Now, Who’s Really Happy?

Pharrell Williams’s just-announced appointment at Louis Vuitton proves that LV is determined to keep their menswear in the hands of Black non-designers

Pharrell Williams walking the Chanel show in 2016. Photo: Getty Images

These days, to look for a luxury house’s next designer, a brand does not seek candidates at other runway shows, including graduate events at prestigious fashion schools, or among members of fashion design councils around the world. It only needs to consider the Grammy Awards, past and present. Louis Vuitton’s announcement that Pharrell Williams, with 13 Grammys, would be taking over the design reigns at their menswear division—no news outlet did not run a story on that—affirms that the music world, particularly African-American hip-hop, is where designers are waiting to be found. Even if no one could say for sure what exactly has been Mr Williams’s contribution to fashion design, people do remember that he is a singer who’s well-loved by the fashion fraternity and is thought to be a culturally significant influencer. For brands these days, “cultural” positioning, as it appears (or worse, curation), is more important that fashion prominence. We have been told time and again that brands, capturing the youth market, do not need design, only what’s hot.

Pharrell Lanscilo Williams is the second Black non-designer employed by LV (are we allowed to say that without wading into dangerous waters?). Sure, like Virgil Abloh, Mr Williams too has a clothing business at the time of his hire, but that is no affirmation that he is a designer, even if he is a CFDA Fashion Icon awardee. The Happy singer collaborated with Nigo, now at Kenzo, on Billionaire Boys Club (BBC) in 2005 and, later, Ice Cream, two similar lines that primarily offers T-shirts as key merchandise. It is not clear who did (and does) most of the work. Open to speculation, too, is the possibility that it was the Bape founder Nigo, now secure at LVMH’s Kenzo, who recommended Mr Williams the LV role. Nigo had collaborated with Mr Abloh, another chum, at LV. Pals do watch out for one another. The BBC partners have known each other since the mid-2000s. Mr Williams, in fact, is close to more than one person who designs: His wife Helen Lasichanh, too, is known as a fashion designer. Will he welcome her into his team at LV?

Like Virgil Abloh, Mr Williams too has a clothing line at the time of his hire, but that is no affirmation that he is a designer

In luxury fashion, Mr Williams is very much associated with Chanel, where he is a collaborator and where he debuted as their runway model in the 2016 Métiers d’Art show in Paris, followed a year later by a TVC in the brand’s commercial for the Gabrielle bag—he was the first guy to model Chanel handbags. His employment at LVMH likely means that he would not be associated with Chanel, at least not publicly. But that could be a small price to pay. Chanel could gift him clothes, but they won’t offer him a job. It is not known if Mr Williams is as hungry as Mr Abloh was (or his chum Kanye West) in securing a design job with a European house, but he has been an ardent collaborator, including a pairing with LV in 2008 when he co-designed jewellery and eye-wear under Marc Jacobs’s watch. Sunglasses is his specialty it seems (he is often seen in a sparkly, be-jewelled pair), with an earlier collab (2012) with Moncler, known as Moncler Lunettes. His work with Adidas, as you’ll agree, needs no introduction, nor reminder.

Louis Vuitton was unsurprisingly full of praise in an Instagram post that revealed their newest LV employee. “Pharrell Williams is a visionary whose creative universes expand from music to art, and to fashion – establishing himself as a cultural global icon over the past twenty years,” it rhapsodised. “The way in which he breaks boundaries across the various worlds he explores, aligns with Louis Vuitton’s status as a Cultural Maison, reinforcing its values of innovation, pioneer spirit, and entrepreneurship.” That sounds similar to what the brand said about Virgil Abloh’s appointment. Michael Burke, Louis Vuitton’s Chairman & CEO, said in a statement back in 2018 that Mr Abloh’s “innate creativity and disruptive approach have made him so relevant, not just in the world of fashion but in popular culture today. His sensibility towards luxury and savoir-faire will be instrumental in taking Louis Vuitton’s menswear into the future.” Admittedly it’s premature to say if Mr Williams’s work would generate the manic hype that his predecessor’s did, but it would still, no doubt, be hype that will drive the brand.

Pharrell Williams (right) with Nigo. Photo: Billionaire Boys Club

In the past, most people without solid design experience would not take on a top position at a storied luxury house. Even now few would. Gucci’s new designer Sabato De Sarno, who replaces Alessandro Michele, has a solid CV, with design responsibilities bestowed on him at Prada and Valentino, where he was known as Pierpaolo Piccioli’s right-hand man. Burberry’s newly-installed Daniel Lee made a name for himself at Bottega Veneta, after cutting his teeth at Donna Karan and Céline. But at LV, design cred matter less that the hype the appointment itself would bring. LVMH has a track record of hiring relative novices. Mr Williams was probably confident enough to give it a go as he would be backed by a reputedly well-staffed design studio. Or, what Bernard Arnaud described of the team behind the failed Fenty Maison venture led by the equally rookie, singer-turn-designer Rihanna back in 2018: “talented and multicultural team supported by the group resources.” But even with that supply and support vastness, Rihanna could not make Fenty soar. Even LVMH does not always score a winner.

