If someone handed me a pen and asked me to sketch the most majestic, elegant, and imperial-looking watch I could imagine, I wouldn’t—frankly, because I can’t draw. But if I were to describe it, it would probably look something like this Datograph Handwerkskunst from A. Lange & Söhne.
Hand-stitched dark brown alligator leather strap, a deployant buckle, a case made from 18-karat yellow gold contrasted by a black-rhodiumed dial, Roman numeral-inspired indices, an intricate movement composed of 426 parts, and a flyback chronograph. This is A. Lange & Söhne’s Datograph Handwerkskunst, a timepiece so dreamy it had me daydreaming of hypothetical situations. The features highlighted would typically be touted as the key selling points of any watch, but I haven’t even touched on the most interesting aspects of this one yet.
The Movement
Comprising of 426 parts and 43 jewels, the Lange manufacture calibre L951.8 is a manually wound movement that aptly represents the pinnacle of A. Lange & Söhne’s meticulousness and artistry. Assembled and decorated entirely by hand, the calibre’s architecture features black-polished chronograph levers. This rare, time-consuming technique causes the surface to reflect light only from specific angles, appearing jet black at times, and glossy at others. The hand-engraved balance cock, adorned with a delicate vine motif, rises subtly from the surface, setting the mood for the rest of the movement. The untreated German silver plates and bridges contribute to a sense of organic growth within the movement. Would it be remiss to suggest that the overall architecture of the movement is reminiscent of intertwining vines? You can be the judge of that by examining the caseback, where every polish, grain, and engravement is showcased, revealing the hard work of the artisans’.
This movement powers a 60-hour power reserve and a flyback chronograph with a precise jumping minute counter, allowing for seamless resets and efficient timing adjustments. The outsize date display, a signature of the house creates an elegant symmetry so pleasing it could bring tears to Leonardo da Vinci’s eye. All this can be adjusted through a crown for winding and setting, two chronograph buttons, and a button for rapid correction of the outsize date.
The Dial
Immediately, the surface of the black-rhodiumed dial is what draws eyes. Brought to life by an intricate tremblage engraving—a historical technique practised by very few artisans due to the years of training required—it creates a fine-grained, 3D texture that captures and reflects light in subtle ways, lending the 41mm timepiece a certain air of mystery rarely seen in modern watchmaking.
As the eighth model in A. Lange & Söhne’s special HANDWERKSKUNST series, the Datograph Handwerkskunst is limited to just 25 pieces worldwide, but it makes sense. I’ll let Anthony de Haas, Director Product Development explain, “Manually executed with the highest degree of precision, the decorations and finishing exhibit aesthetics that no machine in the whole world could possibly achieve.”
When constructing an image of the luxury lifestyle in your mind, the first thing you’ll probably think of is a man dressed in a well-tailored suit who’s lounging easily on a leather couch—and smoking some tobacco. That just goes to show how much smoking is considered part and parcel of the lifestyles promoted by the luxury market.
You don’t need to take our word for it, either. A recent study on smoking preferences finds that cigars are widely considered a symbol of leisure and sophistication. To a lesser degree, cigarettes carry the same implications. However, these findings come from a survey of older adults. That poses the question: do people today still see smoking the same way?
Ultimately, the answer is no. As a result, tobacco products are experiencing a steady decline—making smoking a thing of the past, even in the luxury market.
Smoking As Seen Through a Glamourised Lens
The reason why smoking is so closely associated with luxury lies in the fact that it started out as an exclusive product. Prior to the Industrial Revolution, cigars and cigarettes were considered handmade luxury items primarily used by urban elites, especially in Europe. Though mass production of these products eventually made cigarettes less exclusive, cigars continued to be crafted by hand and thus maintained their air of exclusivity. By the 1950s, however, the Golden Age of Hollywood rebuilt the glamorous image of the cigarette.
With multiple actors and actresses smoking or wielding slim, classy cigarette holders both on and off the silver screen, the habit established a ‘cooler’ reputation.
