from Men's Gear
Tuesday, December 31, 2024
Nike’s Alphafly 3 Premium Gives You An Edge Over Others
from Men's Gear
House XO: An Industrial Facade With A Cozy Interior
from Men's Gear
2024’s Designer Exodus – A Turning Point in Fashion Leadership
A Year of Unexpected Departures
2024 marked a seismic shift in the fashion industry as several prominent creative directors departed from their respective houses, including Virginie Viard at Chanel, Matthew M. Williams at Givenchy, and John Galliano at Maison Margiela. When it comes to eponymous labels, recent years have seen Tom Ford and Raf Simons step back, while this year, Peter Hawkings and Dries Van Noten unexpectedly bowed out of their maisons.
Prior to Julian Klausner stepping up as a successor at Dries Van Noten, Van Noten had embraced the possibility of his replacement veering away from the codes he’s established over 38 years at his eponymous brand. “No, I absolutely don’t want them to do it the way that I do,” the member of the Antwerp Six told Business of Fashion’s Tim Blanks in an interview, explaining that he’d prefer them to approach his brand with a “new eye”.
Read More: Speculation Swirls of Hedi Slimane Heading to Chanel as Michael Rider Replaces Him at Celine
Visionaries like Dries Van Noten, Tom Ford, and Raf Simons have left behind a legacy that has marked the industry over decades. Their exits not only symbolise the end of an era but also usher in a dynamic transition, with creative directors vying for dominance in a fashion landscape. As the torch passes in the ongoing shake-up, it remains to be seen if these changes will affect these legendary Maisons’ bottom line. Successors face the daunting task of honouring a brand’s legacy while forging a path forward. For instance, when Tom Ford exited his eponymous label, questions arose about how the brand would sustain its identity without his distinct vision. Similarly, Raf Simons’ departure leaves his brand at a crossroads, with fans and critics alike pondering its future direction.
Read More: Marc Jacobs Sets His Sights on Chanel’s Creative Director Role
Pressure Cooker Roles
It is no secret that luxury fashion brands, especially eponymous ones like Donna Karan, Zac Posen, Marc Jacobs, and Michael Kors, have faced significant financial challenges in recent years. Donna Karan, for instance, faced widespread backlash due to controversial statements regarding convicted sex offender Harvey Weinstein, damaging her reputation and business. Zac Posen experienced a harsh reality in the luxury retail industry. In 2019, The Lexington Online reported that Posen’s label, House of Z, struggled to attract buyers or investors. The precarious state of the industry led Yucaipa Companies — an investment firm holding a 50 percent stake in Posen’s company — to withdraw their support. This decision forced Posen to lay off 60 staff members and shut down his business immediately.
Michael Kors has also faced significant setbacks. John D. Idol — chairman and chief executive officer of Capri Holdings, which owns Michael Kors, Versace, and Jimmy Choo — openly acknowledged the difficulties, stating they were “disappointed” as performance continued to suffer due to softening global demand for luxury fashion goods. Capri Holdings’ Q1 fiscal 2025 results highlighted these struggles, reporting a 13.2 percent decline in revenue on a reported basis. At Michael Kors, revenue dropped by 14.2 percent to USD 675 million. Retail sales declined by low double digits, while wholesale revenue fell by high double digits. All regions recorded decreases, with revenue down 10 percent in the Americas, 21 percent in EMEA, and 23 percent in Asia.
It is therefore not unexpected that the roles of creative directors at major fashion houses are increasingly likened to pressure cookers. The relentless demand for innovation — coupled with the expectation to produce collections at breakneck speed — has contributed to burnout among designers. This phenomenon echoes the earlier exits of designers like Raf Simons and Phoebe Philo, whose departures also signalled dissatisfaction with the current pace of the industry.
The industry’s ecosystem depends on the delicate balance of creative expression and commercial viability. However, financial restraints and enduring house codes often stifle designers’ abilities to create revolutionary designs. Instead, they are compelled to look back at archival work, reinterpreting classics rather than pioneering new aesthetics. While this approach pays homage to history, it limits opportunities for genuine innovation — a reality that only intensifies the pressure on creative leads.
The Rise and Fall of Independent Visionaries
The exodus of prominent designers underscores the urgent need for structural changes to support independent brands. Solutions such as strategic partnerships, innovative financing models, and collaborative ventures could help level the playing field. Additionally, the rise of digital platforms offers new opportunities for smaller brands to reach global audiences without relying on traditional retail networks.