But the world’s largest luxury conglomerate, posting a record €79 billion in sales in 2022, cannot afford to let their biggest namesake brand slide. The LV men’s division has been undergoing changes with considerable success, certainly since Kim Jones was at the helm (2011—2018), when he introduced a more street-centric sensibility to the brand. This went, many believed, in tandem with the changing profile of the emerging luxury shopper. The hip-hop consumer who buys star-branded merchandise for fans and the rabid fashion consumer had merged. Hypebeasts were gaining influence, sneakers were footwear kings, and hip hop stars wanted to be designers, if not start a label. Luxury was redefined and it had a new selling tool when Supreme met Louis Vuitton in 2017: hype. And it would be in American street and hip hop culture that workable hoopla could be harvested. And who, among the world’s generators of exaggerated attention, attendant culture, good ’ol America? Was it not the best place to find designers? Who will luxury brands ask next? A$AP Rocky? Or Drake?

How Very Vanda-ful

Miss Universe Singapore’s “3-D printed national costume”—as some reports describe it—is a misnomer. But what fun is a national costume at the Miss Universe final if it’s not poorly named, controversial, and bordering on the absurd?

On stage in New Orleans, Miss Universe Singapore in national costume

We always remind ourselves that when it comes to the national costume segment of Miss Universe—and, frankly, the whole pageant—we have to think of entertainment, of amusement, of laughter. No one takes them costumes seriously, or as inspiration for a dress you might wish to wear for the next Christmas/party season. So when our current Miss Universe Singapore Carissa Yap strutted out—and she did—in what appeared to be a leotard, festooned with veiny petalous shapes, we were not surprised; we were entertained and we were amused, and we laughed. After 2021’s lacklustre, caped national costume, worn by Bernadette Belle Wu Ong (or Mr International Singapore Sean Nicholas Sutiono’s flag-as-cape), we were delighted to see our national flower Papilionanthe Miss Joaquim—a.k.a. Vanda Miss Joaquim—in use, again. Better bunga than, say, nasi lemak. We think the decorative is better than the edible when it comes to adorning a dress, even when there are designers who think it might be more effective to appeal to one’s appetite than aesthetic sense. And this year, it is hybrid orchid and national colour that take centrestage to generate fervid viewer reaction.

As with most of the national costumes that were shown in this 71st year of the pageant, held in New Orleans, Ms Yap’s outfit is hard to describe. It is, for sure, not a gown. The bifurcated, seeming one-piece is an audacious proposition for a beauty-contest stage, where looking glamorous is what every contestant hopes to achieve, and usually with an over-the-top dress. Some call this year’s SG national dress a jumpsuit. We are not sure. It could be a unitard of sort (something a trapeze artist might wear?), even a close-fitting two-piece, or samfu (it’s really hard to make out from the photos). The base garment is designed and made by our island’s couture darling Frederick Lee. Apparently, he even dreamed up the idea of the segments of the corolla of the orchid, conceived to expose the venation of the petals, like those of pressed leaves after they have spent considerable time weighted between the pages of a book. They are arranged in the shape of our island (more nationalistic fervour in the red and white!). Those petal parts are realised and 3-D-printed by Baëlf Design, the studio specialising in clothes not made of conventional cloth.

Publicity photo: Close up of the “lattice”

It is debatable if what was worn by Ms Yap, a National University of Singapore student, can be accurately described as a 3-D printed garment. According to the posts on Mr Lee’s and Miss Universe Singapore’s social media pages, the outfit is a result of “combining intricate craft, precise design computation and innovative use of 3D-printing technologies.” So, it is not entirely 3-D printed. The posts went on: “By using computation to grow organic, vein-like structures, these petals form a high-rise collar around the neck, as well as outstretched wings, enveloping the body in a lightweight, white-coloured 3D-printed lattice.” That, of course, makes the costume grander than it actually is. Perhaps, as long as it sounds good, it would look smashing. Growing a winged, biological form that is structural yet covers the body completely is, naturally, a feat. It does not matter that it is arguable that the irregular lines of the petals’ veins and the spaces between indeed make up latticework. The composition appeared, to us, an embellished, closing-fitting suit attached with extraneous decoration, but whether the petals—“200 individual pieces”—are stitched on or affixed with a glue gun, it is not known.

Three-dimensional printing is, of course, better poised to position our island as the hub of technological advancements than traditional dressmaking can. Although Frederick Lee has successfully marketed himself as a couturier, he does need to appear to be moving with the times, to stay relevant, and to be able to incorporate additive manufacturing to his work, rather than using a far more commonplace method, such as stitching cloth, alone. While the alate attachments (the illustration by Mr Lee shows them to be more wing-like or “outstretched”) may be enchanting, the idea of the orchid, for many of the pageant’s SG followers, is not quite. No, it isn’t because the sum effect is a tad too Iris van Herpen. When it comes to the costumes (or gag-garments?) of Miss Universe Singapore, we have a tendency to fall back on the good ’ol standby, the orchid, for inspiration. It is hard to say if this is really lack of imagination or simple laziness. Or, that our young nation is bereft of cultural motifs and material uniqueness for our costume designers to create awe-inspiring creative forms. Singapore is the only country in the world with a national flower that’s a hybrid bloom. Introducing Carissa Yap (and her costume), the co-host told the audience that “she would never settle for just one petal (there was not much more she could have settled for).” If only the commentator knew that the Vanda Miss Joaquim, when accurately depicted, has only two.

Erratum: A previous version of this post mis-stated that Bernadette Belle Wu Ong is Miss Universe Singapore in 2022; she, in fact, represented Singapore in 2021

Screen shot (top) and photo: missuniverse.sg/Instagram

Tales Of Terror

Was it a coincidence that Singapore Stories 2022 was held on the weekend of Halloween?

