions. If you only focus on one category, things become more complicated.Your new designs, including the Hermès Cut and the Hermès H08, have been very well received by collectors. Do you see them becoming future icons?The making of an icon happens naturally. You can’t control it. In perfumery, for example, there are certain scents that are iconic – Chanel No 5, Mugler’s Angel and so forth. But when they were being created, no one could have imagined that they would achieve this status. Even if you try to design an icon, it won’t necessarily become one – only time can tell. I simply design a watch and it’s either welcomed by the community or not. Sometimes it might not be the right time; at others, everything just aligns, from the trends of the moment to people’s interests. I hope that all of our watches will become icons but for the moment they’re not. We need to wait and see. It’s just like in the film and music industries: when an actress or a singer makes a great movie or song, people are quick to call her a star but in reality she’s not. A star is someone with a 30- or 40-year career.You have been experimenting with making jewellery watches, including the brooch watch, which nods to the house’s anchor chain motif and also challenges a lot of watchmaking conventions. Was that your intention?We had this idea of offering a new watch and a new way of wearing it. The anchor chain motif has existed for a century on our bags, on our belts and on our pocket watches – so why not tell a new story with watches and break some rules? That’s what makes you original. There’s nothing more boring than things that look identical. There are so many parallels in other industries as well: just look at cars or even clothing.Having now firmly established the house in the world of Swiss watchmaking, what’s next?We want to be more creative and audacious. Once you have built a solid foundation, you need to continue doing better. Every year we try to build on what we already have, just like in life. In this industry, you always need to be proving yourself and your ability to make things well.

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The fashion pieces and new openings you need to know about this spring
Fashion

The fashion pieces and new openings you need to know about this spring

2025-12-10 22:07:03

SS DaleyUKBritish designer Steven Stokey-Daley is becoming one of the most promising new names in fashion due to his ability to marry wardrobe classics, including plenty of suiting, with novel, humorous designs such as intarsia knits featuring playful illustrations. Stokey-Daley has a flair for “reinvestigating” wardrobe archetypes, such as duffel and trench coats, while experimenting with traditional fabrics.For spring, he debuted a womenswear range: an elegant line-up of checked suits, tailored Bermudas and beaded skirts, referencing British painter Gluck. “I’m having so much fun,” says Stokey-Daley. “It’s an exciting adventure and it feels as though there’s so much room to explore and develop new ideas.”ssdaley.comBodeParisBode is branching out of the US with an ambitious retail opening in Paris, a stone’s throw from the Palais-Royal. “France has played a significant role in Bode’s history and the search for a retail location in Paris started more than four years ago,” says founder Emily Adams Bode Aujla, who has built a reputation for her eclectic designs, made using upcycled fabrics.Working with her husband Aaron Aujla, one of the men behind New York-based interior design studio Green River Project, Emily drew inspiration for the boutique from the story of a French hotelier known for his love of fly fishing. The aim was to marry French and US tropes in the shop, which features antiques sourced from both sides of the Atlantic; sofas upholstered in silk; and stained glass. On the rails are the brand’s striped pyjamas, bold knits and embroidered shirts, as well as some Paris exclusives, including ties and shirting crafted from century-old French fabrics.bode.comSophie Bille BraheDenmark & USACopenhagen-based Sophie Bille Brahe is becoming a household name in the world of fine jewellery, having opened her first international outpost on New York’s Madison Avenue last year. “The history of the street made it feel like a natural home for my designs,” says Bille Brahe, who often takes inspiration from ancient Egyptian constellations and Venetian mythology. “The shop’s design is rooted in my heritage, blending Danish craftsmanship with understated luxury,” she says of the minimalist space and its Dinesen wooden floors, lace curtains, worktables by Danish artisan Poul Kjaerholm and Mats Theselius chairs that are a nod to Bille Brahe’s muse, Peggy Guggenheim. To mark the opening, the brand debuted Collier de Madison, a take on its Collier de Tennis Royal diamond necklace. “The Madison Avenue shop isn’t just about bringing Copenhagen to New York,” says Bille Brahe. “I wanted the space to welcome visitors by telling my story.”sophiebillebrahe.comPlan CItalyCarolina Castiglioni usually thinks about herself when designing her label’s biannual collections, so venturing into menswear didn’t come naturally. “It was a request, especially from Japan, where male customers kept coming in our boutiques to shop for themselves,” says Castiglioni, who realised that most of Plan C’s designs – slim tailoring, roomy cotton shirts, workwear-inspired parkas and denim jackets – could be translated for men. “There have always been menswear inspirations in my work, so we focused on unisex pieces that can be styled in different ways,” says the Milanese designer (pictured), who unveiled her first menswear range at last summer’s Pitti Uomo. Plan C’s successful formula from the get go has been high-quality wardrobe classics sprinkled with novelty and excitement via the right accessories. Come spring, you’ll find the label’s menswear designs at its standalone boutiques in Tokyo and Osaka, plus a handful of multibrand boutiques including Dallas’s Forty Five Ten.plan-c.comSans LimiteJapanYusuke Monden started his menswear label Sans Limite in 2012 after cutting his teeth in shirt design and production at Comme des Garçons. His concept is simple: wardrobe classics made well. Starting with a tight edit of six shirts, he has since expanded to ready-to-wear and accessories collections. “We don’t try to sell items for a specific season or drastically change fabrics for each collection either,” says Monden. Monden is committed to “Made in Japan” quality. “We do the patterning and planning internally, and then work with domestic factories,” he says. “When it comes to one-off items, such as patchwork shirts, hand-knit sweaters, or even rugs, we work on them in the studio and then send them off to the factories for completion.” Sans Limite’s Tokyo flagship is on a busy shopping street by the railway tracks that, post-Second World War, was home to a black market for US goods. It’s a world away from the neighbourhoods usually favoured by fashion brands.sans-limite.jp