That glamorous image was further bolstered by targeted releases from luxury fashion houses like Yves Saint Laurent. In fact, the piece the label is best known for is its ‘Le Smoking Jacket.’ Aside from being designed to flatteringly accentuate the wearer’s torso, this item comes with silk lapels meant to repel cigarette ash. As a result, over 42 percent of the US population regularly smoked in 1965—arguably as more individuals picked up the habit to imbue themselves with that same sense of luxury.
By 2019, however, this figure was down to 14.2 percent. That indicates that smoking slowly began going out of vogue in the span of just a few decades, significantly impacting the luxury market in the process. The question is: why did that happen?
The Fall of Smoking in Luxury Circles
Of course, the decline in smoking can primarily be attributed to its eventual connection to various health complications. However, that’s not what dampened cigar and cigarette smoking for luxury smokers, especially in fashion—where many models could be seen smoking on the catwalk well into the early 2000s. Fashion editor Marian Kwei explains that one of the true causes of this decline in the luxury market is because, in terms of imagery, smoking has become ‘boring.’ Fashion—and, similarly, the luxury aesthetic—revolves around the concepts of rebellion and exclusivity. Thanks to the cigarette’s glamorous 1950s image, smoking eventually became more mainstream, less rebellious, and less exclusive. In other words, it’s no longer capable of turning heads.
Another driving factor of this decline is accessibility. That’s especially significant for the luxury market, which constantly needs to find ways to extend its appeal from higher-end to everyday consumers to maintain profit margins. The rising prices of cigars and cigarettes have negatively impacted how affordable these products can be. A pack of cigarettes in Australia, for instance, now costs nearly USD 26 — currently the most expensive in the world. Meanwhile, a single premium cigar can cost more than USD 100. These exorbitant prices can significantly discourage the everyday consumer from purchasing products just to avail of the luxurious experiences they have to offer.
That’s especially true given the accessibility of many next-generation nicotine products. This report on the global nicotine pouch market alone finds that it’s expected to hit a value of over USD 64.29 billion by 2032 simply because of how accessible these products are. A can of 20 ZYN pouches, for example, costs as little as USD 5 and can easily be ordered online through Prilla. The same is true for nicotine patches, with brands like Nicotinell selling two weeks’ worth of these products for USD 31 on other online retailers like Amazon. That affordability has led to manufacturers expanding their nicotine patch portfolios, with the likes of Dr. Reddy’s acquiring the Nicotinell brand for further distribution in Europe, Asia, and Latin America. Despite that, nicotine pouches and patches don’t compromise on the quality of nicotine delivery one usually gets when smoking cigars and cigarettes—ultimately making them more appealing.
Thanks to factors affecting imagery and accessibility, these instances show just how quickly smoking is going out of vogue—even in the luxury market. Changing consumer preferences show that tobacco products like cigars and cigarettes no longer hold the sophisticated appeal they once had. That indicates that the market has to change tacks and find new items that better symbolise the allure of a luxury lifestyle—one that draws in both the elite and everyday consumers it needs to stay afloat.
For more on the latest in luxury fashion and business reads,click here.
Japanese watchmaking powerhouse Seiko recently took us through the novelties of 2024, leaving us fairly flummoxed as to what watch to feature (there are also embargoes to consider). A standout for us is the King Seiko KS1969 limited edition, which is the first new iteration to feature something other than the usual round shape. In itself, a watch that is not round from a major producer already counts as big news, even if the appeal might be limited. To backtrack a little, Seiko makes a lot of watches – certainly enough that it knows how to read and respond to the market. That said, the form of the four KS1969 models (SJE109, SJE111, SJE113 and SJE115 is surprising, though not as eye-popping as the return of the Credor Locomotive, but that is a story for another time.
Returning to King Seiko then, the KS1969 is in what one might call a cushion-shape, or shield-shape; it could even be called tonneau or barrel-shaped. We prefer the shield option, which is what we will use since Seiko does not describe it officially. You will see in the specifications that the diameter is listed at 39.4mm but the real measurement everyone will want is lug-to-lug but that is not given (we estimate it to be in the 45mm range, based on our own casual measurement).