As the industry evolves, the question remains: Can independent brands thrive in an ecosystem dominated by conglomerates? The answer may lie in their ability to embrace adaptability while staying true to their core values. Founding designers have historically been the lifeblood of their brands, infusing personal artistry and identity into each collection. However, maintaining independence in a fiercely competitive market has become increasingly challenging. The pressures of scaling globally, maintaining relevance, and adapting to shifting consumer preferences often prove overwhelming for standalone brands.
Designers like Dries Van Noten — who once epitomised the triumph of independence — now face an industry dominated by conglomerates such as LVMH and Kering. These corporate giants not only command immense financial resources but also exert significant influence over market trends, distribution channels, and media narratives. For many independent designers, the decision to step down reflects an acknowledgement of these insurmountable challenges.
The Growing Role of Business Executives
Today’s fashion consumer is more informed and discerning than ever. Sustainability and authenticity are no longer optional — they are expected. Gabriela Hearst’s leadership at Chloé was a textbook example of how a brand can embody these values. Her departure raises concerns about whether others can replicate her success in seamlessly blending high fashion with environmental responsibility. While reimagining archival designs has its merits, the industry’s over-reliance on this approach risks stagnation. As Wong notes, “While the creations are works of art, it is nothing new.”
Interestingly, as creative leads vacate their positions, there is a growing reliance on business executives to steer brands. The emphasis is increasingly shifting from creative artistry to profitability and market share. While this approach ensures financial stability, it risks diluting the very creativity that differentiates luxury fashion from mass-market apparel. For emerging designers, the challenges are even more acute. Financial constraints hinder their ability to stage high-profile runway shows or invest in innovative materials. Without substantial resources or backing, young talent struggles to compete with established houses that dominate the media and consumer attention.
The Role of Conglomerates in Shaping the New Guard
Conglomerates play a crucial role in the fashion industry by providing young designers with the financial backing and resources needed to scale their brands. For emerging talents, these corporate giants offer stability, global reach, and the ability to invest in high-quality materials, marketing, and runway shows that would otherwise be out of reach. In return, conglomerates gain access to fresh, innovative perspectives that help reinvigorate established brands. A prime example is Matthieu Blazy. Prior to his appointment at Chanel, he was the creative director at Bottega Veneta under the Kering group. Blazy — known for his distinctive and forward-thinking design approach — was given the platform to elevate Bottega’s status while receiving the support necessary to experiment with new materials and techniques, a luxury independent designers often lack. This symbiotic relationship allows both the designer and the conglomerate to thrive, but it also raises questions about the impact of corporate influence on artistic freedom in fashion.
The dominance of conglomerates in fashion is undeniable, with their ability to attract and nurture fresh talent playing a decisive role in reshaping leadership. One could similarly argue that Chanel’s appointment of Blazy signals a trend of established houses seeking younger, more experimental voices to rejuvenate their brands. This strategy leverages the allure of a fresh perspective while ensuring that the house’s legacy remains intact.
Read More: Here’s Your Recap of Fashion’s Great Creative Director Reshuffle
However, this trend raises concerns about the homogenisation of fashion. With conglomerates prioritising profitability, creative directors often face constraints that limit artistic freedom. While these corporate-backed brands thrive financially, the industry risks losing the unique voices that have historically defined fashion’s avant-garde.
What is Next for Fashion Leadership?
2024’s designer exodus marks a turning point in the fashion industry, challenging traditional notions of leadership and creativity. As founding designers step aside, the onus falls on successors and corporate entities to preserve the essence of these legendary brands. While the influence of conglomerates continues to grow, the enduring appeal of independent artistry reminds us of the importance of diversity in fashion’s creative tapestry. The future of the industry hinges on its ability to balance innovation with legacy, ensuring that the next generation of leaders can sustain the spirit of individuality that defines fashion.
The departures in 2024 highlight an urgent need to re-evaluate the structure of leadership in fashion. Brands must address the unsustainable pace of the industry and create environments where creativity can thrive without compromising mental health. Equally, they must ensure that sustainability and authenticity remain at the forefront of their values — not just as buzzwords, but as guiding principles. As we move into 2025, the challenge for fashion houses will be to strike a balance between innovation and stability, ensuring that the next generation of leaders is prepared to navigate an industry in flux. Whether 2024 will signal a crisis or herald a renaissance in fashion leadership depends largely on how the industry responds to these pivotal changes.
