FashionInterview: Adrian Joffe on why he changed his mind about Dover Street Market in Paris
“It felt right,” says Adrian Joffe, president of Comme des Garçons International and Dover Street Market (DSM) International. He keeps returning to this phrase when discussing the opening of DSM’s first Paris outpost in Hôtel des Coulanges, a 17th-century landmark that once belonged to French aristocrat and writer Madame de Sevigné. Joffe, (pictured), had a good feeling about the formerhôtel particulierwhen he first entered its courtyard. His instinct guided him to renovate the historic property alongside revered Comme des Garçons designer Rei Kawakubo, his partner in both business and life. The duo converted the space into both an office for DSM’s retail and brand-development teams, and a multi-brand boutique complete with a Rose Bakery café. Kawakubo designed the interiors, which feature futuristic steel displays spread across the shop floor, while Joffe was in charge of the buying. “We knew that we wanted to open another DSM,” says Joffe, dressed in his usual all-black uniform as he sits in his minimalist top-floor office. “Our aim is still to create beautiful chaos – but in a new way.”Joffe started working for Comme des Garçons in 1987 in Paris and has since become a true Le Marais local and a fluent French speaker. Despite this, he has previously said that Paris “didn’t deserve” its own DSM. “I like to contradict myself,” he says now. “It’s probably a character flaw; I have nothing against the city.”The opening comes at a pivotal time for both DSM and the retail industry, which is moving away from traditional wholesale modelling. Many retailers are relinquishing control of shop floors to luxury brands operating on a concession basis. But DSM Paris, which describes itself as an “anti-department store”, is going against this ascendent formula. The shop’s exterior bears no logos or window displays, while clothing from various labels is mixed together inside the spaceship-like structure: jackets by Prada are hung next to leather items by Bottega Veneta and dresses by Simone Rocha. It’s this free spirit – and Joffe’s ability to convince designers to take bigger risks – that has allowed him to shape the future of up-and-coming brands and build a community of DSM loyalists. Supporters range from milliner Stephen Jones and retailer Carla Sozzani to Jean Paul Gaultier – all of whom paid Joffe a visit in Paris to toast the new opening. Joffe might be one of the few retail executives still guided by instinct and creativity rather than data. But he’s also aware that the company needs to turn a profit to stay alive. Here, he tells Monocle about his plans to achieve this, as well as the DSM business model and his vision for the future of Comme des Garçons Parfums.Why did you decide to open Dover Street Market Paris and why in Le Marais?We had known for some time that we wanted to establish a Paris outpost and had been thinking about where it could be. We knew that we didn’t want it to be on main streets such as Avenue Montaigne or Rue Saint-Honoré. This has always been the DSM way, to occupy areas that are outside [the luxury sphere] or about to be developed.Interiors designed by Rei KawakuboWe were open to any kind of interesting place. The feeling, atmosphere and feng shui of a space was a lot more important than the location. I had my doubts about Le Marais because it’s very touristic but we had to choose a central area. Parisians can be a little lazy; they don’t like to go too far out of their way to shop. Every city is different. In London and New York, people are willing to travel from far and wide to get to DSM and, in Singapore, they go to [retail enclave] Dempsey Hill.What’s your relationship with Paris?Rei has always said that if she were to venture outside Japan, she would go to Paris. For her, it’s the most important city in the fashion world. In 2016, I said that it didn’t deserve a DSM but a lot has happened to make me change my mind over the past eight years. Paris seemed to be losing its spark for a while. Many of my friends were moving to Berlin and international avantgarde films, which traditionally debuted in Paris, were showing in London or Venice. The city was becoming less creative. After Brexit and the coronavirus pandemic, however, people became tired of cities such as Berlin and more creatives returned to the French capital. Everyone now says that Paris is the place to be. The atmosphere and energy are so good.Then again, the rise of the far-right is scary. Macron is a decent politician but his decision to call an election right before the Olympics was arrogant. As designers, we have to remain optimistic, believe in what we do and try to always offer alternatives. I’m not saying that we can solve the political situation – but we’re here and we stand for a different perspective. You used the new Dover Street Market location as a cultural centre to host fashion shows and exhibitions before opening the permanent shop. How did that influence the final concept?We fell in love with the building because it used to be a home. It has such perfect proportions and a beautiful garden. We thought that we would be able to do great things here one day and knew that we wanted to make the property more energetic inside. It felt restricted by its 19th-century aristocratic beauty, so we had to modify the structure and liberate the walls. From there, we kept developing ways to make the shop different. We wanted to create a new DSM that felt as though it had moved on from the other six locations, not that there’s anything wrong with them. The shop has a no-logo policyOther DSM shops have event spaces, where there are pop-ups, launches and book signings. Brands can come and do what they like. But we didn’t want that to be the case here. Yes, the building is more permanent than a pop-up but everything eventually comes to an end. For that reason, I like calling the shop an event.It is also a small space, so we played around with the layout: our offices are upstairs and a Paolo Roversi exhibition is outside. The shop is just one of the things happening here. Anything that we do in the courtyard and café is separate. The building is what holds it all together.How did the new set-up affect the interior design?We knew that there needed to be something different about its visual identity, not only because of the history of the building but also because the shop wasn’t the sole focus of our operations. We share rent with the brand-development division of DSM here. The shop wouldn’t be able to survive on its own. To differentiate ourselves from our other sites, we had to understand and agree on the design. How could we take it to the next level? For Rei, the answer was simple: she would design it all. I thought, “Perfect.” That’s how we created this point of difference. At a time when so much power and control is held by luxury houses, it felt like the right move. There’s so much ego in fashion; it’s all about logos and labels. We decided not to create any dedicated brand spaces. It’s all egalitarian. Four major luxury brands – Prada, Miu Miu, Balenciaga and Bottega Veneta – agreed to be here next to up-and-coming names. How do you achieve the right mix?We need powerful brands to want to be in our shop. But there seems to be less room for smaller, independent labels to grow in today’s market. More well-established houses are eager to get inside younger companies to draw on their energy and their creativity. The problem is that bigger brands usually swallow them up rather than raise them high. Carla SozzaniJean Paul GaultierI don’t want to give the impression that we are trying to save independent designers. Some luxury brands are amazing too. They accept our approach and agree that we have to find alternative ways of doing things. I want to give everybody, including well-known labels, the chance to change and adopt working practices that aren’t driven by ego, power and profit. If we don’t, then the industry will fall apart.What’s your buying strategy?DSM is famous for mixing together products from different brands. We were the first company to put Prada next to Supreme on a shop floor. Everyone was wondering what was going on and who our target audience was. Today streetwear and luxury are heavily linked. There are some brands that sell hoodies for $2,000 (€1,840). It doesn’t make any sense. So I thought that here, we would have less of these so-called “categories”. I wanted to move away from the borders that fashion has created. Definitions, categorisation and departmentalisation are all tied to a very old way of thinking. It explains the demise of the department store, especially in the US. The very word suggests that items are being separated, which is illogical these days. Our way of buying is about that big, beautiful middle ground: brands that have something to say. This is also the heart of the business. We have always wanted to give spaces to people with a vision.Will the pieces on display represent a mix of price points?Luxury pricing is depressing; I don’t know how long it can go on for. I look for reasonably priced pieces, particularly when it comes to young designers. I explain to them that they’re not obliged to follow the corporate way of doing things. If it costs €10, you don’t need to charge €50. That model is wrong. If you want to cover your expenses and do some marketing, then you could charge €25. They don’t teach this enough in schools. Is streetwear still relevant?There are still great brands. Take Denim Tears, Online Ceramics and Humanmade by Pharrell, which is an example of a label with good intentions. If a streetwear producer is sincere, well-maintained and run by the people who started it, then it will stay relevant. What I think happened was that too many people tried to jump on the bandwagon; not necessarily luxury houses but perhaps Italian conglomerates. They tried to make streetwear and it didn’t work. It happens all the time. Major corporations see the opportunity to turn a profit from trends, such as tartan and punk, so they start producing clothes in these styles and strip all of the feeling from them. Brands have made a lot of money by doing this but it has ruined the market in many ways. Categories become too mainstream and, therefore, less authentic. People are seeking more authenticity now. Opening of DSM ParisYou have never embraced the idea of window-shopping at DSM. But in Paris, you seem to have stripped things back even further. Why?Rei never liked windows. When we first opened in Paris, people would pass by and wonder, “Where’s the shop? Why don’t you make it more obvious?” That was good. I explained to them that it was because we wanted to incite curiosity. You take away the satisfaction of having found something yourself when a brand is in your face and you hear that it’s the place to go. If you keep a sense of curiosity and adventure alive, you’ll get much more out of your shopping experience. You’re not told by social media or any form of advertising what to do. It’s an opportunity to make people feel a little more free.Can you maintain this sense of freedom and ‘beautiful chaos’ while also making the store profitable in the long term?Profit has never been our main goal. What we want to do is to create something new and different. This has been the DNA of Comme des Garçons for 55 years and DSM for 20 years. But, of course, the aim of a business is to survive. We have never needed to make huge profits but we do need to make money. Our model works: every shop was profitable before the coronavirus pandemic. That time was problematic but we have to continue to believe in the model. So far everything is going according to plan in Paris. We have actually had the problem of there being too many people in the shop, especially during the weekend when there might be between 4,000 and 5,000 customers. I don’t want us to become like the Eiffel Tower or the Louvre but it’s great to see the excitement. We will make it work. It’s also important to have additional activities for people to engage with, such as the Paolo Roversi exhibition in the courtyard. Who are the customers who have been walking into the shop?There are a range of customers and we value all of them. Some people purchase items such as our €13,000 Prada jacket but others just come for a cup of coffee and stay for an hour. The feedback that I have enjoyed the most is that people feel at home, whether they’re here to shop or see an exhibition. The staff have also been told not to try to sell and instead allow people to have a look and, perhaps, come back later. What types of companies is your in-house brand-development team interested in working with?We want to collaborate with fashion labels that do things outside the norm. An example is former Saint Laurent creative director Stefano Pilati’s Random Identities. Tailoring, streetwear and leather goods are all part of his brand’s offering. You also have to like the people behind the clothing; personal relationships are key. They have to be patient and not too ambitious. We’re all too busy to work with egomaniacs. It’s important to have talent but not be too greedy and want to become the next Yves Saint Laurent overnight. It takes hard work – and that’s very humbling. New York-based label Vaquera has been around for 10 years but I still think that it has so much unrealised potential. We have to work harder to make sure that it’s where it needs to be. We’re even discussing the possibility of it setting up shop in Paris. I’m very excited about what that could look like. The brand is our number-one best-seller. Miu Miu is number two. It’s very encouraging so far. Comme des Garçons Parfums is about to turn 30. What’s next for that part of the business?We agreed to do perfume when I took over the business. I wanted to be independent from the Tokyo branch; introducing a perfume and a Comme des Garçons shirt brand were two of the ways that we achieved this. Rei agreed, as long as we kept the same level of creativity and DNA of Comme des Garçons. For me, fragrance offers many different ways to be imaginative.We haven’t come up with a new scent for a long time but we’re now working on eight amazing projects. We hope to launch one new perfume, Odeur 10, this year and publish a photo book with all of our achievements from the past 30 years. We have a great reputation in the fragrance industry but the business is tiny in proportion. We barely turn over €6m per year and have just three members of staff, so a lot of my energy will go into expanding this part of our offering next. Brands tend to license fragrances, which keeps them detached from the creative side of the business. How have you resisted this model?We initially signed a licensing deal with Puig, which has now ended. The company grew and became very successful, so it needed to either buy out our entire business or stop making our fragrances. In the end it couldn’t continue to produce our range. But it was amazing that Puig had accepted the offer to work with us and allowed me to continue to do what I liked. After about 20 years, we thought that it was time to part ways. We’re still very good friends. It has been beneficial to keep the perfume business a small operation. Instead of selling it, we want to put the energy into it ourselves to make it the best that it can be.Who do you want to collaborate with next?We’re working with one of the artists from the Dia Art Foundation in New York to create a perfume for the company’s 50th anniversary. Other brands now want us to create fragrances for them – but they have to know what they want. What does the label smell like? I always tell them that they shouldn’t expect to start seeing a profit immediately. Above all else, you need to want to make a scent that reflects the image of the brand. If it’s really successful, then you can sell it to anyone. But I can’t produce huge quantities from the get-go and other fashion houses need to agree to that first, otherwise they’ll be disappointed. I’m also producing a perfume for Vaquera and working with a musician to create a bespoke fragrance. I like to draw from a wide pool of creatives.