Whatever the case (no pun intended), do note the overwhelming presence of polished surfaces, including the case sides; the bracelet with its 13-link structure goes with alternating brushed and polished surfaces, which you can just about make out here. At 9.9mm thick, the watch can probably manage to fit underneath most sleeves. The water-resistance of 50m signals that this is one of those urban beaters, the kind advertised for the man who needs to seamlessly transition from work to social settings, and perhaps back again.
For dial options, there are three to take note of, and one to seek out if limited editions are your thing. The silver dial option is meant to bring to mind the skyline of Tokyo; the Edo purple is an approximation of a shade of purple popular in the Edo period; and the green dial is of course part of Seiko’s continuing obsession with natural beauty. The fourth dial is in a trendy turquoise shade with a very specific texture that references a dragon. This puts the 700-piece limited edition in the mythic-inspiration category while also making it a late entry into the year of the dragon category (this is Japan-specific but it works with the Chinese zodiac too).
Movement: Automatic calibre 6L35 with date; 45-hour power reserve Case: 39.4mm in steel; water-resistant to 50m Strap: Bracelet Price: SGD 4,542.10
How does a fragrance truly encapsulate the scent of feminine beauty and floral enchantment? With notes of jasmine, mimosa, and neroli, AMAFFI’s latest fragrance does just that. Crafted from the finest raw materials from around the world, AMAFFI strives to achieve one of the highest standards in the art of perfumery providing customers with the royal treatment — from scent to bottle. The renowned luxury fragrance house’s latest partnership with Grammy-nominated French-Lebanese trumpeter Ibrahim Maalouf is no different. Central to this partnership is AMAFFI’s Pyramids Collection, featuring the SAVANNA fragrance — which captures the essence of the savanna with additional notes of woody sycamore overtones, the warm of rich mandarin, earthy mossy accords and gentle lilac.
AMAFFI’s accompanying short film for the SAVANNA fragrance sees Ibrahim Maalouf’s soulful trumpet melodies play against the backdrop of Al Ula in Saudi Arabia. Filmed and directed by team of Hollywood visionaries led by Paris Libby and Eric Michael Roy, the intertwining artistry of luxury perfume and the evocative sounds of Maalouf’s composition, “True Sorry” come to life where the worlds of scent and sound harmoniously converge in a love story inspired by strength and gentleness of a woman. AMAFFI’s co-creative director, Eric Michael Roy, along with creative director Paris Libby, conceptualised the film as a narrative piece rather than a conventional product advertisement, capturing the profound relationship between Maalouf’s artistry and AMAFFI’s dedication to creating unforgettable fragrances.
Sensory notes from SAVANNA for Women are translated into timeless musical compositions by Ibrahim and his orchestra marking a unique fusion of his musical talent and the art of perfumery. Maalouf described his experience as a harmonious blend of desert inspiration and SAVANNA’s fragrance, echoing AMAFFI’s philosophy of creating fragrances that evoke deep sensory emotions.
To top it off, the attention to detail in its design elevates this scent even further. The fragrance is housed in an emerald green bottle made from advanced crystal glass and encased in hand-polished gold. Its cap features a metal insert adorned with hand-polished crystals.
Blondie frontwoman Debbie Harry stars in the Gucci Cruise 2025 campaign
What is a Gucci Blondie campaign without Blondie’s singer? In a full circle moment, the Italian fashion brand has unveiled its Cruise 2025 campaign, We Will Always Have London, starring Debbie Harry, the rockstar frontwoman of the American band Blondie.
Gucci Cruise 2025 campaign
The campaign was shot by Nan Goldin—best known for her intimate photographs of American counterculture in the late 20th century—as an ode to London. In the campaign’s cinematic images, Harry is seen in the back of a cab with a dog on one side of her, and the Gucci Blondie bag on the other.
Take a closer look at the Gucci Cruise 2025 campaign and the new Gucci Blondie bags below.
Gucci Cruise 2025 campaign
The Gucci Blondie bag was the standout accessory of Gucci’s Cruise 2025 fashion show. Creative director Sabato De Sarno refreshed the classic bag with new proportions and details, making it equally elegant and practical, and a lot more spacious. The new Gucci Blondie bag features saddle stitching and a leather handle as a mark of the Italian luxury brand’s artisanal craftsmanship. This season, the bag is offered in an array of refined materials—think Tuscan leather, suede, or GG Monogram canvas. It also comes in striking colours, like Gucci Rosso Ancora, Gucci’s signature red hue, and four sizes: mini, small, medium and maxi.