One of the entries by Jamela Law of Baëlf Design. Photo: KC for SOTD

Yesterday evening, in the riparian party central that is the Boat Quay, merrymakers were all out to enjoy the weekend before Halloween arrives on Monday. On Circular Road, a just-violated bride frolicked with an ogre who could be Shrek’s uglier cousin. At the edge of the Singapore river, Snow White, who looked like Cinderella in disguise, was cross with her very drunk prince. In a dark corner, a well-fed witch with an MLB cap was snogging with Batman’s Robin. Just a few of the more colourful characters among the usual gathering of the bedraggled and the bloodied. This year’s Singapore Stories at the Asian Civilisations Museum, just across the river, was just as delirious in spooking its unsuspecting attendees. At its first-ever runway presentation since the inauguration of Singapore Stories in 2018, the second-level Shaw Foundation Foyer of the museum was mood-lit like a soundstage for Fright Night. A pull into what could be a tantalising new direction for Singapore Stories under the watch of the newlynamed Singapore Fashion Council (SFC).

Yet, was it? Succumbed we tried not to, but irresistible it was to see the entries for Singapore Stories this year as hacks for hantu heroines, and we were horrified. These could be creative output for the inhabitants of the yinjian (阴间 or netherworld). CEO of SFC Semun Ho said in her welcome address that “it’s hard to talk about design” given the chilling challenges of the industry now. It is imperative, therefore, to built a viable “ecosystem”, and bring “sustainability” into focus. Singapore Stories, it could then be understood, is not design-centric. More important is the narrative that the contestants bring to their clothes. Appraise the Incredible Tales, rather than the designs, or the design finesse needed for the telling to be vivid and believable. Sure, story-telling is integral to contemporary visual culture, but with good design, stories illuminate; they clarify, they uplift, they reassure. Design is a better story-teller than mere stories. But, yesterday evening, on the squarish runway, surrounded on three sides by “function chairs”, those Singapore Stories emerged, frightening and daunting.

From left to right: the designs of Claudia Poh of Werable, Felicia Pang of Feel Archives, and Hu Ruixian of Studio HHFZ. Photos: KC for SOTD

The winner of the Singapore Stories this year is Kavita Thulasidas of the Indian emporium Stylemart. Those colourful silk mishmash of cultural references rather scared us out of our wits. Perhaps a deliberate staying away, but not entirely, from her understandably more ethnic tendencies, she attempted “Heritage Reinterpreted and Beyond”. Was it, in fact, from the beyond? There seemed the thought that apparitions sent down the runway would be less ghastly if there was evidence of embroidery or whatever surface treatment that could be applied. Apart from the obligatory flowers, there was the he (鹤) or crane, popular symbol of good luck and longevity in East Asian culture. The bird selected for the garments could have been picked from festive food packaging—there was no reimagining of the mythological crane. Perhaps this was key to her win: Asian exotica. The six-piece entry would appeal to ACM’s acquisition of Asiatic arts. At the post-show reception, ACM’s Kenny Tng urged Ms Thulasidas to continue designing such work so that the museum might acquire more, and eventually give her her own exhibition.

In design competitions, there are always those who are just not in the same league as the other contestants. If so, it becomes an uneven, haunted playing field for them. The lone wolf, if you will, of the night was Jamela Law of Baëlf Design. Her clothes were nothing like the rest of the contestants’, and perhaps that was her disadvantage. Ms Law and co-founder of Baëlf Design, Lionel Wong are known for their flair with laser cutting and for intricate three-dimensional printing, which are transformed into garments and other objects. She opened the show with a form-fitting dress, with sleeves that, in the dimness, appeared to be formed by rods (bamboo or resin, we couldn’t tell) assembled with the intricacies of takeami (Japanese bamboo weaving). It was, even at this early stage, easy to see she could win. And it would turn out that Ms Law was the only contestant who showed fabric manipulation (not merely surface embellishment) and the creation of unusual silhouettes that defied the natural contour of the body. While there were hints of Iris van Herpen couture, the clothes were, nonetheless, intriguing and deserved far more merit than what was accorded to her (she was in the top three, but unplaced). To be certain, Ms Law’s work was still not near what could be seen as refinement (and the inner wear used to introduce modesty under the open-work or gauziness looked woefully an afterthought), but the approach and the thinking behind the designs point to possibly more imaginative compositions to come.

Kavita Thulasidas (centre-front) of Stylemart with her winning designs. Photo: Shirl Tan for SOTD

From the first award handed out in 2018 to the one bestowed last night, there was no trajectory that suggested the awardees showed greater potential with each passing year. The standard did not budged. All the other three of the five finalists presented what could have been, at best, graduate collections. Hu Ruixian of HHFX Studio, known for their purported modern take on the qipao, unnerved with ill-construction on a massive scale. She daringly attempted a cartridge-pleat skirt that had the gainly edge of a barrel. As always, Ms Hu was unable to emancipate herself from chinois cuteness. Some trims looked decided cheap, such as the the row of short tassels that fringed a skirt—they could have been those found in Golden Dragon (金龙) Store in People’s Park Centre—those dangles sought after for making hongbao (红包) lanterns during Chinese New Year. Felicia Pang of Feel Archive left us quite incapacitated to feel for any of the half-a-dozen looks she sent out. Swinging from jokey to cheesy, and back again, the only thing consistent in the girly and meretricious collection was the shocking pink platform heels the models wore. The six looks of Claudia Poh of Werable (yes, spelled that way) were haunted by the ghosts of the simply bad, with no garment that appeared to fit. One top with spaghetti straps was a pair of oversized bust-cups that refused to cup. (Perhaps, that is not totally her fault. The ‘models’ for the entire show were Miss Universe Singapore contestants!) Ms Poh preferred the theatre of fashion: Two models with an extra garment each, stopped in the centre of the presentation area. They proceeded to pull the superfluous outfit, which was hung via the shoulder straps on the elbow pit, on top of the other. The point? We rather not hazard a guess.