FashionHow to Get Dressed: Japan’s Style Veteran Hirofumi Kurino Shares his Tips
Japan’s sartorial big hitters have long intrigued the fashion world – and Hirofumi Kurino is right up there as one of the most influential figures in menswear. A co-founder of Japanese fashion retailer United Arrows (UA), where he is now a senior adviser, Kurino’s signature blend of high and low – a tailored jacket and New Balance trainers – is easy to admire and hard to imitate. Relentlessly snapped by street photographers, Kurino knows how to appreciate craftsmanship, whether in an Italian shirt, Japanese wool trousers or a good tweed, but he will happily try something new.Comfortable in his own skin, unfailingly courteous and curious about the world, Kurino, who is also a consultant for Japanese manufacturing organisation J-Quality, is the embodiment of great style. monocle meets him in the fashion archive of UA’s Tokyo HQ to talk about the art of getting dressed.How do you decide what to wear every morning?There’s no formula. Sometimes I choose my clothes the night before, sometimes I decide in the morning. It depends if I have a certain image in my mind. I prefer natural fabrics but I’m open to any material or silhouette. Colour is key for me when I’m choosing what to wear; it’s more important than the fit. Royal blue is my favourite. I dress for myself, and maybe for friends who appreciate my style but I’m not interested in showing off or thinking about whether someone is going to photograph me. If I head out in the morning and something doesn’t feel right – maybe the socks are wrong – I’ll turn back. My wife and daughter are the same.Anything you steer away from?I don’t like rules for dressing and I think age is irrelevant but I do avoid logos and big luxury brands, and I don’t like pre-ripped jeans. If my jeans tear naturally, that’s different.Who or what influences your style?When I was at school in Setagaya in Tokyo, my first style idol was Sean Connery inFrom Russiawith Love, even if I couldn’t afford to replicate his sharp suits at that age. I loved The Beatles too. I also DJ for friends from time to time. I was buying vinyl in the 1960s, switched to CDs and now I’m back with vinyl again, so album covers such asNursery Cryme[Genesis, 1971] orNew Boots and Panties!![Ian Dury, 1977] can be big style inspirations. I draw a lot from travelling. I recently did a 17-day trip to Europe and attended Dries Van Noten’s final show in Paris, which was very emotional. He did 129 shows in his career and I went to 125 of them.You spend so much time on the road. How do you pack for a trip?I’m good at packing a capsule wardrobe and I like a soft Eastpak holdall on wheels. I have 10 of them. What are your wardrobe staples?I still wear a lot of jackets and suits. I’m a big fan of Caruso suits; I love the way they’re relaxed but elegant. I wear shirts from all over the place, but UA is probably the biggest buyer of [Neapolitan shirtmaker] Salvatore Piccolo. I’ve also ended up with an encyclopedic knowledge of white T-shirts and Uniqlo has one of the best. I’m interested in mass production and love the socks from my nearby supermarket. I also go to a local barber. I’ve had my hair the same way for 30 years – if I go somewhere fancy my hair will look the way the stylist wants and not like me. Which young labels are you currently enjoying?Recently, I’ve been interested in Wales Bonner and SS Daley [from London] as well as [Milan-based Japanese label] Setchu. A black Setchu blazer that I have is amazing, it folds up into a B4 envelope and the creases are built in. You just have to hope that nobody tries to iron them out. Are you still excited about fashion?If I think about fashion as trends or big companies, I’m not so thrilled. But if I think about creation, craftsmanship and interesting people, then I’m excited.
FashionBrooklyn boutique L’Ensemble proves that privacy and intimacy are the new luxury
These days, whether you’re trying to buy a designer handbag or a freshly baked croissant, you’ll probably end up waiting in line. Sometimes you’ll need to sign up via a QR code first; as soon as your time slot or appointment is over, you’ll be rushed off to make way for the next customer. Queueing culture is particularly evident in New York, where residents and visitors alike line up for everything from ready-to-wear ensembles on Madison Avenue to cookies from Soho’s Levain Bakery.But not everyone is happy to wait and some are lamenting the loss of shops such as Barneys, Opening Ceremony or Odin. Luckily, a new generation of retailers is emerging to fill the gap, obviating the need for queues by doubling down on personal service and privacy: think by-appointment showrooms, one-on-one consultations and sharp product picks.Among the leading figures of this new wave of retail experiences is former fashion buyer Dawn Nguyen. Last year she opened L’Ensemble, a multi-brand boutique in Brooklyn’s Dumbo neighbourhood. Crafted with interior designer Patrick Bozeman, the dimly lit space is furnished with mid-century pieces, such as chairs by Afra and Tobia Scarpa, and dotted with wood sculptures by Chandler McLellan. It already has a regular clientele of fashionable New Yorkers and a shopfront space is in the works for 2025.L’EnsembleSelection of accessories“It was very difficult to find a place to shop,” says Nguyen, explaining what inspired her to start the business. “A lot of the multi-brand stores these days are either too hyped, too young or too mature.” So she set out to replicate the kinds of experiences that she would have when visiting brands’ showrooms for work. “As a buyer, you get to go behind the scenes and have conversations with extremely knowledgeable brand representatives,” she tells Monocle. “That allows you to learn the stories behind every collection. There’s so much intention behind the details. I thought that this type of experience should become part of everyday retail.”L’Ensemble has no obvious signage. It’s set on a quiet cobbled street between residential neighbourhoods – a far cry from the bustling retail spaces across the East River. “It was tricky at first,” says Nguyen. “You have to work on strong marketing from the back end when you’re not getting any foot traffic.”The shop’s intimacy reflects a broader appetite for one-on-one service and discretion that is increasingly shared by discerning larger-scale retailers and global luxury brands. Labels at the pinnacle of the luxury sector are turning to client dinners and money-can’t-buy experiences that are held behind closed doors. Many businesses are now investing in personal-shopping teams instead of influencer marketing, while some of the most exclusive members’ clubs ask visitors to stick a tape on their iPhone cameras before entering.In a way, L’Ensemble has itself become a kind of private member’s club, with regulars booking appointments to shop for all of their special occasions. Consultations can be arranged in advance; after a quick chat, the team puts together a selection that’s tailored to every customer’s needs. Are privacy and discretion the new luxury? “Customers enjoy how everything is personalised,” says Nguyen. “And they’re not being rushed. It means that they can really get behind their purchases.”Inside the industrial-looking spaceSound adviceRather than following runway trends, L’Ensemble’s clothing selection responds to the specific needs of customers. Inside the showroom, you’ll find neat rails lined with brands that usually fly under the radar in New York: coats from Copenhagen’s Sunflower, for example, as well as sweaters from Amsterdam’s Extreme Cashmere and leather derbies from French brand Paraboot. There’s a strong vision here: someone has clearly thought very hard about every item. “I usually pick brands that make very wearable pieces,” says Nguyen, who initially studied menswear design at New York’s Fashion Institute of Technology and finds herself drawn to unisex items. “Showcasing brands that don’t have much distribution is important to me.”For Nguyen, displaying her finds in the right physical environment and being on the shop floor to meet customers are also crucial. “Things don’t really translate well online, especially with brands that are quite luxurious,” she says. “You’ve got to feel [the items] and see how they look in real life.” Nguyen is usually on hand when customers visit; she also personally responds to their emails. “Being on the ground is what I’m used to. I like talking to clients. A lot of people come in with a specific need. You have to speak to them and allow them to open up. You really need that connection with them.”Exclusivity isn’t the priority here. Whether customers are seeking styling advice or simply want to have items waiting for them in a dressing room, Nguyen ensures that the mood stays relaxed. She also makes a point of offering pieces at a range of prices – from $90 (€87) T-shirts up to $5,800 (€5,660) trench coats. “Nobody is buying $5,800 trench coats every day,” she says. “It’s important to represent all levels. The store is for everybody.” It’s also why the shop is now introducing drop-in consultations that don’t need to be booked in advance. “We’ll make sure that we always have enough staff to take care of clients individually.”L’Ensemble is preparing to move to a bigger, street-level Dumbo location later this year that will continue to offer one-on-one services. “People look for experiences and want to be in a place that’s thoughtful,” says Nguyen. “I don’t see myself as being in the business of fashion or retail. I’m in the business of hospitality.” — Llensemble.us
FashionThe only clothes you need for a short-haul sojourn