De Sarno has also reinterpreted the Gucci Blondie’s most iconic element: the circle logo dating back to the ‘70s, featuring two G’s as a nod to Gucci’s founder. Across the new bags, the logo is seen in padded leather or enamelled brass designs.
Gucci Cruise 2025 campaign
The Blondie bag and Blondie’s Debbie Harry are the stars of Gucci’s new campaign, but so is London. The city has a special connection to the Italian fashion house; it was there that founder Guccio Gucci was inspired to start his own leather goods company, while working as a lift boy at the lavish Savoy Hotel. A century later, creative director Sabato De Sarno also paid homage to the city with Gucci’s Cruise 2025 collection, which was presented at London’s Tate Modern museum, with Harry in attendance on the front row. Indeed, Gucci will always have London.
Returning for its 17th edition this year, Maison Guerlain’s perennial partnership with Art Basel Paris is set to present Good Morning Korea, In the Land of the Morning Calm. The exhibition will spotlight South Korean artists from all walks of life, including the late Nam June Paik, Lee Bul, and Anicka Yi, among others.
Besides pushing boundaries in fragrances and beauty, Guerlain remains dedicated to the principles of heritage and innovation. Guerlain is also committed in providing a platform for artists to showcase their creativity, believing that art has the unique ability to evoke and share memories—be it personal or collective. It’s no surprise then that South Korea was chosen as a focus this time around. South Korea’s impact as the creative muse of the Western world embodies this philosophy, with its wealth of artistic ideas providing a look into the perspectives of a growing arts and culture nation.
South Korea Through Art
Good Morning Korea, In the Land of the Morning Calm is curated by Hervé Mikaeloff, the exhibition invites visitors to explore memory through a multi-sensory experience in the form of an olfactory journey that links several works, subtly connecting visual and scent-based memories.
The works featured in the exhibition highlight the profound connections South Korean artists have with nature, technology, and the challenges of contemporary society, guiding us through the timeline of South Korea’s cultural evolution and its rich, diverse heritage.
Nam June Paik
An icon in performance and technology-based art, the late Nam June Paik was the first artist to display abstract forms on television by using magnets to distort images. He also famously pioneered the use of portable video cameras—what we now refer to as “digicams”. He firmly believed that technology will reinvent the way we create and share art, foreseeing a future of camcorders, live-streaming, and social media. Nam skilfully merged Eastern and Western influences, transforming our inward gaze into an endless technological quest.
Lee Bul
“Perdu CXIII”, 2021, by Lee Bul. (CHARLES DUPRAT)“Titan”, 2013, by Lee Bul. (CHARLES DUPRAT)
Lee is known for her bold, genre-crossing works that explore themes of beauty, corruption, and decay. A pioneer in South Korea’s art scene, she continues to inspire younger artists with her early iconoclastic performances and multi-sensory installations, pushing the boundaries of visual art. Her work has been featured in solo exhibitions at major museums worldwide, including the Hayward Gallery in London, Berlin’s Martin Gropius-Bau, and Paris’ Palais de Tokyo, just to name a few.
Good Morning Korea, In the Land of the Morning Calm will feature Lee’s work that delves into ideas of perfection and the distorted realities of modern identity, blending feminine forms with robotic elements to create cyborgs.
Anicka Yi
Anicka Yi explores the hidden politics and associations of smell by creating unique fragrances, and incorporating scent into sculptures. She constantly pushes the boundaries of science, technology and art, aiming to create new, unsettling and futuristic experiences that challenge traditional notions of her artwork. Her work has been showcased at prominent venues the likes of the Tate Modern in London, and even in Singapore’s Art Science Museum.
Yi uses algorithms to create holographic paintings, blending patterns from past work (her “visual DNA”) with motifs that draw from both the organic and the technological, raising questions about how art can evolve in the digital age.