Someone in the audience was heard saying that the designers “put a lot on one garment”, probably as expression of praise. But, as Ovidia Yu’s protagonist in Aunty Lee’s Delight believes: “people ought to go through the ideas they carried around in their heads as regularly as they turned out their store cupboards. No matter how wisely you shopped, there would be things in the depths that were past their expiration dates or gone damp and moldy—or that has been picked up on impulse and were no longer relevant”. Every writer, no matter how talented, knows the advantages of working with an editor in penning their prose. Unfortunately, fashion designers on our island rarely enjoy the benefits of the process of editing before they put out their final looks. Singapore Stories might have been better told if the narrative was well-shaped and the focus sharpened, with the emphasis on design that befits a design competition. Story-telling in fashion is not new, but the difference between riveting and tedious is a thread-fine line, just as the difference between zingy and scary is a tacky mask. Scream.

End Of The Run For Con-Couple

They did not go far enough to escape capture. In Johor Bahru yesterday, the fraudster duo was caught and brought back to our island. They are, as many are now saying, not really that smart after all

Pansuk and Pi in police custody. Collage: Just So

They were masked when they were escorted to waiting police cars, as seen in last night’s news broadcasts, but even with faces half-concealed, it was not hard to distinguish them. Siriwipa Pansuk (aka Ann) and her husband Pi Jiapeng (aka Kevin), on the run since 4 July when they fled our island, were arrested by Malaysian police at a hotel in Johor Bahru (JB), where they had chosen to tarry and, likely, blend in. According to images from CCTV footage published by the press and shared online, the couple did not resist arrest. They were, according to the hotel staff, calm. When they were caught, they were dressed simply, with none of them wearing a watch, luxury or not. There were no Dior bags that Ms Pansuk had favoured either.

Mr Pi had on a dark green, baggy T-shirt with “Paris Balenciaga” printed in white on the chest—an original would have set him back S$880, retail—and a pair of slim, black, knee-length shorts of unrecognised provenance. He was carrying a black backpack of an indeterminate make when he was at the hotel (it was later held by the police). If it were a Balenciaga too, it would have cost at least S$1,250. His wife, with hair tied into a small matronly chignon, was even more nondescript; she was togged in a crumpled, black V-neck dress that did not look especially luxurious. Both were shod in black slides. As Netizens have been saying since last night, they did not look like they had enriched themselves with ill-gotten S$32 million; they looked like petty thieves.

…they did not look like they had enriched themselves with ill-gotten S$32 million; they looked like petty thieves

According to the Singapore Police Force, the arrest was made possible with help from the Malaysian authorities, based on information from the Royal Thai Police that it was likely the husband and wife were staying in a hotel right across the Causeway. Shinmin Daily News (新明日报) reported that the couple had remained in JB throughout these past 37 days, staying in different hotels—all amazingly possible without identification papers—to avoid detection. When the cash they brought along with them ran low, they switched to budget hotels, and one that set the stage for their capture is, ironically, called Bookme—a fitting end to their swindling and runaway life. This hotel can be reserved for as low as S$25 a night on booking.com. It is situated in the suburb of Bukit Indah, a residential and commercial area that is popular with those working here on our island. Bookme Hotel (formerly known as Smor Hotel) is just 1.5 kilometres away from a stretch of the Malaysia-Singapore Second Link highway. When the wanted two appeared at the hotel at around 10am last night (presumably to check in—without, again, passports?), and was apprehended, a sign on the glass door read, “Full House”.

One Malaysian working here, with his own residence in JB, told us that the couple made a poor decision to stay in Bukit Indah (meaning beautiful hill in Malay). “There are so many Singaporeans in this area, especially in the weekends” he said. “They would definitely meet someone who’d recognise them. For sure, I would not choose this place.” Bookme Hotel is, in fact, in a stretch of three-storey shop houses on a treeless road in the pusat (bellybutton) of Bukit Indah, right behind TF Value-Mart (former Giant), and within walking distance to Singaporean faves Tesco and, a little further, AEON Mall. Is it possible that, as they were used to a life of immense comfort, they needed to be in an area dense with urban conveniences? He added, “I think they cannot handle an environment with facilities wanting; they require a place that breathes with life.” Besides, we figured, if the nearby malls could not serve their still-to-change needs, the Johor Premium Outlet is really not that far away.

Bookme Hotel in Bukit Indah, Johor Bahru. Photo: agaoda.com

While initial reactions to the unbelievable escape (Mr Pi called it “our mistake” in his first comment after the arrest) were met with surprise at their daring and smarts, many are now saying that perhaps the two are not as clever or strategic as they had appeared to be. It is not clear why both, unencumbered with luxury bags, did not go away from the city centre, even leave the state of Johor entirely. Was it possible that they did not know how wanted they were? Or that an Interpol warrant was issued against them, or that Malaysian (and Thai) authorities were willing to assist in the search for this pair of absconders? It is likely that Malaysia was totally alien to the two of them, and the fear of not making it in remote places (let alone the wilderness), where Malay may be the only spoken language, kept them in the relatively mundane and relatable area of Bukit Indah.

