Latest from Vogue Singapore
Vogue Singapore
3 hours ago
- Entertainment
- Vogue Singapore
Jonathan Anderson played with history for his first show at Dior
'For me, style is how you put things together. Over the next period, that's what I want to work on,' said Jonathan Anderson. For all the enormity of his taking of the reins at the house of Christian Dior—and despite his blizzard of wildly talked-about teasers and the pre-crush of Rihanna and A$AP Rocky, Sabrina Carpenter and all his celebrity and designer friends—the most convincing thing about his debut show was just how close-up and tangible he made it feel in reality. Anderson's plan was to get in with a visceral idea of what to wear with what, be it a Bar jacket with conceptual chino shorts, socks and 'school summer sandals,' a softly washed-out gray velvet morning jacket with a tonally similar pair of faded blue jeans or a full-on amazingly elaborate pre-revolutionary court or Louis 16th frock coat worn with ordinary black cotton trousers and brown suede high-top hiking boots. Wear this, should you fancy, with a high stock collar as an accessory, which Anderson got from looking at sketches by Romaine Brooks, a painter who documented lesbian life in the 1920s. This is the kind of high-low magic that Anderson transferred from his own brand to Loewe, and then used to revolutionise that LVMH label into a financially and critically successful phenomenon over a decade. Loewe didn't really have codes, though, so Anderson could start with a clean slate. With Dior it's very different; there's a long history to play on. 'The great thing about Dior is it being able to reinvent with each designer,' he said. 'I embrace that. Like Maria Grazia Chiuri's book bag. That is not my bag, but I can do something else with it.' Anderson's own agenda for Dior was emblematically set out in his use of Andy Warhol's photographs of the artist Jean-Michel Basquiat and the socialite Lee Radziwill, Jackie Kennedy's sister. Two immensely stylish Americans 'from two different sides of the spectrum—who might've been at the same party,' as Anderson put it. Dior, he admitted, in a preview is 'ginormous,' a house which 'has to mean something to everyone.' In his first outing, he showed his adeptness at focussing on both detail and enormity at the same time. Outside, there was a stretched photograph of Christian Dior's original 1950s salon at the Avenue Montaigne covering the giant venue at the Invalides. Inside, the models walked up and down, close to the audience, so there could be no mistaking the quality or the detail of the clothes. 'This is how people saw couture in the original Dior salon, really close up,' said Anderson in a preview. 'I want people to be able to see the fabric and the make, whether it's the wash of a chino or the moire silk on a waistcoat.' On the dove-gray walls hung two small, priceless still-lifes by Chardin, the French past-master of the close contemplation of small things—a vase of flowers and a bowl of wild strawberries—painted sometime in the 1750s or 60s. Bringing important art into proximity with fashion people could be said to be one of Anderson's formulae. These borrowings, quieting as they are in content, were naturally also a power statement for LVMH, whose resources and influence can overcome the difficulty of borrowing from the Louvre (the strawberries) and the National Museum of Scotland (the flowers) for an hour's fashion show. In the collection, the direct parallels were Anderson's appropriations of 18th- and 19th- century French menswear. 'They are incredibly rare, but we found a collection of original waistcoats,' he explained. 