Take elegance with youThe weekend wonderSuitcase byRimowa,travel bag byFelisifromTrunkMake a case for styleThe ideal short-haul pack1. Suitcase byRimowa2. Gilet by LavenhamfromSon of a Stag3. Wallet byHender Scheme4. Coin case byHender Scheme5. Trainers byHoka One OnefromMytheresa6. Jacket byMontedorofromSlowear7. Bag by Hender Scheme8. Cap byKestin9. T-shirt byLaminar10. Jacket byGoldwin 011. Washbag byCarhartt WIP12. Shirts byAuraleefromMytheresa13. Ties byBigifromTrunk14. Umbrella byBluntfromTrunk15. Knit jacket by Artknit Studios16. Glasses and sunglasses byLunetterie Générale17. T-shirts and underwear byHåndvaerk18. Pocket squares by Simonnot-GodardfromTrunk19. Socks byUniqlo20. Reversible bucket byTopologie21. Jacket byCanaliBrave the elementsThe all-important layersSweatshirt and beanie byDrei BergefromA Young HikerKeep in step with comfortThe goody two-shoesBoots bySouth2 West8xDanner,shoes byVisvimfromMytheresaStrut the streetsHead-to-toe neutrals1. Trainers byNew Balance2. Trousers byHermès3. Bag byLaminar4. Socks byThunders Love5. Gilet by East Harbour SurplusfromSon of a Stag6. Coat byCasey/Casey7. Wool T-shirt by Artknit Studios8. Cap by Saint LaurentbyAnthony VaccarelloGo casualThe full monty1. Bag bySease2. Trainers byNew Balance3. Shirt byKestin4. Jacket and trousers by Unfeigned5. Spirit Zulu Time watch byLongines6. Shoes byJM Weston7. Jumper by Artknit Studios8. Cap byHermès9. Gilet by Massimo Osti Studio10. Jacket byNorse Projects11. Reversible bucket and phone sacoche byTopologie12. Socks byThunders Love13. Key holder byCinabre14. Trousers byNanamica
FashionInterview: What Clare Waight Keller has learned as Uniqlo’s creative director
Of all the people to become Uniqlo’s first global creative director, British fashion designer Clare Waight Keller wasn’t perhaps the obvious choice. Her CV is more haute than high street, including working for Gucci in its Tom Ford heyday and leading the revival of Parisian label Chloé. After leaving her last post as creative director of Givenchy in 2020, she took a two-year pause to reflect on the future of fashion and her own place in the industry. She concluded that there was more to learn by working with a Japanese high-street giant than another European luxury house. After spending time in Tokyo to work on a collaboration with Uniqlo (the now bestselling Uniqlo:C line), she began to imagine a bigger remit with the brand, and her new job announcement followed in late 2024.“I have been thinking about where fashion will go in the next 10 to 15 years,” says Waight Keller, who is now based between southwest London and Uniqlo’s head offices in Tokyo. “Where I see the most interest and growth is in Asia.” Wrapped in a cosy, grey coat from her Uniqlo:C line, her eyes light up when she speaks about the advances in hospitality, architecture and fabric development that she has discovered during her travels. As luxury becomes more mainstream, Waight Keller believes that there are new opportunities for high-street brands to improve on quality and design to reach customers looking for value rather than status. Here, she shares her plans for 2025.Why choose Uniqlo instead of returning to luxury?I’ve always taken quite surprising moves in my career. Over the past decade or two, many people have said to me, “Oh my God, I didn’t expect to see you there.” But that’s part of what I search for: the surprise, the challenge. As a designer, it’s very easy to do the same type of job under a different umbrella. That might be a great career move but it’s familiar. I’m only on this planet for a short amount of time, so I just want to make it as interesting as possible.I spent a lot of time in Tokyo working with the team on my collaboration collection. During that time, I was getting involved in a lot of the meetings and discussions, so we started thinking that this could be a bigger opportunity. The brand itself is so well-loved and it is one of the few brands on the high street that’s also known for innovation. That for me was the big draw.What are the opportunities and challenges of working at a bigger, better-known brand?One designer I got to know really well when I was living in Paris was the late Karl Lagerfeld. I always admired his chameleon-like approach to working for different brands such as Chanel, Fendi and Chloé. I admired the fact that he morphed every time. He was one of those designers who tried to immerse himself in the storytelling of the brand and to bring his own flavour to it. I’m the same way: I’m not a designer who imposes my look on a brand. With certain designers today, you know what you’re getting when they move and that’s reassuring for a lot of people. But I like immersing myself in the story of the house and trying to thread a new chapter. It’s not my chapter; it’s the company’s chapter. The company will be around much longer than I will, so for me it’s about translating that and making it relevant to the moment.Why is this company-first design approach so rare?It’s partly because of the lack of women in our industry. Women have a different approach and a different way of designing; it’s very customer-centric in that sense. I know people don’t think customers are sexy to talk about but ultimately they are the people who buy your product. Just having a model as your only idea of the true vision of your brand? Sorry, but I find that very limiting.How has your approach changed since you started working on your first collaboration with Uniqlo?It has changed vastly. I’m suddenly seeing my jacket in a full range of sizes and I want to make it look amazing in every size, so I might add some shape on the upper back or a little more hip volume. Otherwise, it’s lazy design. As a designer, you need to adapt; you have an ability to create and be thoughtful about the product you’re using. It’s the same when someone is designing a chair: they need to think about the different people who will sit on it, about supporting the back or getting the dimensions correct so that the legs aren’t floating around. You have to find solutions to problems and do it beautifully.What changes should we expect to see on Uniqlo shop floors in 2025?I oversee everything except for the childrenswear. All the menswear, womenswear, all the socks – everything that you regularly see in a Uniqlo shop is now part of my design remit. The biggest change you’ll see is definitely colour, which is something I’m working on constantly, even on those classic lines we rarely touch. This season, for instance, there’s the new cashmere palette and I selected every one of the 50 shades. Then there’s the new seasonal shapes: new trouser silhouettes; new ultra-light Blocktech jackets; and a new Puffertech coming in. We’re also trying to introduce recycled programmes as much as possible – our biggest issue is actually people not donating enough, if you can believe it. So anyone who has any extra nylons or downs, please bring them to a Uniqlo shop and we’ll make you a new one.A lot of luxury customers rely on Uniqlo for their basics. Is our definition of luxury changing?I see people dressing both high and low. A lot of luxury is unaffordable and that’s a challenge for many people who love fashion. There is, of course, the secondhand market but there is a real need for those really well-made, well-priced value pieces such as the Uniqlo Airism T-shirt or the cashmere jumpers. I’ve been buying Uniqlo cashmere for 10 years and it’s a great product. It lasts so long – all you need to do is maybe add a new colour or a slightly different proportion. It’s a new way of looking at brands.There’s also an interesting shift with the high-street brands trying to raise the bar in terms of their image and the people they collaborate with, including photographers and stylists. There’s less discrepancy in image between high street and luxury. Maybe there’s still some when it comes to quality but it depends on how you put it together. I genuinely look at a lot of the Uniqlo products – like a fully unlined, tailored jacket – and I can’t believe how high the quality is. It’s because of the high standards Uniqlo abides by, the attention to detail and the precision it puts into things. It’s cultural, which is why, as a designer, it’s so amazing to work in Tokyo.Is Asia now playing a bigger role in setting the global fashion agenda?It’s interesting to look at what Asia is doing and realise there’s a lot of value in what it can bring to the table. I spent so much time in Western markets and Western companies, and we were always looking to the East but were never part of the East. There has been a blanket approach when it comes to Asia but it’s so vastly different and there are so many exciting developments happening across the continent. The general trope is cheap manufacturing, which isn’t true any more. There’s an understanding that’s really vast in terms of technology and the future; it is more open-minded and experimental because it has a comfort level with development. In Europe, we would probably be considered sleepier in the way that we approach things. Certainly, manufacturing is very slow. In Asia, the emergence of K-pop, K-beauty, the restaurant scene, the way cities are being developed, the architects working over there – it’s extremely dynamic.What are your predictions for the broader fashion industry in 2025?Coronavirus obviously created this massive growth spurt that everyone enjoyed tremendously but since then we’ve experienced this feeling of being on the crest of a wave. Sometimes you don’t see when it’s going to crash and fall because you’re on the wave. There needs to be some sort of adjustment and that comes with going back and understanding why people love that brand and why it should exist. These are the classic questions that you ask if you’re in brand marketing: why you’re there, what’s the reason behind what you’re doing and why would people buy it. But you should be able to answer those questions concretely. It’s not enough to just make a new T-shirt. There has been an era in fashion when just putting out a brand name was enough and that has certainly played out really well, but maybe we need to look back at design now and those reasons that are more intrinsic to why you want to buy a product and how it links back to a brand. Yes, there’s always going to be an element of status but, ultimately, people need quality.