Their choice of the hideout and the proximity to Singapore are not the only puzzlers. Just as baffling is how the Thai authorities knew the Pis were in JB when the talk for close to a month was that they were already in Thailand, completed plastic surgery, and had blended with the crowd. Thai social media is presently seeing rapid sharing of the video report of the couple’s arrest (even in Chinese, with chiding directed at Ms Pansuk) and is rife with speculation that someone she knows snitched on her. It is highly possible that she would stay in touch with individuals in her home country, even if it is surprising that she had not laid low enough. It seems that, other than her family (mother and brother are supposedly in hiding), most people are deeply angry with her. Even purported friends of Ms Pansuk’s were saying on social media, with links to the news reports here: “วันนี้ที่รอคอย (wan nee ti rao koy)”—the day I’ve been waiting for.

Shit, Is Excrement A Thing Now?

From poop on the bed to possibly eating some, women are finding use for fecal matter

By Mao Shan Wang

I have not heard this much shit in such a short span of time. This should have been a load of crap, but it isn’t. A month ago, at the now-concluded-and-Twittered-to-death trial of Johnny Depp versus Amber Heard, the jury was told that Mr Depp one day learnt a clump of faeces was dumped on his side of the bed he shared with his former wife. Ms Heard reportedly admitted to a security staff that turning the bed into a toilet was “a horrible practical joke”, but she denied she said that. Instead, she blamed it on one of their dogs. Court documents seemingly did not provide information on how many day’s worth of turd laid in wait, but according to Mr Depp, the “fecal delivery” was not canine: “I lived with those dogs for many years. That did not come from a dog. It just didn’t”.

And then just two days ago, venerable newspaper The New York Times shared that Kim Kardashian said, “If you told me that I literally had to eat poop every single day and I would look younger, I might. I just might.” Literally jiak sai (食屎, in Hokkien)! And this was a serious interview about her new beauty line SKKN by Kim, and the gunk she hoped you’d put on your face. I assume what she is willing to ingest to defy skin ageing comes from her own defecation. I don’t know about you, but after thinking that the SKIMS founder entertains such a thought (seriously, who does?!), I am not considering the stuff she peddles, no matter how “prestige” she described them to be. Okay, people might be fascinated with her recognisable body, but, I am certain, not what comes out of it.

Never have I thought that there could be individuals for whom the leaving of excreta, human or not, where one sleeps is appropriate, no matter the extent of the failure in love. Perhaps it was, for Ms Heard, the ultimate revenge, since Mr Depp is no Chuck Berry, who was known to dabble in coprophilia (yes, there is a word for it, this love of using poop for some return of satisfaction). And Mr Depp did not tell Ms Heard, “Now it’s time for my breakfast.” Or, that Ms Kardashian would consider coprophagia (yes, there is also a word for it, this feeding on shit!), or, to be more precise, autocoprophagy, the ingesting one’s own, whether deposited (on a bed or elsewhere) or taken directly from the point of exit. In court last month, Ms Heard could not believe that her ex-husband was “going on and on” about the mucked bed. “Our marriage was over and falling apart… I couldn’t believe he wanted to talk about faeces”. I could, and I would.

Illustration: Just So

The Last Chance

…to see the display that nearly was not to be

For almost the whole of last weekend, we thought that the most hyped exhibition on this island of the pandemic years was not happening. And then it was. Before we could caw KAWS, the blow-up doll basking in the blazing sun shall be no more. Today is the last day of the eight-day display, and a lie-down defiance against an injunction issued against it. If the organisers had taken the cross-eyed Companion and his look-alike companion down (the court order had initially demanded that the exhibition stop taking place), we may not be able to benefit from a re-installation. But Companion was destined to enjoying his spot on The Float @ Marina Bay. And we were able to watch him without further disturbance.

The wise would say great art challenges us. But who would have known that even the great Companion would be challenged? And of all places, on this little red dot, a barren land of art on a monumental scale; his first legal obstacle after having been to half a dozen or so places around the world, sometimes floating in the sea rather than lying on dry land. Hitherto, not many people know what truly happened last weekend that led to the initial closure of the seemingly harmless display. Was it an absolutely necessary action on the part of those who filed the court papers? What did it suggest about the future of staging world-class exhibitions here?

It is often said that the KAWS sculpture is a figure of our age, a personification of the Mickey in us all. Yet, to us, Companion does not appear to be jolly even if in other settings he seems to be clowning. Distressed? His eyes are a pair of Xs, as if crossed out, or cancelled. Is he hiding his unhappiness—even tears—from us, keeping us away from his eyes, the windows to his soul? When we did finally see him up-close, he quietly reminded us of the very surface-only world we are inhabiting; the artificial and the artifice. In both the physical and digital world, clever fakeness and artful contrivance come together to hold sway over us. Perhaps, Companion is an image of our modern selves: all plastic and hot air. Happy to have met him.