'For me, and for all my generation, Margiela was God. So I thought: 'let's make them replicas.'' It was his route into showing the elevated patrimony of Dior's haute couture ateliers—the flower embroidery, the latticed gold buttons, the exact color of a mauve moire silk waistcoat. The closeness of the presentation meant one could gasp at the exquisite French quality of a pink faille waistcoat and practically sense the refinement of a silk evening scarf as it swished by. But Anderson wants to land all of that in reality, too: he'd thought about the idea of boys discovering those pieces 'in a trunk, and just pulling them on.' That worked, paced out as the show was with a long inventory of French-preppy items including colorful cable knit sweaters, normal summery jeans. Where was Jean-Michel Basquiat in this? Anderson had taken care to consult with Karen Binns, the late artist's close friend who was commissioned by Dior to curate a podcast on the 1980s in New York, featuring Hilton Als and the artist Toxic. Perhaps his innate knack of knotting a rep tie over a denim chambray shirt was present in the multiple tie segues? Ties on shirts are young fashion now. It worked: something multiple generations of Dior shoppers can safely agree on. And of course, Monsieur Dior himself had to be dealt with. Anderson took him head on in his first look. The Bar jacket was made from an Irish Donegal tweed—a matter of national pride for Anderson—which featured here and there throughout the collection. As for the side-looped flanges on the cargo shorts in that same look? Well, those came from Anderson's study of the stiff architecture of a Dior winter 1948 couture dress named Delft. 'It's old. It had flopped. That inspired me,' he said with a laugh, adding, 'I think it's a good bridge between history, commerce, history, style—and make.' Anderson is a very big gun now in the coming face-off between the three newly-placed 40-year-old creative directors who head the biggest labels. Matthieu Blazy at Chanel and Demna at Kering's Gucci we'll be seeing in September, when Anderson will also be showing his first womenswear for Dior. These are times when the stakes are high and the luxury market is more under fire than it has been for decades. Anderson isn't fazed. There was a gleam in his eye when he said, 'I think it's good the market is difficult, because it means it's ready to change. And I always work best under pressure.' Courtesy of Dior 1 / 20 Look 1 Courtesy of Dior 2 / 20 Look 2 Courtesy of Dior 3 / 20 Look 3 Courtesy of Dior 4 / 20 Look 6 Courtesy of Dior 5 / 20 Look 8 Courtesy of Dior 6 / 20 Look 10 Courtesy of Dior 7 / 20 Look 11 Courtesy of Dior 8 / 20 Look 18 Courtesy of Dior 9 / 20 Look 20 Courtesy of Dior 10 / 20 Look 30 Courtesy of Dior 11 / 20 Look 35 Courtesy of Dior 12 / 20 Look 41 Courtesy of Dior 13 / 20 Look 42 Courtesy of Dior 14 / 20 Look 44 Courtesy of Dior 15 / 20 Look 46 Courtesy of Dior 16 / 20 Look 48 Courtesy of Dior 17 / 20 Look 50 Courtesy of Dior 18 / 20 Look 57 Courtesy of Dior 19 / 20 Look 59 Courtesy of Dior 20 / 20 Look 67 This article was first published on
Vogue Singapore
a day ago
- Entertainment
- Vogue Singapore
'It was like theatre on steroids': Tobias Menzies on starring in thrilling blockbuster F1
With the booming popularity of Formula One and the skyrocketing attention on the world of motorsport , there's no surprise that one of this summer's most anticipated films comes in the form of a racing blockbuster. The film follows Sonny Hayes (Brad Pitt), once F1's most promising driver and now a washed up racer-for-hire, who finds himself back on the track when an unusual opportunity presents itself. Alongside talented but overconfident rookie Joshua Pearce (Damson Idris), the two must put their egos aside as the road to redemption is not one you can travel alone. Tobias Menzies, famed for portraying iconic characters on The Crown , Outlander, and Game of Thrones , now takes on the role of Peter Banning, Oxford-educated venture capitalist and member of APXGP's board of directors. 