FashionHomeware brand Via Arno debuts to provide a commercial platform for artisans
After walking around this year’s Homo Faber, the Venice biennial dedicated to craftsmanship that took place in the grounds of a former monastery on the San Giorgio Maggiore island, visitors were invited to step into a quiet refuge tucked away next to the lagoon. This was the home of the event’s bookshop but also the first physical manifestation of something more ambitious: Via Arno, a new start-up from luxury behemoth Richemont. It made its debut this autumn. Its mission: to promote the “beauty and spirit of human making”.Richemont, which owns jewellery and watch houses from Van Cleef&Arpels to Cartier, has long relied on craft to create best-in-class pieces. With Via Arno, the group is paying it forward by giving artisans a new global platform, connecting them with buyers and helping to safeguard their vocations.‘La Cicchetteria’ at Via Arno salon, with mural by João IncertiArtist Giberto Valenti Arrivabene GonzagaStepping inside Via Arno’s Venice pop-up feels like entering an impeccably decorated living room or, perhaps, given the corner bar and piano, the lobby of a hotel. A wall mural by Mayeul Gauvin is flanked by multiple mirrors; soft rugs and a host of other design objects are scattered throughout the space. At the centre of it all, Annia Spiliopoulos, CEO and co-founder of Via Arno, sweeps in to greet Monocle in a flowing red dress. A trained classical ballet dancer from Greece who went on to work in film and music, she is a long-time resident of London, where Via Arno is headquartered.Spiliopoulos is clear about what Via Arno is and is not. “This is human-made craft,” she says. “Design comes into it but it’s not design. It’s the woodworker applying their skills, or a marquetry maker or candle maker.” In short, Via Arno aims to provide a commercial platform for artisans from around the globe to sell often bespoke or custom-made goods.‘La Cicchetteria’ at Via AAnnia Spiliopoulos, Via Arno’s co-founder and CEOVia Arno salon detailSpiliopoulos admits that she is still fine-tuning the details with her team but she envisions the bulk of Via Arno’s business being B2B. It will work with companies and architects that need to furnish homes or offices with unique pieces. Potential customers will be able to browse and shop on Via Arno’s soon-to-launch website. The platform will tell the stories of the 800 or so people it works with – a number set to grow as the company expands. The artisans, in turn, pay a service fee for each transaction.The fledgling business doesn’t have plans for a permanent showroom for now, relying on select events such as Venice’s Homo Faber and online retail channels. When it comes to the latter, Spiliopoulos is keen to point out that Via Arno isn’t striving to be the next Amazon or Etsy. For one, people need to be happy to wait for what they’ve ordered; the artisans, each selected for their expertise, work at their own pace. “If you want to hit a certain level of excellence, it’s a smaller crowd,” she adds.At first glance, the objects on display at the Homo Faber salon – from an espresso cup from Kihara in Japan to a stool from Brazil’s Fernando Mendes – may seem different to the rest of the Richemont portfolio. Founded by South African magnate Johann Rupert and based in Bellevue, Richemont has become an authority in jewellery and watches (Montblanc, A Lange&Söhne and Vacheron Constantin are also part of its portfolio) and has planted its foot in fashion with the likes of Dunhill and Chloé. But just as luxury conglomerates such as Chanel and LVMH have looked to safeguard craft by acquiring artisanal workshops and spearheading Métiers d’Art programmes, Richemont is equally committed to the idea. “Richemont has a tradition of long-term investing in craft,” says Spiliopoulos. “It’s a sensibility that cuts through the whole group.”Objects on display at this year’s Homo Faber in VeniceRichemont runs an annual craftsmanship programme that hunts for new talent in timepiece and jewellery making, while Rupert is also the co-founder of the non-profit Michelangelo Foundation for Creativity and Craftsmanship (which sponsors Homo Faber). Clearly, his connections in the craft world are helping to lay the foundations for Via Arno and will prove invaluable when the business looks to scale.Like other Métiers d’Arts programmes looking to protect specific skills and traditions, there’s an existential element to Via Arno. Spiliopoulos and her team are aware of the ways in which machines have been eliminating craft jobs – a pattern bound to accelerate with the rise of artificial intelligence. Via Arno’s artisans are offered as the resistance to this shape-shifting world. “With the onset of rapid developments in technology, what is left of the human element in anything that we do?” says Spiliopoulos. Via Arno is a celebration of what its CEO calls “human faculties” and our ability to create beautiful objects that are the product of hours of toil and patience.It’s an ambitious undertaking with a vast scope, spanning what Spiliopoulos broadly defines as “lifestyle”. While there are prerequisites – artisans must operate independently and be transparent about the provenance of the materials they use – a Via Arno item could be anything from a pair of earrings to a set of golf clubs or even a boat. In fact, an example of the latter is bobbing on the water a short walk from the Homo Faber site. A pristine vessel with distinctly mid-century aesthetics from Swedish builder J Craft, it comes in at more than €1m. Just like Spiliopoulos, who says that Via Arno works with artisans with at least a decade of experience, the craftspeople behind J Craft take time to mature. “I employed two people a few years ago with 20 years of experience in leisure boats,” says chief technical officer Johan Hallen. “I consider them boat builders but not ready to build a J Craft.”As Via Arno navigates its own waters, it will have to question everything about the luxury landscape, even the definition of craft itself – a word so frequently used by brands that it has started to lose its meaning. How will Via Arno renew it? “Here [at Homo Faber] you’re starting to get a taste of what Via Arno stands for – and that’s the only way,” says Spiliopoulos. “I invite you to find something in here that, whether it’s to your taste or not, is not beautiful and made with love.”
FashionMaking time: The Finnish school shaping the future of watchmaking
Kelloseppäkoulu, The Finnish School of Watchmaking, is one of the watch industry’s best-kept secrets. But for those in the know it is considered to be one of the world’s most prestigious watchmaking schools, with Swiss heritage labels such as Rolex and Patek Philippe trying to recruit its students before graduation. Alumni include the likes of Kari Voutilainen and Stepan Sarpaneva, who regularly receive some of the top honours at the annual Grand Prix d’Horlogerie de Genève.Teacher Vesa Kulkki holds a micrometreSarpaneva LunationsDespite its successes, Kelloseppäkoulu is relatively unknown outside the tight-knit circles of watch enthusiasts. Securing a place on the school’s three-year training course, which doesn’t charge tuition fees, can seem impossible: Kelloseppäkoulu has only admitted a maximum of 30 Finnish students a year since it was founded in 1944. But things are changing. In an effort to expand its curriculum and attract an international cohort, the school has announced plans to launch its first English-language programme later this year. The €50,000 course will teach pupils the art of bespoke watchmaking over two years.Despite revisions to the school’s admissions process, Kelloseppäkoulu’s commitment to precision and artisanship remain unchanged. When Monocle visits, a dozen or so third-year students are hard at work, assembling wristwatches in classrooms filled with neat rows of desks, lamps and large collections of tools. It would be easy to mistake them for surgeons, given the white jackets and protective glasses that they often wear. In fact, much of their work is similar to surgery: watch movements are made up of miniscule pieces that require both a steady hand and detailed knowledge to assemble. Working on wristwatches is a privilege that these students have earned after years of rigorous training. This starts with learning the basics, including the construction of tools and individual watch parts.First-year student Mervi Kivistö is building a handmade drill bit in a workshop, whose walls are lined with antique pendulum clocks. She worked in another industry for more than a decade before pursuing her dream of becoming a horologist. “Many of my fellow students had other careers before deciding that watchmaking was what they wanted to do,” she says.It’s rare for horology students to start their training by making their own equipment. Most Swiss brands use industrial machinery to produce their watches, so tool-making know-how is often deemed unnecessary. “It’s this expertise that makes Finnish graduates stand out from those who come from German or Swiss schools,” says celebrated watchmaker Kari Voutilainen. Part of Kelloseppäkoulu’s class of 1986, Voutilainen went on to work for the likes of Parmigiani Fleurier in Switzerland before founding his eponymous brand in 2002. He has since received multiple awards for his designs, including the kv20i Reversed and World Timer men’s watches. “Finns have been working for the likes of Patek Philippe since the 1960s and the Swiss industry loves them,” he says.An Omega movementGraduating student Raafael NymanMany students hope to work in Switzerland after completing their studies. In order to beat the competition, Swiss brands start courting Kelloseppäkoulu pupils before graduation. Direct sponsorships are forbidden in Finland, so luxury watchmakers forge co-operation agreements with the school, allowing them to donate movements and train teachers.Given its close-knit relationships with some of the best brands in the world of horology, aspiring watchmakers have often lamented the school’s admissions process. “People are constantly asking me how they can study at Kelloseppäkoulu,” says alumnus Stepan Sarpaneva, who started Helsinki-based brand Sarpaneva Watches after working for celebrated watchmakers Viennau Halter and Christopher Claret in Switzerland. “The school could charge more than Harvard and its courses would still be full.”For Kelloseppäkoulu principal Hanna Harilainen, the decision to address these concerns by introducing the school’s first English-language course couldn’t come at a better time. Demand for luxury watches is rising. Fashion brands, such as Louis Vuitton and Gucci, are investing in the sector and Swiss factories are seeking new talent to increase their production capabilities. Soon, Kelloseppäkoulu students will be able to partake in international exchange programmes with watchmaking schools across Europe. Finland’s best-kept secret might not stay secret for much longer.