KAWS:Holiday Singapore opens at 2pm and closes at 9pm. Photo: Chin Boy Kay

The Guy Who Gave You This Green

.…is leaving Bottega Veneta

The intrecciato weave in the Bottega Green. Photo: Bottega Veneta

We know that in fashion, it’s the coming and going that keeps the business in momentum. But when a designer, credited for reviving an unexciting house, leaves after just three years into his buzzy tenure, it’s hard to say if the leaving will do the the brand any good. Daniel Lee, as you have probably heard by now, is leaving Bottega Veneta. This comes just weeks after his show, Salon 3, staged in—of all places—Detroit. The loud collection was praised to the heavens by the media. It would seem Mr Lee, who posed shirtless on the cover of Cultured magazine for the fall 2020 issue that included the blurb “Prodigy”, could do no wrong. And then this surprising or, to better reflect the sentiment of the industry, shocking news. And just like that, he would be no more. Would the Cassette bag still be cool next month? And that gleefully bright Bottega Green? What happens to the stores given a new coat of paint?

It is not an easy green to wear, for sure. And it was not one to be the new black. Yet, some publications called it “colour of the year”. Fashionistas took to it like the proverbial moth to a flame. If there was one colour that dominated social media it was this green, so saturated that it could be considered too much. This is not Valentino red or Schiaparelli pink; this is green, with a particular brightness and intensity usually associated with goblins, the clothing of Leprechauns, and, of course, St Patrick’s day. No, not Starbucks, but—oh, yes—Grab! We tried to like it, but it was not speaking to us. Bottega Veneta’s spring/summer 2021 had so much of the green that it would make a convert of any green-averse, but we could only stand in a distance and observe, without, frankly, any envy.

The unmistakble and unmissable green that is the façade of the men’s store at MBS. File photo: SOTD

The truth is, we could not quite decide if we really liked the work of Daniel Lee, former ready-to-wear director at Celine, during Phoebe Filo’s stewardship. Not even after this many seasons at BV, not after he won four awards at the 2019 British Fashion Awards, not after the wild success of the crazy green. Mr Lee is no doubt technically skilled and chromatically gifted, but it is hard to describe one overaching aesthetic that could be ascribed to the brand. One tai-tai told us, “He started quite good at BV… but then he got weird. No one can wear his clothes.” We think there is sexy somewhere in his modern take of somewhat traditional shapes, but we can’t pin-point something so amazing that we’ll remember it even after Mr Lee’s Pouch bags and Wellies are long forgotten. Martin Margiela’s stint at Hermès was just three years longer than Mr Lee’s time at BV, but we do remember the house’s vareuse, that deep-V neckline that he had made quite his own, appearing on tunics, for example, worn over jumpers cinched at the waist with wide belts.

Many industry watchers thought Mr Lee’s resignation to be bad news for Kering, parent company of BV. No reason was given for their star British designer’s impending departure, or when his last day would be. Something did happen to precipitate the sudden exit, but we may never know. Although he told Cultured, “I’ve always been a people person and I like to be surrounded by world citizens from a richness of backgrounds”, WWD reported that he “clashed with several people within the company and was defined as ‘uncommunicative’.” In a statement issued to the media, Kering’s chief executive François-Henri Pinault thanked the designer for “the unique chapter” he brought to the house, which said the split is a “joint decision”. In January this year, BV removed all content on their social media accounts, purportedly to start on a clean slate. Could the end of Daniel Lee’s tenure allow Bottega Veneta to do the same with the design and the merchandise? Stay tuned.

Two Of A Kind: Vaccinated Too

Valentino hacked Cloney who had “cloned” Valentino. So who is Depression duplicating?

Valentino’s hoodie (left) and Depression’s T-shirt (right). Photos: Valentino and Depression/Instagram respectively

Yes, COVID-19 has made our world more confusing than it has ever been. In the fashion world, no one would be surprised if you see double: one design like another, or two names as one. Fendace! Designers are now hacking, cloning, and swapping. What is real, what is not? Who came first, who came after? To further boggle the mind, our very own Depression has joined the race to declare one’s vaccination status across a T-shirt, shortly after Valentino’s made theirs on a hoodie. Coincidence? Or is there something in the air, apart from virulent viruses, that makes people want to do the same things? Perhaps one of the side effects of vaccination is the afflicting of individuals to have the same idea, at the same time?

How about about identical fonts? Depression’s ‘VACCINATED’ shares an extremely similar type to Valentino’s, a serif style. Is the occurrence more than a case of mere chance? Sure, it is possible that the Depression designers, still depressed, was jelak of Helvetica and its ilk. Or, 腻烦 (ni fan—sick and tired of), to use a phrase that is more 武林大会 (wu lin da hui—general assembly of the martial arts world), as the Depression flagship considers itself to be. But the similarity does not end there. The word is spelled in full-caps too, and stretched from arm hole to arm hole as well. Okay, Depression fans would say that the T-shirt is slightly different since the 10-letter word is emblazoned in white and appears in the back. Yes, same difference or, as they say in Thailand, same same.

We truly live in a world when one person sells bubble tea, another has too; when one TV star hawks home-baked goods, another must too. As in much of the food world, which now dominates the (still) pandemic-stricken world, just because my ang ku kueh looks like yours does not mean I copied you!

Two Rich Women

…wore T-shirts to court to receive the fines handed to them for “harassing a public servant”, which included the demand that the victim—a police officer—“talk to rich people nicely”

Money talks, and it often does. Two women made sure money rebukes too. In court yesterday, they pleaded guilty to verbally abusing—”harassing a public servant”, according to news reports—an auxiliary police officer who caught the pair smoking outside the designated area in front of Lucky Plaza. Many women do no like to be told that they have done something socially improper, even repugnant, but these two did not merely dislike. Caught in the act by the arms of the law is understandably infuriating, but rather than just expressing frustration at the misfortune, these self-proclaimed moneybags—one 49 and the other 50—took it out on the appointee of the National Environment Agency to enforce the no-smoking rule by snubbing and reproaching her.