Read More: Opinion: Fashion Industry’s Creative Expression is Impeded by a Broken Ecosystem
For more on the latest fashion reads, click here.
The post 2024’s Designer Exodus – A Turning Point in Fashion Leadership appeared first on LUXUO.
from LUXUO
De Tomaso’s P72 Embodies Nostalgia And Modern Upgrades
from Men's Gear
Monday, December 30, 2024
Binge Season 2 With A Glass Of Black Label Squid Game Edition
from Men's Gear
The Delta Is A Stylish Electric Screwdriver Concept
from Men's Gear
The Ritz-Carlton Invites You To Experience The Nekajui Resort
from Men's Gear
Innovating Eternity: A Conversation with IWC’s Stefan Ihnen
We have a rare treat this issue – an extended discussion with longtime IWC Associate Director of Research & Development Stefan Ihnen. In fact, this issue of Legacy has the distinction of featuring some relatively new voices for our readers – but you can discover that in your own time. In traditional watchmaking, we tend to rethread the same subjects repeatedly and thus it might feel like the same old story. Meeting people at the forefront of innovation in watchmaking changes that dynamic. As far as IWC goes, you are much more likely to hear from the likes of Christoph Grainger-Herr and Christiaan Knoop and we could have gone that route too but when I saw Ihnen’s name on the interview list, I had to have him. Why? The answer is another name: Ronan Keating.
That is a lot of names to dish out in the introduction to a story about one man. And the mention of a pop star from a recent but bygone era will have some of you balking. Since this interview appears in print first, perhaps you were tempted to drop the magazine or maybe even throw it across the room. Still here? Let me explain. IWC collectors of a certain age will recall that Ronan Keating was once a friend of the brand, and he remains a collector of IWC watches – the official relationship is a bit nebulous but you can still see the Irish singer wearing IWC watches.
Sometime in 2007, a good part of the IWC management team descended on KL, Malaysia, for the opening of the brand’s flagship store in Pavilion Kuala Lumpur. On that occasion, I interviewed then-CEO Georges Kern but I paid heed to a young watchmaker and engineer who was with the team. Yes, I was a technical guy right from the start. Anyway, that man was Ihnen and yet we would not have a chance at a proper sit down until this year. After I finished amusing Ihnen mildly with some Keating references, we got down to business.
This being the year of the Eternal Calendar, we did discuss this but we have written about that extensively so this conversation begins, as it should, with Ihnen himself. A rare example of an engineer and watchmaker who trained formally in both, Ihnen actually came up through the IWC apprenticeship programme (see below). He began his watchmaking training in Germany, becoming a master watchmaker in 1997 so he was literally a part of the great wave of hopeful change that broke over traditional watchmaking at the end of the 20th century, and the start of the 21st.
For everyone who loves IWC’s in-house movements and the cool materials the brand uses, Ihnen is the man you want to meet because he built up the research and development unit, almost literally from scratch. His insights into production also reveal a practical side to even brand statement pieces such as the aforementioned Eternal Calendar. Stick around till the end for Ihnen’s thoughts on that, and a brief reminder of how the whole calendar system works.
Let us begin with you, and your long history with IWC. After such a long tenure, what keeps you going?
When I started, research and development was just one small group. Four or five years after I joined, we divided this group into movements and cases, and I managed to take over the movement development part. There was still a lot to do in those days to build up more in-house movements, functionalities… So, I had to grow and structure (the technical department) and that kept me busy, besides all the (specific movement) projects. You know, in the beginning, we were eight or nine people in research and development and now, more than 20 years later, we are almost 50. It was never boring! I keep going with IWC because there is always a new project…some cool new thing; a new step in my career; and new responsibilities.
What is your favourite part of your job?
I still really like movement development although I do not have so much time as did in my early years when I was dedicated to this. Now I’m not so deep into it but as Technical Director, of course I can cherry pick a little bit and when there is a really cool project I can (focus my attentions there). I am in the steering committees so (I have some autonomy in what I want to be more personally involved in) and of course I still do this. Besides this, it’s really the focus on (watchmaking) technique and the focus on people as well. I also really like working with and developing my people. You know, there was a young guy with me 20 years ago who was an apprentice and he is now a team lead, working directly with me, so this is really nice…
You are both a watchmaker and an engineer, which is unusual because most watchmakers are not also engineers! How do you handle the conflicts between those perspectives, and between people in those different roles as well?