FashionRepulse Bay: A new shopping destination to the south of Hong Kong Island
Shoppers in Hong Kong have traditionally congregated in the city’s well-stocked central neighbourhoods but many are increasingly venturing a little further out for their retail fix. A 15-minute drive will take them to The Repulse Bay, a new destination in the southern part of Hong Kong Island, which has undergone a remarkable two-year transformation courtesy of The Hongkong and Shanghai Hotels, Limited.The beachfront property, which brings together residential units and specialist retailers, is on the site of a former colonial-style hotel. From its opening in the 1920s to the early 1980s, The Repulse Bay Hotel was a glittering institution that welcomed glamorous guests including Ernest Hemingway and Marlon Brando. In more recent times, however, it stood largely forgotten. But The Hongkong and Shanghai Hotels has given it a new lease of life and the complex is drawing more visitors to the southern side of the island, thanks to an impressive overhaul of the tenant mix. The group has focused on boutique retailers instead of mainstream luxury brands, turning the site’s shopping arcade into a hub of best-in-class bakers, restaurateurs, florists and fashion designers.A trip to the bay now comes with the promise of making fresh discoveries. Tapping into an appetite for all things Made in Japan, several businesses from the country have set up shop here, including workwear brand Human Made. Visitors can also pick up rugs and embroidered kaftans at lifestyle shop Inside, jewellery by accessories brand Via de Lourdes and plenty more.Products on display at Human Made“Many years ago we had brands such as Christian Dior but, right now, we wanted to look at specialists rather than all of the usual shops,” says Olaf Born, who oversaw the transformation as the general manager of The Repulse Bay and Peninsula Clubs and Consultancy Services. Monocle meets him in The Verandah, the restaurant and central landmark of the complex, situated almost precisely where the hotel’s famous live jazz concerts used to take place in the 1930s.Elvis, a bartender at The Verandah“We also have to take into account the 402 apartments that we have to provide amenities for,” says Born, pointing to the charming residential complex. Here, locals relax on the lawn and families can be seen heading down to the beach in groups. There’s a strong sense of community and the team at The Repulse Bay seeks to nurture it further with monthly cocktail meetings, at which residents are able to share their views on the development of their neighbourhood.“We looked back at the history of the south side,” says Born. “This used to be The Repulse Bay Hotel, where people would come on holiday and there would always be events happening. Even if we don’t have the hotel, we want to recreate that ambience and make it a destination in Hong Kong again.”Earrings from Via de LourdesBag from InsideShopper HeraAlso joining the neighbourhood are home-grown businesses Caffé Parabolica, Bakeshop Parabolica and florist Blackbird Conservatory, complementing the existing mix of grocers, restaurants and fashion brands. Visitors and residents alike can sip good coffee, pick up Japanese-inspired baked goods and find plants and floral arrangements to brighten up their homes. The bakery and café are already attracting more than 10,000 visitors a month, many of whom come for the popular cream latte and eggsando(a simple sandwich made using thickshokupanbread). The ambition is to double this number by the end of this year.“We want to assist brands that might not have a presence in Hong Kong, as well as local talent,” says Born. “That makes things very interesting.” The group’s efforts to keep things fresh also involve a series of temporary pop-up shops, collaborations and artist residencies. In December 2024, the shopping arcade hosted a two-day camping-themed event with Japanese brand Visvim. Working with independent businesses aligns with The Repulse Bay’s broader ambition to highlight heritage and great design. Japanese labels, such as Human Made, have proven to be particularly good matches, given their focus on handicraft.Hong Kong residents often joke about Japan being their second home. Many make trips to the country multiple times a year and there is a long history of cultural exchange dating back to the early 20th century. That’s why bringing Japanese touches to The Repulse Bay is a smart move – and it’s paying off.Visitor PikFelicia indulges in a spot of window shoppingArnold takes a break“We have certainly seen a much younger crowd coming from central Hong Kong, not just the south side,” says Born. “We have a lot of younger people using the terrace at [pan-Asian restaurant and bar] Spices. Residents are becoming regulars now too.” It’s a welcome sea change. With new ventures in the pipeline, including markets and brand-specific events, Born is confident that The Repulse Bay can help to re-establish the area as a buzzing Hong Kong destination.Inside Spices restaurantHis ambitions run far and wide, encompassing everything from orchestrating the return of tea dances at The Verandah restaurant to opening an archive room that could tell the story of the illustrious development. “There’s a huge history here and we want to find a way of displaying it for future generations, as well as today’s younger people,” he says. Resonant historical references can be found throughout the arcade; in the courtyard, roses are currently being planted to pay homage to the flowers that once encircled the gardens of the hotel. Downstairs, Human Made uses bellboy trolleys as clothing racks. These are filled with vintage-inspired workwear, including chino trousers and elegant bowling shirts. Around the corner is Human Made’s food shop, Curry Up, which is its first international outpost.“We have seen more brands reaching out to us that wouldn’t have done so in the past,” says Born. “We hope to be a springboard for upcoming designers who might then move to a more central spot for a bigger space. We understand that they’ll outgrow us but that’s fine because it keeps us fresh and gives us space for new tenants.”Though the transformation is expected to be completed this year, there will always be room to experiment with retail concepts, introduce new names and encourage locals to visit the south side more frequently. “It’s a collaboration between ourselves, the brands and the community,” says Born. “We have beautiful surroundings, a true boutique feel and a few of the very best things.”hshgroup.com
FashionVanguart’s strategy for thriving in the luxury-watch industry
Walk into any luxury watch fair and you’ll see big booths bearing familiar logos – Rolex; Richemont-owned Cartier, Jaeger-LeCoultre and Van Cleef&Arpels; lvmh’s Tag Heuer, Zenith and Hublot, among others. The way that these spaces are laid out mirrors the dynamics of the watch industry; heritage brands, luxury groups and historic designs dominate the sector. The complexities that come with crafting a high-end watch and the deep investments required leave little room for independents and young upstarts.Axel Leuenberger, the brand’s CEOBut four ambitious entrepreneurs have been taking on this rarefied world and proving that, once you master your craft, you can launch a luxury-watch brand from scratch. In 2017 they founded Vanguart from the living room of the company’s ceo, Axel Leuenberger, in Basel. “We wanted to start with a blank canvas and bring something fresh to the market,” says Leuenberger, who previously worked at the research and development department of storied Swiss manufacturer Audemars Piguet Renaud&Papi (aprp).Joining Leuenberger is Jérémy Freléchox, another aprp veteran who has taken on the brand’s chief technical officer role; Thierry Fischer, a seasoned designer and Vanguart’s creative director; and Mehmet Koruturk, a former financier who is now the company’s president. Unlike his three partners, Istanbul-based Koruturk doesn’t have a background in watches. He became acquainted with horology while working for Genii Capital, a global fund known for its involvement in motorsports. But the potential in a new-generation watch company quickly became clear to him.Thierry Fischer, Vanguart’s creative directorMehmet Koruturk, president“Every 10 years or so, there’s space for a new independent brand to go big,” he says. “That’s simply because there’s consumer appetite for new design and innovation. You reach a point of saturation and people begin to look for a new name.” Koruturk was confident in his partners’ creative vision and expertise. “Axel worked with Giulio Papi, one of the most respected watchmakers of our day,” he says. “Papi’s company is behind some of the most complicated watches of the past decade.”Vanguart aims to bring novelty and playfulness to the world of watches. It’s why Fischer ripped up the design rule book for the brand’s first watch, Black Hole – a futuristic model comprising 775 components, including a custom-made tourbillon that appears to be levitating above the dials. Rather than having a traditional display, It features three rotating discs, each indicating the hours, tenths of minutes and the minutes. “We wanted to make a bold statement about what Vanguart stands for and the kind of complications that we can create,” says Leuenberger.It took more than three years of design, research and development to create the Black Hole. “You get one shot and you need to be very precise,” says Leuenberger. “You can’t spend hundreds of thousands of euros during the development stage like bigger brands do. It’s all about finding ways to be cost effective. You can start by using parts of old watches to prove your concept.” The coronavirus pandemic then forced the team to spend an extra two years refining the watch. “It ended up being a blessing in disguise because we got to test our mechanism without rushing,” says Leuenberger.How to build a brand1. Make connectionsCreate your own client network before partnering with third-party retailers. “It’s challenging to reach out to the right clients at the beginning,” says Koruturk, Vanguart’s president. “But once you have your network, launching your second and third product will become much easier.”2. Stick to your gunsDon’t be intimidated by established players. Define your niche instead. “People are always looking to mix heritage brands with newer, cutting-edge products,” says Koruturk.3. Maintain quality controlVanguart spent years crafting its mechanisms in-house, with minimal outsourcing. “That way, you can set the tone of how you want things to be done and what level of quality you expect,” says the brand’s ceo, Leuenberger. “If you are purely relying on suppliers, they will be the ones controlling the quality of your products.”The five years that it took Vanguart to go from idea to launch shows how long entrepreneurial journeys can be, particularly when you’re trying to penetrate a traditional sector. Even when pandemic restrictions began to be lifted, obstacles remained. “Producers had a huge surge in demand from existing clients so, when we tried to order a component, it would take six months rather than one or two.”By betting on industry relationships, piquing the curiosity of the right suppliers and bringing most of its production process in-house, the company was finally able to release the first models of the Black Hole in late 2021. The co-founders then began to discreetly sell the watches to clients from their existing networks, as well as to collectors who had found them through word of mouth. “This wasn’t going to be anyone’s first watch,” says Koruturk. “It was