When they were asked for their particulars so that a summons could be issued, they remonstrated by showing their utter disdain for the police officer, even profiling her as poorly-paid and impecunious. “Your salary how much?” the younger woman taunt-asked in proud Singlish. “One thousand only one month, I think.” It is not known how the officer responded, if at all, but one of the women seemed even more ruffled, and chided, “talk to rich people nicely, you’re a poor girl”. Still unsatisfied, she added what sounded like a dastardly curse: “I tell you, you careful walk, fall down… don’t bang to the car” and then further taunting, and adding an expletive, “So what, pay only what. I got money, cheebye”. The older woman, who didn’t want to miss out on the action, chipped in with “You shut up and ask for IC” and “You poor forever, you know or not?”

The incident occurred a year ago, while the pandemic was raging and there was yet talk about “living with an endemic”. Smokers who light up whenever and wherever they wish tend to see themselves as a different breed: manifesting concerns only for themselves, COVID be damned. While this ongoing pandemic has repeatedly shown us that many individuals prioritise their own needs above the interests, even health, of others (those not holding a cigarette as excuse to go mask-less do the same with a cup of bubble tea or a bag of curry puffs), the expression of this selfishness and the simultaneous disparaging of those who are only doing their job must never be condoned. Or, ignored.

Derogatory words were then followed by action taken to humiliate

The deliberate put-down did not end. The women, now seemingly high on the abuse, continued. The older one, in full look-down mode, went on: “crazy girl, better go back and hug your pillow and cry”, adding that the much younger officer’s salary alone would not be sufficient for the abuser to buy a pillow. It is unclear why the women thought the victim to be near destitute, despite a salaried job. As if there were limitations to the use of Singlish to scold, she hit out with a Cantonese insult mo ga gao (無家教 or no family upbringing) and, in Mandarin, shen jing bing (神经病 or mental case). Derogatory words were then followed by action taken to humiliate. The younger woman whipped out a S$1,000 note and shook it in front of the officer, telling the working girl to say no more and accept the money. The episode was captured on the police officer’s body-cam.

In photos published in the media, the two women were seen leaving the court complex wearing T-shirts. According to Lianhe Wanbao (联合晚报), they “wore famous brands and gold chains to court (穿名牌戴金链出庭)”. The younger of the two, who had her hair tied to each side of her head in limp pigtails, as if inspired by manga characters (Izumi Akazawa of Rough Sketch, perhaps?), had on a fitted, white Under Armour T-shirt, with massive black logo and logotype on the chest, crowned at the crew neck with a chunky gold chain and a medallion that would not be out of place in a hip-hop artiste’s get-up. The other reportedly wore the Gucci, evidenced by a “large logo”, according to the evening paper. Other images clearly showed her in an oversized ivory top with the blue logo of Paramount Pictures (the top is listed on Matches Fashion for US$650), above which a gold chain—less coarse than her friend’s—laid, and carrying what appears to be a white Valentino Supervee crossbody bag (on valentino.com, it is available for S$3,680). We are unable to independently verify if any of the items spotted are original, but we can see that they were picked for visual impact.

We live in an economically unequal world. Some people make sure you know that by telling you in your face that they are wealthier than you. Or, by wearing clothes that announce their financial ability in splashing on, say, T-shirts that usually retail for above S$500 (the cheapest women’s Gucci T-shirt presently listed on their website is US$490, or S$658). Perhaps we might soon find a slogan tee with that quotation “talk nicely to rich people” on Shopee, for an ironically more agreeable price? Wealth differential—large or small—between you and any stranger you meet anywhere is always there. Allowing money to put you above others is way lower than the hem of your logo-ed, look-at-my-wealth T-shirts.

Collage: Just So

The Return Of…

Gone quiet for 30 years as a group, ABBA is back with a new studio album. Are we still in a nostalgic mood? Is it true when they sing, “I’m not the same this time around”?

Avatars of ABBA perform in the video of the group’s newest single, I still have Faith in You. Screen grab: ABBA/YouTube

For the many youngsters who shop at Shein and those who endure the electro-cheese that’s mainly TikTok’s soundtrack, ABBA is likely a pop-culture relic. Disbanded since 1982, the year when Billboard’s number-one hit was Olivia Newton-John’s “raunchy” Physical, ABBA has largely existed on karaoke nights of men and women of a certain age and as the soundtrack of their own promo-vehicle ABBA: The Movie (1977), the stage musical Mama Mia (1999) and the movie of the same name (2008), followed by Mama Mia! Here We Go Again (2018). It’s unclear how frequently ABBA is played on Spotify (compared to Ed Sheeran?), but in their heyday, the Swedish quartet reportedly sold more than 380 million albums (what are those? Let’s leave that for another time). So massive ABBA was in terms of album sales for a quartet that only The Beatles (since we’re looking back, why not even further back?) sold more, at 600 million. E!Online reported that the four of them turned down USD1 billion in 2000 to reunite for 100 performances. So ABBA’s much-publicised reunion and comeback and an impending live show are a big deal. And they have not only announced a new album Voyage coming out in November, but also the release of two new songs at the same time in the past 24 hours. Are we on the cusp of another ABBA-mania, even when their fans are mostly those considered senior citizens?