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How Diego Della Valle grew Tod’s into an Italian success story
Fashion

How Diego Della Valle grew Tod’s into an Italian success story

2025-12-10 22:07:03

The Milan offices of Italian fashion house Tod’s feel more like a high-end hotel than a commercial HQ. On the third floor of the Corso Venezia palazzo, past immaculate wooden and marble fixtures, Monocle is being served coffee in a light-filled room while awaiting the arrival of the brand’s patriarch and group chairman, Diego Della Valle, the third-generation family owner. He soon walks in through a side door, dressed in a navy blazer, his shirt collar riding up over a dark silk scarf. He sits down at the head of our table, placing a yellow notepad headed with his initials in front of him.Diego Della Valle, the brand’s third-generation ownerDella Valle oversees an Italian success story. In 2023 Tod’s reported annual sales of about €560m, while group figures (the Tod’s Group portfolio also includes labels such as Paris-based Roger Vivier and Hogan) topped €1.13bn. The company, which Della Valle’s grandfather started as a humble cobbler’s workshop, is now a global powerhouse. It’s still renowned for its shoes but has also branched out into everything from bags (Princess Diana was a fan and has a bag named after her) to ready-to-wear, the latter since 2005. The company is based in the family fiefdom of Casette d’Ete in the central Marche region and production remains in the area to this day.Its continued investment in Marche’s artisan community, known for its mastery of leather, is what sets the company apart, says Della Valle. “We’re always looking to do difficult things,” he says, in a hushed, considered tone. “That means products that are difficult to make and also hard to copy.” He adds that, unlike a bag with a big logo emblazoned on the side, you can’t fake superior quality. “Every leather hide is different.”As you might expect from a fashion player such as Tod’s, embodying Italy’s lifestyle – including its craft prowess, as well as its flair for quality and slower living – is part of its raison d’être. Indeed, one of the reasons why we are sitting around the table at the Milanese outpost of Tod’s is to celebrate the company’s new book,Italian Hands, the latest instalment in its coffee-table collection. The book tells the stories of Italian creatives and the artisans with whom they collaborate, from a glassblower in Murano to a master of terracotta. The limited-edition book, which puts the spotlight on what Della Valle calls “Italian good taste”, is filled with images of bag straps being braided, Gommino loafers being stitched and ceramicists’ brushes being dipped in sunny yellow pots of paint. The idea is to capture the company’s ethos of celebrating handcraft. There are barely any commercial or marketing objectives, with the edition only available to private customers.For Tod’s, investing in the quality of life of in-house talent, as well as that of the broader community, is a priority. Whether it’s providing a crèche at the Marche headquarters and helping build an elementary school or financing the restoration of the Colosseum in Rome and Milan’s city hall, Della Valle is a strong believer in the positive social and cultural impact that successful companies can make – an ethos once followed by the likes of Olivetti and more recently Zegna, which has invested heavily in the Piedmont countryside. Della Valle talks about “the leadership role” that powerful companies must assume and the importance of helping to build something for their countries.The publication ofItalian Handsis also designed to celebrate the Gommino shoe – perhaps the best-known product in the Tod’s portfolio. Blending a leather driving loafer with a more technical rubber-studded sole, it became an instant hit on its launch in the late 1970s. The key was creating a shoe that could accompany both dress-up and dress-down looks and, by extension, be used throughout the whole week.