You are absolutely right (with regards to the rarity of this combination but not necessarily to the split between watchmaking and engineering, as well as the arising conflicts). In any development area, or in any business when you come up with new stuff and you want to bring it into production, there are (naturally) some doubts. There are the usual questions about whether the new thing is good, if it will work… You always have to overcome these barriers, I would say, and convince people…and I mean this is not just about watchmakers and engineers. The people involved in production of components are in an ideal state when they can just produce parts seamlessly. When you come with a new product, technology, material, the first reaction is always “will it work?” There will be reactions like, “Oh I tried it and it took me half an hour longer than before.” You have to overcome this; it is part of the business, to put it simply.
For me there is no conflict; I am a watchmaker and I am an engineer. Both aspects have to coexist perfectly for the job I’m doing and I’m also searching for people like this (watchmakers who are also engineers) to staff my department. (They are not common) so very often we go for young watchmakers who have the potential (and interest) to go study (engineering). This combination – this profile of watchmaker and engineer – it’s brilliant. It’s good for development; it’s good for policy management; it’s good for industrialisation; and it’s good for work in the laboratory. For me, it’s really a benefit to have both sides…when you have both (watchmaking and engineering) views.
Portugieser Eternal Calendar
On the subject of innovation and production, how do you decide where to direct your energies? Materials and calendars? Chronographs?
Yes, we have to focus a little bit; it is not possible to do everything. In fact, we have (what we call) the innovation roadmap, which is strategic. You mentioned being limited (part of the conversation edited out, this was about IWC’s reputation and standing as a maker of robust watches, with more to do with engineering than fine art) but really it is being true to who we (IWC) are, what we stand for and what we are successful with. I mean, our founder (Florentine Ariosto Jones, of the aforementioned Jones calibre) came to Switzerland in search of resources to make watches on an industrial scale. So, we make complex watches like perpetual calendars and chronographs with fewer parts because that makes them more robust. This is not a limitation but more like a direction.
To be honest, you are also asking about something that involves other elements, like marketing and sales. These decisions are made based on numbers (sales figures and so on) but what I am talking about is the strategic view on (the watches we work on), hence the innovation roadmap. So on the materials side, it is titanium, ceramic and now Ceratanium. On movements, it is (also exactly as you said) calendars and chronographs. IWC is (one of the only ones) with a digital display for years on the perpetual calendar; we have multiple types of moon phase (mechanisms and displays); and we have all kinds of calendars, from full calendars and annual calendars to perpetual calendars and now the Eternal Calendar.
For the Eternal Calendar, everything follows from what (IWC legend) Kurt Klaus did in the 1980s with the perpetual calendar and the moon phase function <see elsewhere this issue – Ed>. For the moon phase, back then we had it accurate to a one-day deviation in 122 years. Later, we get this to a one-day deviation in 577 years! And now, with the Eternal Calendar, we are at something like a one-day deviation in 45 million years!
That remarkable achievement puts you light years ahead of everyone else! It makes me wonder about the practicality of something like the Eternal Calendar, which is a secular calendar. Let us close on this subject: Perpetual calendars will need watchmaker intervention in 2100, so did IWC decide to get ahead of the competition early?
You know, 2100 may seem far away for us, but there are people born now who will see it. Maybe our kids too (or their children). So yeah, the Gregorian calendar itself may change at 4,000CE and we just don’t know yet, even when we talk with physicists (Astrophysicist and science communicator Professor Brian Cox was speaking on this subject at WWG this year). The Eternal Calendar is correct up till that year, which is the best anyone can do (even computers can do no better) and maybe that is a bit too far off for a practical benefit. But 2100? If you think about it, that is not so far away. Watchmakers will have to consider, by 2080 perhaps, if they want to sell a perpetual calendar that will only be perpetual for 20 years or less. At that point, I think we at IWC will be happy to have something like the Eternal Calendar because perpetual calendars are going to fail then for the first time!