Omyo Cho
“Barrel Eye”, 2022, by Omyo Cho. (OMYO CHO)
Beginning her career as a novelist, Omyo Cho has evolved to create artworks that reflect her literary roots—from sculptures, to installations and VR videos that exist as nonlinear phenomena on a different level. Cho’s works have been showcased in numerous group exhibitions including the Surim Art Center, Ulsan Contemporary Art Festival, and Osan Museum of Art. Cho’s piece for the exhibition, “Barrel Eyes”, invites the audience to envision a future where memories take on concrete forms in real time, redefining our understanding of time and memory.
Blancpain’s Limited Edition Camouflage Air Command Editions
Blancpain propels the fabled Air Command back into the radar of collectors with the release of two new limited edition references marked by camouflage-green dials. We wrote up the collection when it was released as a limited edition in the first place, and later when the Air Command was restored to the permanent collection. This latest version attempts to be coy with their dals but retains the commanding presence of the regular collection pieces. For ease of reference, these are the four standard versions that are listed on the website – or were, prior to the release of the two limited edition references AC02 12B53 63 and AC03 12B53 63 – two in titanium and two in red gold, all with blue dials.
Blancpain’s Limited Edition Camouflage Air Command Editions
The thing to remember here is that anything other than a blue dial appears to be destined only for limited editions. To put it upfront, the 42mm model is cased in Grade 23 titanium and is limited to 200 pieces, while the smaller 36mm model is also cased in Grade 23 titanium but is limited to 100 pieces. Blancpain goes to some trouble to remind us in the presser that these two flyback chronographs have a reputation as pair watches, although they are not sold as such.
Blancpain Camouflage Air CommandBlancpain Camouflage Air Command
Given how quickly these limited edition Air Command models sell out, we thought it best to publish this small note as soon as possible. To be fair though, those who are in Blancpain’s good books have probably been notified already about these new limited editions. As a refresher, here are some paraphrased details from the more comprehensive story we published in 2022 on the Air Command. Everything that was true remains so now.
Blancpain’s Limited Edition Camouflage Air Command Editions
The Air Command remains a full collection made of just two flyback chronograph models, which are distinguished not only by their different sizes but by the use of different movements. The larger watch is powered by the automatic calibre F388B while the smaller version uses the automatic calibre F188B; both are obviously in-house movements. Just like the limited editions, the current collection of blue dial models are cased in grade 23 titanium. For more details on these models, see the aforementioned story. For the history behind all of this, we recommend the cover story from WOW Spring 2022.
Panerai Luminor Dieci Giorni GMT Ceramica PAM01483
The debut of the Panerai Luminor Dieci Giorni GMT Ceramica PAM01483 gives us the unforeseen opportunity to dive once more into the virtues of an old friend, the automatic in-house calibre P.2003. There is a lot to say about this movement — or rather to revisit — but we should begin properly with a note about the new watch itself. After all, as this author has frequently said, a watch is much more than a presentation case for a mechanical movement. That said, the case here is the more classic-looking Luminor in 44mm form — it might even put you in mind of the standard Luminor GMT PAM01441, which is exactly the same size. It also uses black ceramic for the case. The name Dieci Giorni should tell you how the models differ, or you could look to the power reserve at 6 o’clock.
Panerai Luminor Dieci Giorni GMT Ceramica PAM01483
This brings us to calibre P.2003, which is Panerai’s only true GMT calibre with a 10-day power reserve. This calibre also makes this watch an important addition to the Panerai range because it is rather uncommon for the brand – overall, we cannot think of a comparable GMT model with a similar power reserve from a rival or peer. Unusually for a long-power reserve ticker, this one is also an automatic – it was the first automatic in-house GMT movement from the Panerai manufacture at Neuchâtel way back circa 2006. The 2003 in the calibre name indicates when Panerai started developing it, and this is true of all movements in the 2000 series. Anyway, the extended power reserve feature is something that once marked all Panerai watches – by once we mean in the pre-Richemont era, all the way back in the 1960s.