“At the time there was a world of elegant things but they were all formal,” says Della Valle. “And then there were things for the weekend but they were almost always technical and sporty. So what we did, quite intentionally, was to turn designs that were originally used for moments of relaxation into products that could also be worn with work clothing.” Part of the job involved what he calls “nobilising” rubber, which had previously been looked down upon in bourgeois circles, despite how practical and versatile it could be. Today you’ll spot as many pairs of Gommino shoes in boardrooms as you will in beach clubs – the most stylish wearers usually pairing them with linen shirts and bright-coloured trunk shorts, only to swap them for open-toe sandals moments before stepping on hot sand.Della Valle might have been central to the Gommino’s genesis but he likes to credit the team around him, as well as his father, Dorino, who died in 2012 at the age of 87. Together they created a design icon that allowed Tod’s to enter fashion’s big leagues. However, around the same time in the early 1980s, Della Valle realised that the company needed to move beyond the family surname that it was using at the time. “My only request was to have a short name that was easy to pronounce,” says Della Valle. The idea was to move on to something that better reflected the company’s increasingly international market.In 1984 the company was rebranded and renamed JP Tod’s (the initials were officially dropped in 1997), a choice that has plenty of lore around it. Some have suggested that the name was picked from a US phone book – a story that Della Valle says is only true in part. “Having a name that was a bit Americanised was a concept that was very much in vogue at the time among the big brands,” he says. “The people who came up with [our rebrand] were me, the typographer from my village and the owner of the printing press. Now there are 3,000 people doing that work.”Artisan at workLike most large companies that are invested in makers, Tod’s has a talent pipeline to think about. Ensuring that people have “the desire to do [the work]” is at the forefront of Della Valle’s mind as he tells Monocle about the pride of the sewers who work at the Marche factory. Bottega dei Mestieri, a programme created in 2012, is a key part of this nurturing process. Artisans nearing retirement are paired with interns who often go on to work for the brand. “Young people give a bit of energy to the [older artisans] and they give back their wisdom in return,” says Della Valle, adding that instead of simply asking workers to show up and put their heads down, the scheme fosters dialogue between generations. “The artisan manages his own hands,” says Della Valle, turning philosophical for a moment. “It is very important for young people to understand the concept that if you are a craftsperson, you are truly free.”As well as its nationwide largesse, Tod’s continues to build abroad. Recently the brand explored digital product passports to ensure that its supply chains are more traceable. It has also shaken up its ready-to-wear offering, with Matteo Tamburini, formerly of Bottega Veneta, joining as creative director in 2023.Meanwhile, last year, Tod’s Group made the decision to delist and go private – a move that involved Della Valle stepping away from his role as CEO. (John Galantic, formerly of Chanel, now holds this position.) “It was the right moment to leave [the stock exchange] because we need to invest a lot in future development, which potentially is enormous,” says Della Valle.As for what that future looks like, the chairman of the board and owner won’t give too much away, though he admits that he is interested in furniture and leather jewellery. And while he might be slightly less involved in the day-to-day running of the company these days, there has been no dip in his enthusiasm and his travel itinerary remains packed. He is already planning a swift return to Marche following his meeting with Monocle, then on to Morocco.The key thing seems to be to stay true to what the brand does best: producing wares to the highest standard and achieving that delicate balance between novelty and continuity. “It’s important for companies like ours to never betray the quality,” says Della Valle, summing up his – and by extension, the company’s – ethos. “And we need to be absolutely modern.”tods.com