Perpetual calendars are made to take into account the form of the Gregorian calendar. While we get into this in- depth last issue, here is the short story, which is needed to make this final point make sense. Leap years add a day in February and every year divisible by four is such a year. But this over-corrects the problem. So, the calendar has more mathematical divisions as a fix. All years divisible by four and 100 are not leap years; if a year is divisible by four, 100 and 400, it is a leap year. Effectively, this means that 2100 is not a leap year and explains why 2000 was. With secular calendars such as IWC’s Eternal Calendar, this is no longer an issue. Ihnen’s point about the year 4,000 CE is reference to a proposed change to the calendar that would take place then but has not been agreed upon.
This article first appeared on WOW’s Legacy 2025 Issue.
For more on the latest in luxury watch reads from WOW, click here.
The post Innovating Eternity: A Conversation with IWC’s Stefan Ihnen appeared first on LUXUO.
from LUXUO
Sunday, December 29, 2024
Defying Gravity: RIMOWA’s Aluminium Heritage
Makings of the RIMOWA Original bag.
(RIMOWA)
When duralumin was first discovered by German metallurgist Alfred Wilm in the early 1900s, no one could have predicted that the aluminium alloy would change the course of aviation. And certainly none could have foreseen it becoming the hallmark of a German brand for decades to come.
Successfully claiming a colour or a unique design or even a motif is quite common for brands, but not many can claim a material like RIMOWA has.
Legend has it that in the 1930s, a fire completely engulfed a RIMOWA factory leaving nothing save for the aluminium. This incident inspired second-generation owner Richard Morszeck to turn to aluminium as a replacement for subsequent RIMOWA creations, instead of its foundational wooden designs. Morszeck had already toyed with the idea in the 1920s, having created the brand’s first aluminium trunk.
The current RIMOWA factory in Cologne, Germany.
(SIMON MENGES)
The thing about claiming something as part of one’s branding is the need for constant innovation in order for the association to stick. A brand can be known for one thing (let’s face it, RIMOWA isn’t just about aluminium) but it doesn’t mean doing the same thing over and over again.
Much like how air travel has changed since, RIMOWA’s aluminium creations too have evolved. Initial aluminium suitcases were trunk-like with no wheels (the horror!) before wheeled luggage became mainstream in 1972; RIMOWA introduced its first Roller suitcase with removable wheels in the very same year. Eventually, the brand streamlined its aluminium offerings into three series: the super sleek Original, the Classic with leather handles, and the polycarbonate-based (another RIMOWA invention) Hybrid framed by aluminium accents.
The current RIMOWA factory in Cologne, Germany.
(SIMON MENGES)
The brand’s iconic grooves became part of RIMOWA’s design language in 1950. Taking inspiration from the all-metal (duralumin, of course), made-in-Germany Junkers F 13 plane that was a significant aviation milestone, the grooves run parallel to the length of every RIMOWA piece. And while the grooved design remains as an identifying element to a large majority of the brand’s creations, it had experimented with other decorative treatments for aluminium. The limited-release Hammerschlag collection for example, was inspired by a Hand-Carry Case from 1966 that featured a “hammer hit” exterior. The textured surface reflects light in ways its flatter predecessors don’t while at the same time, minimises any obvious nicks and bumps of prolonged use.
Over the years, RIMOWA’s presence in luxury has been strengthened not only by its distinctive aesthetic, but also by its steely determination to stick to it while innovating. It’s no longer just a luggage brand; it’s a luxury mobility brand with the aim of creating pieces for every and any movement. The brand’s use of aluminium evolved from protecting travel necessities to keeping just about anything that matters to an individual. Aluminium has been shaped into specific functionality such as vanity cases, an attaché solely for mahjong, and a watch case fit for three timepieces.
Aluminium’s more wearable, everyday functions have seen it being transformed into a number of bags and accessories. The crossbody Personal bags—a crossbody and a sling clutch iterations—have become known for their mini-sized similarities to RIMOWA’s trusted suitcases, but cleverly designed with unique locking mechanisms adapted for heightened ease of use. The brand has even crafted aluminium into a sleek cardholder that opens with a rather sexy swivel, and protects against RFID and NFC technologies.
And if you’re wondering, RIMOWA hasn’t stopped innovating with aluminium. In the last quarter of 2024, the brand released two new aluminium expressions. The Original bag is the brand’s first unisex, multi-carry handbag that takes on the shape of a shrunken suitcase adapted to be carried as a top-handle, a shoulder bag or a crossbody. Then, there’s the limited-edition Original Cabin Optical with a new take on the aluminium suitcase featuring a truly mesmerising interpretation of the grooved design.