Panerai Luminor Dieci Giorni GMT Ceramica PAM01483
Panerai debuted the Luminor Dieci Giorni GMT Ceramica PAM01483 at Watches and Wonders Shanghai and said the watch is part of the Luminor Complicazioni set. That is how Panerai is apparently grouping the complications within the Luminor family and explains a couple of interesting decisions here. One is that the water-resistance is listed at just 100m, which is just fine but nothing special for Panerai, and the alligator strap. Effectively, you are invited to consider PAM01483 as a watch for true enthusiasts, which the exhibition caseback helps with.
Panerai Luminor Dieci Giorni GMT Ceramica PAM01483
This is how Panerai CEO Jean-Marc Pontroué described the watch on its launch at the fair in Shanghai: “A step further in the 10-day power reserve segment, the new Luminor Dieci Giorni GMT ceramica epitomises bold style and a daring attitude. Challenging its legacy of technicity and high-tech material innovation, this reference offers our clients a mix of enduring performance and Italian design”.
Panerai Luminor Dieci Giorni GMT Ceramica PAM01483
On that note about design, the aforementioned black ceramic case is complemented here by a distinctive green brushed (sunray style) dial. In today’s Panerai watches, the Italian quality is sometimes spelled out, here in the 10 Giorni note on the dial and the name of the watch itself. The watch is a boutique exclusive and is priced at SGD 27,700, with an additional green rubber strap included in the package. The option of swapping out the strap here is an indication that the watch can handle being a daily beater, if you so desire. What is missing here is the thickness of PAM01483, which is likely to not be inconsiderable. Once we see the watch in the metal, we may revise our expectations here.
For more on the latest in luxury watch news and releases, click here.
It is no secret that the fashion industry has a history of favouring and designing for unrealistically slim figures. However, in the last decade, the plus-size market has seen notable growth reflected by the presence of more plus-size models on runways and in campaigns. Many brands and retailers have jumped on the inclusive sizing bandwagon to satiate calls for inclusivity and diversity, but this seems to exclusively apply to womenswear.
Given that female consumers dominate the luxury fashion market, males — more particularly plus-size males — are often overlooked due to the commercial risks. In the current social landscape, females have been particularly vocal about the need for size inclusivity, fostering a rapidly evolving social movement of body positivity. Their demands had prompted expanded size ranges with many brands, while this may be performative and a tool used to increase profits, this still grants more freedom to shop a wider range of styles.
The same cannot be said for males. Despite advancements in female size inclusivity and beyond the glitz and glamour of high fashion, lies a deep disparity and disregard for size inclusivity in menswear. This begs us to ask the question: What about men’s size inclusivity? And where are the male plus-size models? LUXUO examines the untapped male plus-size market and fashion’s shortcomings in inclusivity.
The current state of plus-size representation in menswear is exceptionally underwhelming, with little prominence in high fashion labels and a severe lack of data regarding the plus-size menswear market despite a large population. According to a study done by Iowa State University, plus-size men make up 70% of the United States population and 40% of men have issues with size and fit. The global plus-size market has reached a value of US 288 billion in 2023 and is expected to exceed 500 billion by 2033.
By taking these statistics into consideration — even with significant growth potential for brands and such a large demographic unprovided for — why does the fashion industry overlook this population? Perhaps the patriarchal and somewhat narrow-minded vision of masculinity in menswear. The fashion industry’s internalised fatphobia and general unwillingness to cater to large sizes are the root of plus-size lack of representation, states Kayla Merci, a retail analyst.
Furthermore, the lack of inclusivity in men’s fashion is highly driven by social beauty standards, often presented to the world through model representation on runways and campaigns. It is a known fact that designers create their garments based on a vision of a certain body shape and aesthetic, an image that typically perpetuates an unrealistically tall and slim ideal of the male body — resulting in a lack of representation in high fashion.
In Milan Fashion Week of 2023, it was found that just six of the 72 shows features at least one male plus-size model, with just 0.6%. While there is growing awareness, the dominance of the slender male physique leaves little room for anyone outside of this standard, making it almost impossible for this demographic to shop high fashion. It is also worth noting that numerous fashion retailers have extensive sizes ranges to cater to mass markets and to optimise profits, however, luxury labels severely lag behind due to a strict idea of “desirability” and commercial risks.