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Interview: Catherine Martin on the riviera glamour and ‘barefoot luxury’ of her Miu Miu collection
Fashion

Interview: Catherine Martin on the riviera glamour and ‘barefoot luxury’ of her Miu Miu collection

2025-12-10 22:07:03

“The sun will come out again,” says costume designer Catherine Martin in a theatrical voice, as the brief spell of summer rain subsides and the sun begins to emerge through the tall windows of her suite at the Hotel Martinez in Cannes.   The French-Australian Oscar-winning designer has spent much of her life by the beach and seems to embody the optimistic, carefree spirit of the season. “During summer, you’re costuming yourself for what you hope will happen: to find yourself in a nautical place or inside a Raoul Dufy painting,” says the designer, who is dressed in a striped marinière Miu Miu tank top and a navy blazer thrown over her shoulders. “You want to feel connected to the seaside and the warm air. Prints become much more desirable at this time of year – a dress that slips over a swimsuit, a reclaimed-cashmere jumper that you can throw on when it gets chilly at night and beach clogs that you slide on after walking on the sand. It’s all about the feeling of barefoot luxury: simple and optimistic.”From costumes to couture: Catherine Martin(Image: Courtesy of Miu Miu)It’s no surprise that Martin can instantly paint a picture of the idyllic summer wardrobe, imagining the characters and the worlds that they inhabit. She has been designing costumes for films such asRomeo and Juliet,The Great Gatsby,Moulin RougeandElvisfor nearly three decades. This summer, however, she has been spending time outside the costume department, conceiving her very first off-screen capsule collection with Miu Miu (its founder, Miuccia Prada, is a longtime friend and collaborator). She built the new range, which features deadstock fabrics, around an “imaginarium”: a visual diary of a trip to the south of France in the 1920s and 1930s, complete with archival images, collages and written artefacts. The result is a collection of sharp rowing blazers, featherlight slip dresses, cotton beach trousers and striped tops that will have you embracing nautical dress codes – and maybe even planning a trip to the French Riviera. It launched exclusively at the label’s newly-refurbished London flagship on New Bond Street, with a worldwide launch set to follow on June 21. A short film accompanying the collection’s launch, dubbedLe Grand Envie, marks Martin’s directorial debut: her partner, the director Baz Luhrmann, encouraged her to take the leap. It is set in a southern château and captures the hedonism associated with the region.  (Images: Courtesy of Miu Miu)‎“What is it about the south of France?” asks Martin. “I understand why people have been coming here since the 19th century – or even earlier. There’s a softness to the light and the landscape is beautiful. When I first came to Cannes in the 1990s, it was the place to watch and to be seen. It’s different today but there’s still [an appeal], whether you are just sitting at a café sipping an Aperol spritz or at one of the exclusive beach clubs on the Croisette.”References to the 1920s also encourage the wearer to look back and reflect – something that the slower months of summer call for. “This was a really interesting period: the computer, the telephone and the radio were all rapidly evolving during that time,” says Martin. “It was also a period of social freedom, with women really starting to express themselves. Yet there were also these dark political forces on the horizon and a desire to return to ‘traditional values’. We now find ourselves in a very similar period. But you have to maintain a sense of joy and optimism, no matter how bleak everything seems.”You can do that by taking cues from Martin and immersing yourself in the romance of summer and its playful dress codes. “Glamour is romance and I’m a secret romantic – I believe in joy, connection and beauty,” she says. “Getting dressed and creating a character for yourself every morning is a primal human urge. We were decorating ourselves before we painted cave walls.”You can listen to the full conversation, recorded live in Cannes, onMonocle on Fashionbelow.

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