RIMOWA’s latest aluminium innovations: the Original Cabin Optical, and the Original bag.
(RIMOWA)
Where will RIMOWA go from here? It has already built its aluminium legacy and will continue to do so. Perhaps, like its high-flying inspirations, the sky is the limit.
This article was first seen on Esquire Singapore.
For more on the latest fashion reads, click here.
The post Defying Gravity: RIMOWA’s Aluminium Heritage appeared first on LUXUO.
from LUXUO
The Icebreaker: An Awesome Full-Metal Mechanical Keyboard
from Men's Gear
BOOX Note Air 4 C: ONYX Releases A Noteworthy Upgrade
from Men's Gear
Saturday, December 28, 2024
Oris Hypes Up ProPilot X Year Of The Snake Limited Edition
from Men's Gear
INEOS Unleashes One-Off Grenadier Kaiju Quartermaster
from Men's Gear
Friday, December 27, 2024
The Innovative Pillar Hair Dryer Also Serves As A Standing Lamp
from Men's Gear
Tesla Mezcal: EV Marque’s Lifestyle Catalog Drops A New Drink
from Men's Gear
Cook Like A Pro With SMEG’s Countertop Combi Steam Oven
from Men's Gear
Custom Line Presents New Flagship
The all-aluminium, sub-500GT Custom Line 50 is the brand’s new flagship and its first metal yacht. Custom Line builds all its fibreglass planing and Navetta displacement models on the west side of the Ferretti Group Superyacht Yard in Ancona, on Italy’s east coast.
However, the Custom Line 50 was built in the east side of the yard, where larger halls produce megayachts by CRN and more recently metal yachts by Riva and Pershing, such as Riva’s 50Metri and 54Metri, and the Pershing 140’.
The Custom Line 50 is the result of collaboration between Ferretti Group’s Strategic Product Committee led by Piero Ferrari and its Superyacht Yard Engineering Department, also based in Ancona. Architect Filippo Salvetti handled the exteriors, while ACPV Architects, founded by Antonio Citterio and Patricia Viel, was responsible for the project architecture and made-to-measure interiors.
Offering 324sqm of outdoor space among a total of over 800sqm of liveable spaces, the Custom Line 50 has an overall length of 49.9m, a beam of 9.6m and a draught of 2.2m, making the yacht suitable for cruising and mooring in shallow waters such as those in the Caribbean and Southeast Asia.
Highlights include a beach club with an infinity pool integrated into the main deck, a bar, sunpad area, central ‘drawer’ transformer platform and two transom sections that fold down. Outdoor areas include a 106sqm sundeck with a hydromassage pool aft, sunbed, sofas, a retractable TV, American Bar and a barbecue area with tables that can be joined to offer dining for 12.
The yacht’s interior includes accommodation for up to 12 guests in the upper-deck master suite and four lower-deck cabins, plus nine crew in five cabins. A lift connects the three interior decks and optionally the sundeck.
On the main deck, the saloon has two large sofas flanked by leather armchairs and pouffes, side tables, a 55-inch TV that drops down from the ceiling, and a dining area with a white Calacatta marble oval table seating up to 12 guests.
Forward is the galley and pantry, plus the captain’s cabin and helm station on a raised mezzanine level. The bow area includes open-air stowage space for a rescue tender and two jetskis, plus a davit.
Custom Line describes the owner-focused upper deck as “an unprecedented feature for the segment … something usually found only on ships over 60m”.
The deck includes a full-beam 75sqm master suite with full-height windows, walk-in wardrobe, en-suite bathroom, custom desk to starboard side and white daybed to port, plus a private forward terrace with sofas and sunpads. The aft end of the deck includes a 60sqm outdoor deck with sofas and a custom table seating 12, plus an indoor skylounge with a 77-inch Bang & Olufsen TV.
Interior materials include Canaletto walnut in the living areas and cabins, Crema d’Orcia marble cladding all bathroom walls, and natural leather for the finishings and detailing of the custom-designed furnishings.
The Custom Line 50 is fitted with two Cat C32 Acert engines providing 1,081kW, which produce a top speed of 16 knots and a range of about 4,500 nautical miles at 10 knots. The yacht has been designed with the SCR (Selective Catalytic Reduction) system and is IMO Tier III-certified.
This story was first seen on Yachtstyle.Co.
For more on the latest in yachting news, click here.