High end brands often cite financial and logistical reasons for not expanding their size ranges. Given that good tailoring is a pillar of menswear, designers claim that it is more difficult to accommodate larger sample sizes, hence the lack of representation in on runways. Commercial risks extend to creating diverse sample sizes and the complexities of catering to different body shapes in a variety of products, all of which require market research and product testing.
Furthermore, plus-size men are unable to shop luxury labels in-store, with their sizes unavailable on the rack nor on the displays — further distancing, marginalising and excluding plus size individuals. When catering to size, those of larger sizes tend to be limited to oversized silhouettes which are shapeless and somewhat typically untrendy and unexciting. Hence, the allure of luxury labels with a reputation of exceptional quality, prestigious name and tailoring, something that is seldom achieved from fast fashion purchases.
However, at the industry’s current state, men who do not conform to high fashion standards are granted little freedom to shop and forced to settle for ill-fitting fast fashion garments. Despite a large demographic and growth potential, inclusive fashion is more than a marketing tactic and a reality for many. In catering to this underrepresented population, thoughtful steps can go a long way in fostering a diverse and loyal customer base.
A significant contributing factor to note is that males are much less vocal about body image insecurities and take on a more stubborn stance when addressing masculinity norms. It is no secret that there is a massive population uncatered for, yet many perpetuate the traditional views of masculinity in not addressing self-esteem or body image issues. As examined by German newspaper Zeit, it was found that men generally placed more importance on other factors such as social status and wealth. The notion presents the idea that men do not have to meet the beauty ideal as it is not important. The stereotypical idea that males should focus on careers while females must adhere to strict beauty ideals, while extremely outdated is majority accepted till this day.
Therefore, many of those demanding for size inclusivity historically been marginalised due to their size. For the brands that have expanded size ranges, larger sizes have typically been categorised under the title “Big and Tall” which not only reinforces negative stereotypes but presents the idea that being “plus-sized” is stigmatised. Due to these factors much of the plus-size population remain underrepresented due to fear of societal stigma and pressure to adhere to the traditional idea of masculinity. Therefore, while unfortunate, high fashion labels may not feel the need to cater to larger sizes if the demographic does not demand for change on a mass scale. Without mass outcry, brands do not see profitability and are unlikely to expand size ranges.
The power of social media and digital marketing is undeniable. These platforms dictate the success of cultural movements, activism and give users a space to advocate and express. We have seen this with the acceptance of plus-size females and mass advocacy for size inclusivity. While there is a long way to go for female size inclusivity, we have seen a large shift in societal expectations, with an influx of diverse and inclusive fashion campaigns, runway models promoting a brand’s extensive size range. The younger generation has been the driver of this cultural shift, with more freedom to express, customer habits have become more informed with heavily emphasis of aligning social values when purchasing.
It has been proven that social media advocacy has successfully influenced extension of plus sized apparel, in hopes to appeal to the younger generation and to increase their customer base and profitability. However, the same cannot be said for men, despite numerous celebrities like Sam Smith, Jonah Hill and Seth Rogan highlighting the gap. Plus-size women in recent times have been empowered by the media, larger men are often portrayed as less desirable in film and adverts. While there has been some progress with Rihanna’s Savage X Fenty, Kid Super, Charles Jeffery Loverboy and LGN Louis Gaberiel Nouchi in showcasing plus-sized male models and a broader range of body types. While demographic of plus-size males is largely untapped, it possesses much profitability and potential which is often overlooked by brands due to a lack of-advocacy and customer demands. Just like the female population, males continue to struggle with self esteem and body image issues, and it is crucial to foster advocacy and representation to welcome more diversity in men’s fashion.
In conslusion, despite significant potential in the male plus-size market, this demographic is still largely underrepresented due to a lack of urgency in driving conversations about the importance of diverse male representation in fashion. While there is a long way to go with inclusivity in fashion as a whole, the progress made in female plus-size representation proves that when the public challenges the status quo, this raises awareness and encourages change. It is only then, luxury labels are likely to cater to male plus-size inclusivity and representation. Just like the female population, males continue to struggle with self-esteem and body image issues, and it is crucial to foster advocacy and representation to welcome more diversity in mens fashion.
For more on the latest in luxury fashion and style reads, click here.