designed for the seasoned collector.Having overcome its growing pains, Vanguart is now in a position to make itself more visible. It has started receiving bespoke orders, including for a hand-engraved version of the Black Hole, commissioned by a customer in the Middle East and priced at chf750,000 (€800,000). Earlier this year it released a new unisex model, the Orb, with an intimate presentation at a Geneva hotel, rather than competing with the bigger players in conventional fairs. The Orb has a slimmer design, with a more traditional, symmetrical case, as well as some edgier signatures, including a hand-finished flying tourbillon movement that allows the user to switch between automatic and manual modes.The final part of the equation was to establish a sales strategy. Vanguart is focused on direct sales and only works with a handful of distributors. “The goal is to be more global,” says Koruturk. “Asia will be a big market in the future but you can’t expand too quickly when every component is hand-produced.”Since its inception, the company has grown from four employees to 15, moving out of Leuenberger’s living room and into a sleek space in La-Chaux-de-Fonds (Switzerland’s “open-air watch factory”, as the ceo calls it). This has given it proximity to some of the world’s best suppliers.Other watchmakers are becoming interested in buying the mechanisms that Vanguart has perfected. Thanks to the initial investment in creating these in-house, the journey from sketch to finished product will become smoother. “We have a design language and all of the technology that we need to create new models,” says Leuenberger. “But it doesn’t mean that you’ll see new Vanguart watches tomorrow. We want to grow the project gradually. Sometimes, you have to let go of time.” — L
FashionHow to get dressed: Jeweller Gaia Repossi shares her advice
For jeweller Gaia Repossi, it seems that creativity is genetic: her great-grandfather founded the Repossi jewellery brand in Turin in the 1950s. After studying painting and archaeology in Paris, she began to help her father at Repossi’s Place Vendôme atelier, and in 2007 she joined the business as creative and artistic director. Today, Gaia applies principles of art and architecture to her work, often breaking the rules of conventional jewellery-making to create contemporary pieces. It’s a breath of fresh air in an industry that is often bogged down by tradition. Access to Repossi’s rich archives also means that Gaia has unlimited visual references to inform her work.Repossi’s flair for design translates to the way that she dresses, which is both elegant and conceptual. Here, she shares some of her biggest influences and explains why comfort is key in both jewellery and fashion.Do you have any rules when it comes to getting dressed?Follow your instincts. You should go for things that suit you. I prefer a more androgynous style and opt for a lot of menswear. I like to pay attention to what’s going on in the fashion world and make an effort to understand the trends. Ultimately, however, I focus on the brands that resonate with my own aesthetic. Fashion can feel very overwhelming and, at times, superficial.Who are some of the designers you connect with?The work of Bottega Veneta creative director Matthieu Blazy is fascinating. He plays with leather and creates new silhouettes. His clothes have become a uniform for me. I’m also drawn to Pieter Mulier’s designs for Alaïa and the way that they sculpt the body. I wear a lot of Phoebe Philo too. Her work is elegant but also feels comfortable and casual.Does the way you approach jewellery design reflect your taste in fashion?It’s all linked. The key to making jewellery relevant nowadays is to choose more contemporary shapes and silhouettes. Fashion speaks to the women of today and tomorrow, so why can’t jewellery do the same? The materials might be more expensive than those for making clothes but it doesn’t mean that you have to make classic shapes.What advice would you give to someone coming to Repossi for the first time?You’ll probably choose a ring as your first piece from us. Having a signature ring on each hand is a modern way of wearing jewellery. I’m also a big fan of ear cuffs. Jewellery should be comfortable and light. When you make the shape of a piece more abstract, it feels softer and more enjoyable to wear – just as with clothes. Comfort allows you to be yourself. If you’re constricted, you can’t move freely or express yourself.How do your shopping habits change with the seasons?I don’t buy that many things, just a few key pieces per season. I prefer to shop for vintage clothes as it is a more playful experience. I collect a lot of Gucci pieces from the Tom Ford era. They’re simple, well-cut and a little strange – perfect if you don’t want to dress like everyone else. We live in a world of [social media] influencing, where getting dressed is now a job. I try to stick to my own ideas, instead of conforming to trends. I don’t think that we’re interested in looking at products that way any more.
FashionInterview: Woo Youngmi, founder of Wooyoungmi and Solid Homme
Woo Youngmi says that she has always done things recklessly. In 1988, when South Korea was just emerging from military rule, she debuted Solid Homme as one of the nation’s first design-led menswear labels, introducing new shapes and silhouettes into what was then a fashion hinterland. She didn’t stop there. In the early 2000s she left Seoul, where she had achieved critical and commercial success, for Paris, where she re-established herself. “I just couldn’t envision the next 20 or 30 years only working in Seoul,” she says.Woo arrived in the French capital without a game plan. She debuted her second label, Wooyoungmi, focusing on higher-end luxury, and became the first South Korean designer to take part in Paris Fashion Week. Within a few years, the designer became a respected figure on Paris’s runways and established partnerships with department stores such as Le Bon Marché and Selfridges. Today the Korean Wave has swept across the world and global audiences are familiar with the country’s flair for sharp tailoring, as well as its catchy pop music, gripping films and innovative skincare. Woo, who has contributed to the phenomenon, remains a market leader: her Wooyoungmi shows are always oversubscribed in Paris and praised for offering fresh ideas on tailoring, workwear and, lately, uniform dressing. The brand has also been broadening its scope to include jewellery, accessories and womenswear and has opened a new Paris flagship on rue Saint- Honoré, a stone’s throw from the boutiques of Chanel, Dior and Loro Piana – a signal of the designer’s growing luxury ambitions. monocle visits Woo at her company’s Seoul headquarters, where her autumn collection (a mix of wide-leg denim, tweed suits and drop-shoulder suede jackets) is displayed alongside tapestries depicting the work of Basque artist Eduardo Chillida. She tells us about her relationship with Paris, her design philosophy and her constantly evolving creative drive.Why did you choose to move to Paris from Seoul when its menswear scene was then quite limited?I didn’t think in those terms. I just asked myself which city had an open mind for a young designer and the answer was Paris. People were saying that Milan was the centre of the world for menswear but that has changed since then. Still, I was very lost when I arrived. I had never felt that kind of helplessness up to that point but I had made up my mind so I jumped into it headfirst. I felt as though I was up against a huge wall but what could I do? I just had to keep going. You were the first South Korean woman to design menswear and you have since expanded into womenswear. How did you make those choices?Every designer’s identity comes from within so it can feel uncomfortable to make something that one can’t personally wear. But I found that if it isn’t for me, I can be a lot more imaginative. I decided to start creating womenswear too but only after turning 60. When you put yourself in the frame of mind of thinking about what you want to wear, your designs can become narrow because you’re projecting who you are and who you aspire to be. At this age, I feel fortunate that I can design womenswear without constraints.Let’s turn back to the 1990s, when South Korean men began having more disposable income and developed a taste in fashion. What was that like?There was menswear before me but it was extremely conservative. I was almost committing heresy with my designs. People would say that it’s neither feminine nor masculine, a kind of “soft” menswear. But I didn’t give it too much thought. I was only 30. How much strategy do you think I had back then? I just did what felt right. What do you think about the Korean Wave?I see it as the culmination of various cultural categories such as K-pop, K-food and K-films. Over the past 70 years, South Korea has undergone rapid economic development but before that we had a long history that cultivated a unique culture. We had a wealth of content; it just hadn’t been introduced to the world until recently. The fashion industry should ride this wave well. I hope that a group of designers who can represent and explain South Korean fashion – not just me – will form a strong, united presence in the global market.You have been focusing on suiting and uniform dressing in recent collections. Why is the concept of a uniform becoming appealing again?It’s a reaction to the fatigue brought on by the long dominance of streetwear. There’s a renewed appreciation for elegant, well-put-together clothing. Fashion, by its nature, is driven by a desire for novelty. But the key to sustaining a brand’s identity lies in creating something new while not being carried away by trends.Why did you decide to open your new Paris shop in such a prime luxury spot?Our first shop was in the Marais, a youthful area, and it made sense financially. But I now felt that it was the moment to move closer towards luxury. But, for me, luxury isn’t about price: I wanted to go up a level and that meant going to rue Saint-Honoré. That decision felt pretty reckless but once again we just went for it. wooyoungmi.com; solidhomme.com
FashionInterview: Danish fashion brand No Nationality 07’s has global aspirations
Anders Rahr has been the CEO of Copenhagen-based menswear brand No Nationality 07 (NN.07) since 2021. The fast-growing label is known for its modern-casual pieces, which include chore jackets, overshirts and relaxed, tailored trousers. You might recognise its signature brown-and-navy checked jackets, favoured byThe Bearactor Jeremy Allen White. Since its television cameo, though, the brand has kept up the momentum by expanding its range and investing in physical retail. Working with Dutch design studio Contrair Collective, NN.07 has opened new shops in New York and London this year. Monocle meets Rahr to discuss the brand’s international ambitions.Why was physical retail such a priority for you this year?Offline retail has always played an important role in brand-building. Consumers are periodically swayed more towards online and then back towards the physical retail experience, so we believe in building a complete distribution model. NN.07 consumers usually work in the city and we already had communities in New York and London, so [opening shops in those cities] was only natural. We want to show the brand in its own environment.Is there a common thread between NN.07 customers around the world?They want to embody a style that is modern-casual, to wear something to work and then throughout the day. There’s an element of daily commuting too that influences the way that we design our clothes to be functional. We’re not a hype brand. We are design and quality-oriented rather than fashion-oriented.And what’s next?Five- or 10-year plans don’t work any more. Consumer behaviour is changing all the time. We try to have a vision about where we want to go and how we want to get there but you also need agility in business. [We aim for] sustainable growth but we also have ambition. It’s risky to go into retail in cities such as London or New York – but if there’s no risk, there’s no reward. These won’t be the last NN.07 shops you see either.nn07.com