'The ingredients of the film—the amazing cast and crew—and the ambition of the project was what made me interested in getting involved,' Menzies reflects. Directed by Joseph Kosinski of Top Gun: Maverick and in close collaboration with seven-time world champion Lewis Hamilton , F1 guarantees a thrilling ride for fans and cinephiles alike. On the eve of the film's global release, Menzies sits down with Vogue Singapore to chat about his role as the surreptitious Peter Banning, working alongside Brad Pitt and Javier Bardem, and all things F1. Tobias Menzies plays Peter Banning, investor and board member of APXGP in F1 . Courtesy of Warner Bros. Were you a fan of Formula One prior to working on this film? Honestly I wasn't, I didn't know much about the sport. A bit like the character I portray in the film, I had to play catch-up. So how did you get acquainted with the world of F1? Did you binge all of Drive to Survive like your character did? Yes, I watched quite a lot of Drive to Survive. One of the really helpful things about how we shot the film was that we were shooting at actual Grand Prix's. We were immersed in the world of Formula One, which made our jobs much easier. Tell us a little about your role. What was it like stepping into the shoes of Peter Banning? Peter Banning is an investor in Javier Bardem's race team APXGP, his right-hand man, his eyes and ears on the board. He represents the financial machinations that are involved in the sport, which is obviously very expensive and has a lot of money at stake. When discussing the role, I suggested we make him slightly more gullible, someone who appears to know nothing about the sport and is just a money guy. Without giving too much away, by the end of the film you realise he isn't quite all that he seems. Tobias Menzies and Javier Bardem in F1 . Courtesy of Warner Bros. What was it like working with Brad Pitt and Javier Bardem? I've grown up watching both of them, their remarkable experience in screen acting—particularly movie acting—which is something I've done the least of. It was very interesting to see how they operate around a camera, how they manage their energy on set everyday. I learned a lot. The film was shot at racing circuits all around the world. What was the most memorable location you filmed at? There's a song lyric that says the first cut is the deepest, and that rung very true for me. The first day of filming was on the grid at Silverstone, ten minutes before the actual race was starting. We had seven, eight minutes to shoot a scene with the real grid in front of us and the real crowd beside us. You certainly didn't want to be the person who forgot your lines or dropped the ball. It was sort of like theatre on steroids—a very memorable way to start. What was it like filming during actual race weekends? To be honest, it was hard. I think Joe's instinct was that there was no way of replicating the atmosphere and the vividness of the circus that Formula One is. So whenever he could, he embedded this multimillion dollar film unit inside these weekends—in the rooms, on the grid, in the paddock club, in the pit lane, etc. It was this weird mixture of a big studio film shot almost like an indie film, with often very small units and having to fit in something we weren't in control of. It lent an incredible fleet-footedness and almost improvisatory quality on how we were shooting, which I feel gives the film a real energy. Brad Pitt, Javier Bardem and Tobias Menzies filming on the grid of Silverstone. @f1 You've played many iconic roles over the years—Jonathan Randall in Outlander, Prince Philip in The Crown, Edmure Tully in Game of Thrones—how do you think they would fare in the world of F1? Would they be a driver, a team principal, or a team owner? Phillip as a young man would fancy himself as a driver, though he may be a bit tall. I imagine Phillip would be drawn to the speed. Jonathan Randall is interested in power so maybe he'd like to be a team principal—he'd like to run the show. And Edmure Tully, I don't know where he would fit in. Perhaps he would be a bit like Banning in the beginning of the film, a sort of hapless investor. You've done period dramas, historical fantasy, now a huge blockbuster film—is there a genre you'd like to explore next? I've never had a very clear idea about genre, for me it's always about scripts, always about the words. I'm quite open-minded about genre and roles, be it antagonists or heroes. But [this project] gave me a taste for doing more film. I really enjoyed working on this scale, and I'd be interested in doing some more of them. F1 is in cinemas now.