The post Custom Line Presents New Flagship appeared first on LUXUO.
from LUXUO
Thursday, December 26, 2024
Zen From Havenn Tiny Houses Is A Smart, Compact Home
from Men's Gear
HONOR’s Magic V3 Is The Slimmest Foldable Handset For Now
from Men's Gear
Dior Gold House Bangkok Weaves Thai Craftsmanship with Parisian Style
As part of the Dior Around the World odyssey, the Parisian house makes its stop in Bangkok, unveiling an exceptional concept store located in the prestigious Ploenchit district — a captivating retreat amid the bustling city.
The concept store is a harmonious blend of Thai culture and Dior’s renowned savoir-faire. Celebrating the intricate craftsmanship of Thai artisans, with whom Dior worked closely to weave a dialogue that honours Thai heritage. At the same time, it pays homage to the original townhouse at 30 Avenue Montaigne in Paris—the very cradle of Parisian haute couture, founded by Monsieur Dior in 1946.
The site where the Gold House now stands was once a humble carpark, now transformed into an extraordinary space surrounded by lush gardens, where botanical motifs thrive alongside serene water gardens. Mirroring Dior’s Paris HQ, the building is crowned with a mansard roof and features 300 faux windows, each surface exquisitely covered in a million handmade gold mosaic tiles—a shade that remains an eternal hallmark of Dior’s identity.
Stepping inside, you’re transported to the many worlds of Dior — from Maria Grazia Chirui’s ready-to-wear collections to Kim Jones’ menswear featuring shoes, accessories, bags, jewellery. Not to be overlooked, the Dior Maison lines dedicated to table wear are also showcased, seamlessly integrated into the concept store’s design.
Crafted by Dior’s visual merchandising creation and image director, Luca Albero, the interiors are nothing short of exquisite and refined. Signature elements such as Dior’s lucky star to toile de Jouy, or the iconic Plan de Paris print, are beautifully balanced with natural materials such as bamboo, wood, and raffia, creating a harmonious blend of elegance and grounded warmth.
Appreciating the country’s culture and people, the Dior Gold House showcases works by nine emblematic Thai artists, each contributing to its unique narrative. Among the standout installations is a reinterpretation of Bangkok’s iconic tuk-tuk by Saran Yen Panya of 56th Studio. This reimagined tuk-tuk, a vibrant symbol of Thailand’s bustling streets has been transformed into a masterpiece that bridges its local culture and Dior’s elegance. Boldly designed and meticulously crafted, the tuk-tuk stands as both an artistic statement and a playful nod to Thailand’s dynamic urban landscape.
Additionally, visitors are also greeted with installations by Boonserm Premthada, made from elephant footprints and sculptures by Wishulada Panthanuvong that subtly decorate the interiors. Extending the enchantment further, armchairs by Eggarat Wongcharit punctuate one of the boutique’s rooms, while furniture by the Sumphat duo—Rush Pleansuk and Philippe Moisan—balances beauty with functionality, each piece exuding its own singular identity.
Read More: Bangkok’s Luxury Revolution
Lastly, artists Vassana Saima and Savin Saima of Vassana have crafted a series of Lady Dior bags from bamboo, drawing inspiration from traditional floral art. These exquisite creations are showcased in a dedicated space, offering a perfect fusion of heritage and haute couture.
And for a refine treat, seek Café Dior by Mauro Colagreco, where exceptional cuisine meets artistic beauty. The space is adorned with a stunning bamboo installation by Korakot Aromdee, reimagining nature’s flora and fauna in a design that feels almost alive, with plants, flowers, and birds appearing to take shape in three dimensions. This enchanting backdrop perfectly complements the three-Michelin-starred chef’s nature-inspired menu, blending the essence of Christian Dior’s love for the natural world with the Maison’s elegance.
The Dior Gold House is a vibrant union of Thai heritage and Dior’s elegance, celebrating artistry and tradition. It offers an immersive experience, blending culture, craftsmanship, and couture into a harmonious tribute to both Thailand’s legacy and Dior’s timeless vision.
The Dior Gold House is open to the public at 1029 Ploenchit Road, Lumpini, Pathumwan, Bangkok
This article was first seen on Esquire Singapore
For more on the latest in properties and fashion reads, click here.
The post Dior Gold House Bangkok Weaves Thai Craftsmanship with Parisian Style appeared first on LUXUO.
from LUXUO
Subscribe to:
Posts (Atom)