FashionMadrid’s fashion scene is booming, and Salesas is leading the charge
Madrid is Spain’s most important business city but those who have spent time in the Spanish capital also know it for its hospitality, thriving art scene and flair for late-night revelry. There’s never been a shortage of people travelling to the city to visit its museums, urban parks andtabernas. But Madrid has also been building a reputation for fashion – stealing some of the thunder from Barcelona. The Gran Vía has never been busier and department stores here now offer some of the sharpest luxury-fashion curations available in Europe. And its neighbourhoods are becoming fashion hubs as local designers and the city’s growing population of expats open concept shops and brand flagships, touching on every aspect of the market, from leather accessories to womenswear and sportswear.Salesas, sandwiched between lively Chueca and Salamanca in downtown Madrid, is one of these neighbourhoods. Over the past five years the area, with its tree-lined squares and 19th-century buildings, has turned into a magnet for the city’s creatives and transformed into one of its most elegant retail addresses. “Salesas is an oasis,” says Maria Gómez Ruiz, the art director and co-founder of Spanish menswear brand Unfeigned, who picked Salesas as the home of her business’s office and first flagship shop. Since its opening in 2022, Unfeigned has become a central part of the community, which also includes Madrid-based accessories labels Malababa and Zubi, multi-brand boutiques Pez and Ekseption, and menswear specialist Blaw. There’s a real sense of camaraderie among residents. Gómez often directs friends to Pez, praising its edit of Spanish labels including Masscob and Cordera; she makes regular stops at La Oficial to buy ceramics for her home and finishes off long workdays at Gota wine bar or Los 33, a favourite, that blends traditional Spanish and Latin American recipes.Find your feetGómez siblingsIn many ways the rapid transformation of Salesas reflects the growth wave that has been sweeping through Madrid – largely a result of increased Latin American investment and migration. The welcoming policies for foreign property investors (the Spanish government grants residence permits to those purchasing property above €500,000), shared language, cultural ties and political turmoil in Venezuela have all drawn wealthy South American elites to Madrid, so much so that by early 2022, 58 per cent of the city’s foreign-born residents were said to come from Latin America. Salesas has become the destination of choice for the wealthier members of this crowd of newmadrileños. No matter when you go, you’re likely to find elegant women and men going for strolls, carrier bags in hand, stopping to sipcañasin the late afternoon sun. “The clientele here appreciate quality but aren’t into mainstream products,” says Gómez. “They’ll spend €700 but they don’t want the logo or the big brand name.” It’s this understated charm that also appeals to international fashion labels, which are coming to Madrid to open flagship shops and are keen to take advantage of the momentum in the Spanish capital. “Everything is changing extremely fast, which is good for us,” Gómez says, sitting in Unfeigned’s office, surrounded by rows of shirts and sporty trousers. “When we moved to the area, we didn’t know that Aesop or apc would be opening here too.” The boutiques from established brands have brought prestige to the area and increased footfall. Veja, Sessùn, Stüssy and Taschen have also opened shops here. It’s not just established labels that are cropping up. “A lot of [independent] Spanish brands, which used to only be available online, are opening really nice flagships here,” adds Gómez. Lamarca Well, a sportswear brand, is one of them. The shop is part of a network of wellness- orientated businesses and includes a gym, a healthy restaurant and bakery. “This is one of the only gyms by [US entrepreneur] Tracy Anderson outside America,” says Gómez, explaining that the wave of expats moving to Madrid is also influencing culture, particularly when it comes to fashion and lifestyle. “I have never seen so many people joining running clubs.” Gómez and her brother, Rafa, both avid runners, believe the worlds of wellness and fashion feed into each other. “When people start to care about how they look, they become invested in how they dress as well,” says Rafa. Shop assistant Candela Higuera at EkseptionAncla de MarBoth Gómez siblings welcome the shifting dynamics and the increased international flavour in their hometown – even though a lot of the new ventures in Salesas feel more American than Castilian. “The success of the area is driven by the fact that people are moving here, buying and starting brands,” adds Gómez. “The La Marca building is owned by a Venezuelan family. There’s a really popular Mexican-owned salad bar chain here and my Argentinian friends founded the best speciality coffee shop in Madrid, Osom.” MalababaThe shop focuses on a blend of quality and comfortThis new blend of cultures is what makes the neighbourhood so appealing. Salesas is the kind of place where old and new can co-exist. Here, tabernas, centuries-old tapas restaurants and artisanal shops such as the Cesteria Sagon (dating back to the 1950s and offering beautiful handwoven baskets) sit alongside contemporary fashion boutiques, galleries and upscale wine bars, where resident DJs spin records late into the night. “You can have a nice tortilla sandwich with your coffee, and then have a Michelin-starred meal,” says Gómez, who also lives nearby. “To me, that’s the essence of life here.”Unfeigned is a central part of the Salesas communityThis convergence of tradition and innovation is also reflected in the designs that you’ll find across Salesas’s shop floors. Unfeigned, for one, offers sustainably made, no-frills clothing crafted in technical, often waterproof fabrics, yet rooted in traditional tailoring principles. “My brother, Rafa, has always been obsessed with making the perfect T-shirt,” says Gómez. “This is why we went all around the world to different factories and bought different shirts from Japan to San Francisco.” As the brand continues to grow, the two continue to make trips abroad and bring the knowledge they acquire back home to Salesas.Pez, a bohemian concept shop across the road, features a potpourri of Spanish and international brands, from pieces by Dutch labels such as Humanoid and Les Coyotes de Paris to jewellery by Madrid-based designer Beatriz Palacios. The shop, which operates out of an old carpet factory, is equal parts elegant and rustic, the kind of place where you might find easy dresses hanging next to more structured pieces, such as a tailored jacket by the New York brand Sibel Saral. Pez was founded by Patricia de Salas and Beatriz Mezquiriz, who came to Salesas before its rise. The rapid transformation has been mostly positive for her business but de Salas also recognises that there have been some drawbacks – higher rents can make it more difficult for smaller businesses to stay in the neighbourhood. A balance will need to be found.Still, the positives more than outweigh the negatives for most of Salesas’ local designers and retailers, who have been enjoying the exposure to a more global audience. At Malababa, which specialises in handcrafted, leather accessories, shop assistant Carolain Spencer shows monocle a pair of earrings from the window display: they are made from a delicate brass material, with a swirl of pink petals dangling loosely from the bottom. “These have become huge in South Korea,” she says, holding them up on the palm of her hand. “So many customers come here looking for this exact model.”It used to be that Barcelona was touted as Spain’s most international city but that role has become less sure. This is, of course, mostly due to immigration but it is also a product of better infrastructure. Rafa Gómez cites the recent renovation of the Santiago Bernabéu Stadium as an example of the many ways in which the Spanish capital is improving. “People used to have to go to Barcelona to see the international pop stars,” he says. “Now Madrid can do that as well.”Some entrepreneurs see the rivalry between the two cities as productive. “Competition is good,” says Xavi Burgell, co-founder of Blaw Store, a menswear shop that first opened in Barcelona and is best known for its beachy, laid-back designs. When deciding on a Madrid location, Burgell and his wife and business partner, Anna Vintro, were drawn to Salesas because of its restaurants and mix of independent brands. “I love food,” says Burgell. Now, it’s Madrid’s culture that they are most intrigued by. “The clientele are cosmopolitan people and we see a lot of actors and artists here,” he adds. Galleries with a presence in the area, such as Échale Guindas, Orellana-5 and Villazan, likely have something to do with that. Our tour of the neighbourhood ends with a loop around the Convent of the Salesas Reales, home to Spain’s supreme court. As the working day comes to an end, the streets start to become busier. Older men sit on plastic chairs in front of newsstands playing cards; women dressed in crisp shirts and golden jewellery stand outside the Teatro Infanta Isabel picking at swirls of frozen yoghurt; smooth-faced millennials order gin cocktails at MaceM bar. These small scenes are the best part of living and working in Salesas. “The people on these streets are always fashionable or they work in art,” says Gómez. “I never need to go to another part of Madrid to see something interesting happening because here you find inspiration every day.”Salesas address bookFor wardrobe classics:UnfeignedCalle de Fernando VI, 17, CentroBest curation:PezCalle de Regueros, 15, CentroMenswear specialist:Blaw StoreCalle del Barquillo 36, CentroMorning pastries:La DuquesitaCalle de Fernando VI, 2, CentroTo refuel:Gota wine barCalle de Prim, 5, CentroTaste of Salesas:Los 33Plaza de las Salesas, 9, CentroArtisan design:Cestería SagonCalle de Fernando VI, 7, CentroGallery visit:Orellana-5Calle de Orellana, 5, Centro
FashionThe sharpest spring fashion collaborations