Vogue Singapore
2 days ago
- Entertainment
- Vogue Singapore
Editor's Picks: Channel the allure of metallics
Metallics have always been fashion's ultimate showstoppers—dazzling, reflective, and impossible to ignore. With every shimmer and gleam, they've mirrored the spirit of their era. From the liquid silvers and golds that lit up Hollywood's Golden Age to the high-octane glitz of '70s disco and the unapologetic glamour of the '80s, metallics have long signalled confidence, spectacle, and allure. For Pre-Fall 2025, metallics did not shy away from the spotlight; in fact, they returned bolder than ever. No longer just about shine for shine's sake but now they are sculpted, textured, and multidimensional. Think fluid lamé twisted into sharp silhouettes, shiny knits that catch the light with every movement, and duo-tone finishes that shift in hue depending on the angle. Mixing equal parts artistry and attitude, this new wave of metallics proves that excess, when refined, can feel fresh, modern, and exhilarating. Because when it comes to fashion, a little glimmer is never quite enough. On the runways, this resurgence appeared in striking reveals. Rick Owens showcased a crinkled gold foil dress that balanced texture and form; Schiaparelli offered a surreal pair of silver, toe-engraved mules; Diesel amplified impact with mirror-like chrome stilettos; Saint Laurent punctuated looks with a pair of resin-encrusted gold earrings; Self-Portrait showed a sculptural gleaming gold arm candy; Sportmax delivered a liquid-like sequin top that shimmered with every step and Rabanne reimagined denim through a reversed dip-dyed silver-coated pair of pants. These are just the few pieces from the edit that demonstrates how metallics can be both wearable and conceptually bold, paying homage to past moments while forging a fresh sensibility. Whether you prefer a hint of glimmer or crave a full-on reflective statement, these selections show how to weave the metallic allure into your wardrobe. Below, explore Vogue Singapore's curated lineup of metallic pieces from this season. 1 / 18 Rick Owens dress, $2,177 Available at Rick Owens. 2 / 18 Schiaparelli shoes, $3,572 Available at Schiaparelli. 3 / 18 Givenchy bag, $4,901 Available at FWRD. 4 / 18 Bottega Veneta ring, $880 Available at Bottega Veneta. 5 / 18 Kiko Kostadinov earrings, $313 Available at Kiko Kostadinov. 6 / 18 Self-Portrait bracelet, $312 Available at Self-Portrait. 7 / 18 Saint Laurent by Anthony Vacarello earrings, $1,530 Available at Saint Laurent. 8 / 18 Rabanne pants, $758 Available at Rabanne. 9 / 18 Louis Vuitton shoes, $1,450 Available at Louis Vuitton. 10 / 18 Dsquared2 jacket, $1,405 Available at Dsquared2. 11 / 18 Acne Studios glasses, $692 Available at Acne Studios. 12 / 18 Marni wallet, $956 Available at Marni. 13 / 18 Dries Van Noten belt, $885 Available at Dries Van Noten. 14 / 18 Chanel bag, Price upon request Available at Chanel. 15 / 18 Sportmax shirt, $584 Available at Sportmax. 16 / 18 McQueen dress, $22,313 Available at McQueen. 17 / 18 Diesel shoes, $1,485 Available at Diesel. 18 / 18 Junya Watanabe skirt, $834 Available at Dover Street Market. Vogue Singapore's June 'Gold' issue will be out on newsstands from June and available to preorder online.
Vogue Singapore
2 days ago
- Entertainment
- Vogue Singapore
Watch the Dior men's spring/summer 2026 show here
The magic box opens. This year may have been the year of creative director musical chairs across the board but one of the most anticipated turns would have to be Jonathan Anderson's appointment at Dior, a big move for the Irish designer who had been heading up the design direction at Loewe for the past 10 years. In a feat like no other, Anderson will be the first director to helm up the house solo—and design both menswear and womenswear—ever since Christian Dior himself. In less than a day, his first menswear collection for the maison will be revealed to the world—at the men's spring/summer 2026 show. Courtesy of Dior Courtesy of Dior With expectations at an all time high, the fashion crowd is certainly zoning in on his menswear show, waiting with avid excitement to see how Anderson will lead the brand with fresh eyes and into a new dawn. It is a fact that Anderson has been relentless in his creative pursuits; between designing for his namesake brand JW Anderson and creating the costume design for Luca Guadagnino's films Queer and Challengers , the designer is well-regarded for his tenure at Loewe, which has swiftly become one of the most coveted brands of the past few years. It's precisely this energy which a major luxury house like Dior needs now, and in just a span of a few days, Anderson has already begun to turn the tables by sharing his plans—teasing the sartorial set with images and ideas from his moodboard for Dior's men's collection, as well as his intention to return to the original Dior logo. Courtesy of Dior Earlier in the week, a portrait of Jean-Michel Basquiat by Andy Warhol from 1982, another portrait of Lea Radziwill from 1972, and a preview of Anderson's Dior Book Totes were dropped. Anderson shares in a quote: 'As I started out on this journey, I kept returning to these photographs of Basquiat and Radziwill who are both, for me, the epitome of style.' The next day, a teaser of Kylian Mbappé wearing Anderson's Dior surfaces—its imagery borrowed from the previously released Basquiat portrait. The re-introduced Book Tote, on the other hand, wears the original book cover of Bram Stoker's Dracula— its very first edition from 1897. Ideas, ideas, ideas. Anderson's forte is clear, all that's left is to see how he harnesses it for the legacy maison. View this post on Instagram A post shared by Dior Official (@dior) With the show set to unveil in Paris tomorrow, his highly-anticipated debut will likely also see the arrival of house ambassadors, such as Anya Taylor-Joy, Mingyu of Seventeen, TXT, as well as Mbappé himself. Be one of the first to watch the Dior men's spring/summer 2026 show, and tune into the livestream at 8PM SGT on 27 June.