Hollywood Ranch MarketXWildsideJapanInfluential designer Yohji Yamamoto has unveiled a collaboration between his sub-label Wildside and fellow Japanese brand Hollywood Ranch Market. The six-piece collection is inspired by French workwear – think stretchy, long-sleeve tops, drawstring trousers and sharp chore jackets with French-style rounded collars. Bags are also on offer, including a mini twill satchel and a larger tote. Follow Yamamoto’s styling cues and add a pair of black leather Oxfords for a polished, monochrome look.wildside-online.com; hrm-eshop.comAPCXAnastasia BarbieriFranceParis-based apc continues to surprise with its ongoing series of collaborations – or “interactions”, as the brand’s founder, Jean Touitou, prefers to call the capsule collections co-designed with the likes of Jonathan Anderson, Jane Birkin and Katie Holmes. Joining this roster is stylist and former Vogue Hommes fashion director Anastasia Barbieri. “apc is a brand that I’ve known since my youth,” says Barbieri. “I’ve always appreciated its timeless pieces [and] nonchalant spirit,” she adds, pointing to the new classics in her own capsule, from tuxedo jackets designed to be worn from day to evening to gabardine coats and double-denim looks. Also worth adding to your shopping list: a new edition of the brand’s organic olive oil with a raw denim apron to match.apc.frJW AndersonUKLoafers have been on the rise for a few years now, slowly but surely replacing the trainer. Irish-born designer Jonathan Anderson – known for his humorous, often surreal approach – decided to take the trend a step further with his new line of Loafer bags, a series of elegant top-handle totes featuring a front panel resembling the penny slot on the shoe. It’s a low-key, practical design but the nod to the footwear brings a touch of the irreverence that’s synonymous with Anderson’s label. The larger size, ideally in brown suede or navy leather, also doubles as a weekender bag.jwanderson.comVacheron ConstantinSwitzerland & UKVacheron Constantin’s Club 1755, in London’s Mayfair, is only open to the Swiss company’s top customers. “Before collecting timepieces, our clients might collect cigars, cars or art,” says UK brand director Charlotte Tanneur Teissier. So watches aren’t the only design objects on display. “Timepieces are part of a broader conversation and the club offers a space to host that discussion.” vacheron-constantin.comMoverSwitzerland Swiss-based Mover has been delivering plastic-free collections since 2021. Its latest innovation is the Vintage Shell+ running jacket. Crafted from a waterproof high-density deadstock cotton with a merino lining, it is warm and breathable. We recommend this eye-catching mandarin shade. mover.euSR_A EngineeredSpainOver the past year, Inditex-owned Zara has unveiled an evolving collaboration series with the likes of former Saint Laurent artistic director Stefano Pilati, musician Charlotte Gainsbourg and Budapest-based label Nanushka.The A Coruña business is now aiming even higher by launching a new label with Samuel Ross, the architect turned fashion designer known for streetwear label A-Cold-Wall and partnerships with watchmaker Hublot. Named SR_A Engineered, this joint venture is a “multidisciplinary studio” rather than a traditional fashion label, spanning clothing as well as furniture, art and industrial design.Ross’s first project, a menswear capsule focused on performance wear, made its debut during Paris Fashion Week this January and included voluminous parkas, kimono-inspired coats and slides featuring Japanese shiso stitching. “These are clothes for navigating cultural spaces and spaces of work and play,” says Ross. sr-a.comKestinUK“They say that if you’re brought up in Scotland, you’re either a golfer or a fly fisher,” says Kestin Hare at the Edinburgh shop of his menswear label Kestin. And life outdoors informs his Scottish-made knits and workwear-inspired garments, crafted using a mix of technical and natural fabrics, and produced at the brand’s studio in Annan.Hare inherited this obsession with quality fabrics from his mother, an interior designer; while the technical wear he wore while fly fishing with his father fuelled a love for high-performance garments.The ambitious designer is working with fabric makers in Japan, while eyeing new markets. “Our biggest growth area is in the US, where many people feel a true affinity to Scotland,” he says. “You can design the best product in the world but if it doesn’t have a story, it won’t work. We’re always developing new techniques in the studio to keep us all ready to venture outside.” kestin.co
FashionFrom slick suits to coveted coats, here’s our selection of menswear to keep the cold at bay
Coat by Mackintosh, jacket by Beams F, rollneck jumper by Scott & Charters for Comoli, glasses by Mykita, tank solo watch by CartierCoat and trousers by Comoli, boots by JM WestonJacket and rollneck jumper by Brioni, trousers by Aton, glasses by MykitaCoatby Hevò, jacket by Zanone, shirt by Eton, trousers by Incotex, shoes by JM Weston, glasses by Mykita, tie by AscotCoat, jacket and trousers by Sans Limite, shirt by Comoli, trainers by Last Resort AB, glasses by Mykita, umbrella by James Smith & SonsCoat, jacket and trousers by Comoli, shirt by Eton, rollneck jumper by Zanone, boots by JM Weston, glasses by MykitaCoat by Aton, jacket and trousers by Circolo 1901, jumper by Zanone, boots by JM WestonCoat by Miffew, rollneck jumper by Zanone, trousers by Incotex, boots by JM Weston, glasses by MykitaCoat, jacket, shirt and trousers by Aton, trainers by Last Resort AB, glasses by Mykita, scarf by Loomer, umbrella by James Smith & SonsCoat, jacket and trousers by Emporio Armani, boots by JM Weston, scarf by LoomerCoat by Concetto, jacket by Beams F, shirt by Eton, tie by Ascot, sbgh301 watch by Grand Seiko, umbrella by James Smith & SonsCoat by Miffew, jacket and trousers by Graphpaper, shirt by Aton, shoes by JM Weston, glasses by Mykita, umbrella by James Smith & SonsCoat by Hevò, jacket and trousers by Circolo 1901, rollneck jumper by Agnona, boots by JM Weston, scarf by AtonCoat, trousers and scarf by Emporio Armani, shoes by Last Resort AB, umbrella by James Smith & SonsMODEL:Ikken YamamotoGROOMING:Kenichi YaguchiPRODUCER:Shigeru NakagawaLOCATION:The Conran Shop Daikanyama
FashionBerluti goes for gold in tailoring for Team France at the 2024 Olympics
When LVMH announced its partnership with the Paris 2024 Olympic Games, it was expected that the houses under its vast portfolio would get involved and add their famous luxury branding to the event. The announcements about Louis Vuitton designing trunks to transport the medals and torches, and jeweller Maison Chaumet designing the medals themselves, came as little surprise. But the choice of Berluti, one of the quieter labels in the lvmh portfolio, to dress Team France during the Olympic and Paralympic opening ceremonies was less expected, even among the Berluti team. “We’re one of the smaller [LVMH] maisons,” says Vanessa Le Goff, Berluti’s collection director. “Dior and Louis Vuitton are usually the big stars, so dressing the French athletes for the Olympic and Paralympic opening ceremonies offers a huge opportunity for us to be more visible.”For this reason, Le Goff and the members of the atelier she leads in Paris didn’t think twice about taking on the responsibility, despite the challenges it presented: creating more than 1,500 outfits using some 8,000 metres of eco-certified fabrics and catering to each athlete’s body shape to ensure a perfect fit. “We worked from sizes 3XS to 6XL and designed shoes ranging from [European] sizes 35 to 56, which is very new for us,” says Le Goff. “That’s why, from the beginning of the process, we met with the athletes to understand their needs.”The colour of choiceBreathable fabrics help to beat the heatLorenzo loafersFirst sketchesMany of these conversations would go on to inform the final design of the opening ceremony’s uniforms: elegant midnight-blue suits with collars featuring the colours of the French flag, remixed in the house’s trademark patina. Female athletes will wear a sleeveless version of the tuxedo jacket and choose between trousers or a silk wraparound skirt. The looks are finished with Berluti’s signature woven Shadow sneakers in a similar navy hue, or the flexible Lorenzo leather loafers. “From the very beginning of the process, we considered every detail – for instance, we chose a wrap skirt so that it can be altered easily and didn’t use any pleating because it’s uncomfortable for athletes in wheelchairs,” says Le Goff. “And the sleeve length is adjustable to make it easier for athletes. We’re experts in this field and can adjust quickly.”Knowing that the athletes could be standing in the sun for more than eight hours during the opening ceremony, Le Goff and her atelier’s number-one priority was to ensure Team France’s comfort. It’s why they chose breathable cotton-silk and wool fabrics with added stretch, and why they will spend the days in the lead-up to each ceremony making alterations to fit all 1,500 suits on every athlete individually. “We had to produce many of the pieces before knowing who would make it to the ceremony,” she says. The impeccably fit finished garments are a testament to the craft know-how of Berluti, one of the few houses in Paris still offering bespoke services for men’s shoes at its Rue Marbeuf atelier, as well as tailoring services at its Rue des Sèvres atelier on the Left Bank. “We want to show the house’s exceptional savoir-faire in ready-to-wear but also shoes, which is where the journey started,” adds Le Goff. That journey began back in 1895, when a young Alessandro Berluti moved from his native Italy to Paris to practise his trade as a shoemaker, starting with lace-up court shoes. His clients included Jean Cocteau, Marcello Mastroianni and Andy Warhol. In the past 15 years, under the leadership of Antoine Arnault (who now serves as chairman of Berluti while also performing a wider role within the LVMH group, with Jean-Marc Mansvelt taking over as ceo), the house began to offer a full look, including leather goods and ready-to-wear. Aside from the technical knowledge that went into constructing the garments, Le Goff also sought to ensure that the designs channelled the sense of elegance synonymous with French and, in particular, Parisian fashion – hence the focus on the deep Tricolore blue, tuxedo dressing and slim silhouettes typical of French-style suiting. Making the custom colour for the collarsElegant shawl collarAll in the detailsBerluti’s signature Shadow trainers“You have to combine elegance and comfort, while still looking French,” says Le Goff. It’s this concept of “chic à la Française”, she adds, that has been missing from recent Team France uniforms. “The French team wasn’t dressed by a fashion house in the past. You would look at the Italians dressed by Armani and the US team dressed by Ralph Lauren, and the French team said that they didn’t feel they looked as good.” At first, the French athletes accustomed to living in sportswear couldn’t imagine themselves in a sharp suit. But a few fittings with Le Goff’s team were enough to change their mind. “They now feel proud to be dressed by Berluti and it affects their overall mindset.”As part of the process, Berluti also consulted with the Paris 2024 Organising Committee and the French National Olympic and Paralympic Sports Committees, as well as stylist and formerVogue Franceeditor-in-chief Carine Roitfeld. “It’s important to have an external point of view on the ceremony; it will be watched by billions of people,” says Le Goff. “Carine was a perfect match because she has a very French touch. We have to be proud to be French.” Le Goff hopes that, on the big day, the athletes feel so good in their new suits that they go on to “win a lot of gold medals for France”.Berluti is coming out as a winner too. When the athletes of Team France walk along the Seine on 26 July for the Olympics’ opening ceremony – and on 28 August down the Champs-Élysées for that of the Paralympics – sporting fans tuning in from across the globe will become more familiar with the brand’s name. “It’s a very niche, very special house – almost like a club,” says Le Goff with a smile. “When you enter our world you fall in love because it isn’t about fashion, it’s about the expertise of the maison: the patinated shoes, the bright leathers that you can’t find anywhere else. It has audacity. We of course hope that now more people will discover this world and come and visit us.”