Vogue Singapore
2 days ago
- Entertainment
- Vogue Singapore
The best street style from the Paris men's spring/summer 2026 shows
Runway devotees, rejoice—menswear season is upon us. Following the undeniable high of the Milan men's fashion week last week, it's finally the French capital's turn to shine. As fashion insiders, designers, and a constellation of A-list stars flood Paris for the men's 2026 spring/summer shows, its streets are transformed into a living runway. Inaugurating the season was Saint Laurent, as creative director Anthony Vaccarello took over the Bourse de commerce with a collection brimming with pastels and this season's penchant for legs. Never one to miss an opportunity to integrate music, art, and style, Pharrell Williams presented his sixth collection for Louis Vuitton in collaboration with Studio Mumbai, led by architect Bijoy Jain, atop a massive wooden runway inspired by the ancient Indian game of Snakes and Ladders. Set against the architectural backdrop of the Place Georges-Pompidou, the collection draws inspiration from India's rich cultural tapestry, blending artisanal finesse with sun-drenched luxury. From pleated trousers, striped coats, and embellished workwear to bags and jeans decorated with elephants and palm trees, the collection took us on a sensory journey through India. To amplify the experience, the show's star-studded soundtrack—which featured the likes of A. R. Rahman, Clipse, Doechii, and Tyler, the Creator—was also composed by Williams himself, where he made sure to showcase his love for music and fashion. With day one done and dusted, there's plenty more to come—with the likes of Dries Van Noten, Jacquemus, and Kenzo set to present their menswear collections over the next few days. Not to forget the highly anticipated Dior men's show, which marks Jonathan Anderson's debut collection after being appointed as the creative director for the maison. And what would fashion week be without its equally glossy street style? Attendees have been putting their very best forward despite the sweltering Parisian heat. Think denim co-ord sets, along with eye-catching printed tops and hats. It's no surprise, however, that some of our favourite A-listers have also been spotted like Beyonce, J-Hope, Spike Lee, BamBam and more. Below, scroll through some of the best street style from the spring/summer 2026 shows of Paris men's fashion week, as photographed by Phil Oh. Phil Oh 1 / 25 Phil Oh 2 / 25 Phil Oh 3 / 25 Phil Oh 4 / 25 Phil Oh 5 / 25 Phil Oh 6 / 25 Phil Oh 7 / 25 Phil Oh 8 / 25 Phil Oh 9 / 25 Phil Oh 10 / 25 Phil Oh 11 / 25 Phil Oh 12 / 25 Phil Oh 13 / 25 Phil Oh 14 / 25 Phil Oh 15 / 25 Phil Oh 16 / 25 Phil Oh 17 / 25 Phil Oh 18 / 25 Phil Oh 19 / 25 Phil Oh 20 / 25 Phil Oh 21 / 25 Phil Oh 22 / 25 Phil Oh 23 / 25 Phil Oh 24 / 25 Phil Oh 25 / 25