I Still have Faith in You is the first among the two to be made available with an accompanying music video, which is a patchwork of old photos and footages, and an in-the-shadows preview of the gig to come. Written in 2018 for a TV show, but somehow not broadcasted or used, it’s now their comeback theme of sort. This is classic ABBA if classic ABBA is what rocks your boat. It is perhaps hard for fans to imagine them doing anything outside their range when they are making new music as septuagenarians. It’s not as if we can imagine ABBA as Kiss or, perhaps more accessibly, Blur. If Bee Gees can return, they too would be just Stayin’ Alive. Schmaltz was an ABBA signature, and they still sign that way. NME quoted Benny Andersson explaining why they won’t adopt current pop music trends: “We can’t, because I don’t understand the ingredients in the songs that work today, so it’s impossible to emulate.” Dripping with sentimentality (“It stands above the crazy things we did/It all comes down to love”), I Still have Faith in You is the quartet looking back, or unable to part with their dreamy young selves. The ballad builds slowly (another ABBA identifier) to emotion-tugging musical-theatre style arrangement (as if prepping for another Mama Mia film) that easily becomes guilty pleasure. But have we not already sung Thank You for the Music?

There is moderately more heft to the other released track, Don’t Shut Me Down. While I Still have Faith in You is written to bring a stadium to its feet (and it will!), this is arranged for a dance floor to the DJ’s mercy. Similarly announced in 2018, but did not materialise, this is a potential dance-charter and stayer. Again, the song opens slowly, but when “the lights are on/it’s time to go/it’s time at last to let him know” and the showy piano glissando strikes, you’re in familiar territory. Cue to grab your partner by the hand and hit the dance floor. Voulez vous? Only thing is, you’re back in what was called a discotheque. Don’t Shut Me Down is no Dancing Queen, but you may want to scream. When was the last time you danced to a song that encouraged you to sing along, let your hair down and your voice out? Yet, it is not quite the disco banger it could be. One sense restraint here, as if the band was asking, “do they still boogie?” Or leaving the others to do a worthy remix. But not too new. Almighty Records come to mind (full disclosure: we’re not huge fans of ABBA, but we’re partial to Abbacadabra)! In the present form, Don’t Shut Me Down does not pretend to be, like their creators, other than a blast from the past. Even with Internet-era language such as “I’ve been reloaded”, the baseline, the percussion, the xylophone(!)—they conspire to make Tetron bell-bottoms want to dance along.

At this age, the foursome—it is possible—was not having that much fun. We’re not saying they did not derive joy in writing and producing the songs, or singing them, but both tracks sound so serious that we almost forget that ABBA was very much associated with the campy or even the kinky (remember Two For The Price Of One from the last album, 1981’s The Visitor? Was it a more liberal era then?). At this age, the Super Troupers are not keen to perform in person. In announcing the ABBA Voyage concert (for 2022), described as “revolutionary”, we were told that Industrial, Light and Magic-designed digital “ABBA-tars” (think Gollum) would take their place. These are put together, according to the BBC, by “850 people (who) worked on recreating ABBA ‘in their prime’”. More remaining in the past while bringing ABBA to the AI-ready anything? As we hear mellower-sounding Agnetha Fältskog and Anni-Frid Lyngstad stack-harmonise, “we have a story/and it survived” in I Still have Faith in You, we also hear the making of Mama Mia: Don’t Shut Me Down!

Rating: 2.5 out of 5.

Two Of A Kind: Jet Set

Before Mediacorp’s Star Awards 2021, there was Karl Lagerfeld’s Chanel 2008, 2012, and 2016

An airport created inside the Grand Palais for Chanel spring/summer 2016. Photo: Chanel

The attendees at the Star Awards 2021 held inside the terminal building of T4. Screen grab: Mediacorp/YouTube

We are an island of many firsts. Mediacorp’s recent Star Awards, curiously staged at Changi Passenger Terminal T4, is one of them. It included a “fashion show” with a short runway on the tarmac, in front of an SIA jet. Another first. And stars strutting their stuff in front of an the aircraft—a first too. For the uninitiated, this must have been the grandest event Mediacorp has ever put together, and with more fashion than an average TV/MeWatch/YouTube viewer will get to see in their lifetime. But the aviation theme is hardly new in the world of fashion/entertainment. Watching the unreasonably long broadcast of six-and-a-half hours, with no real content in the first three, we started to stray and think of the grand sets of the old Chanel shows under Karl Lagerfeld’s watch that included an airport and aircraft. Grand. Monumental. Splendid. Stupendous! The descriptions came easily, but we struggled to find similar for Mediacorp’s dalliance with Changi Airport.

Outside their studios, Mediacorp was rather lost—a 孙公公 (sun gonggong, Eunuch Song!) in 21st century Singapore with a four-terminal, two-runway international airport. T4 is not the most attractive among all of Changi’s dissimilar terminals, and Mediacorp made it even less telegenic. From the “red carpet” on the red asphalt of the driveway to the plush, but utilitarian interiors of the departure gates, the show venues had the ambience of an MRT station during the Circuit Breaker. And to see the stars on both driveway and airport apron in sometimes laughable clothes that contradicted the spirit of red-carpet fashion (Chen Hanwei ridiculously over-fashioned by Q Menswear, for one) was really both highlight and downer of the whole event. It might be alright for us to laugh at ourselves, but thinking that the other regions with similar and far more polished award nights having a national giggle was pain-inducing. So, it was best to think of other memorable events.

Chanel cruise show in 2008 featuring a Chanel private jet from which models appeared. Photo: JKLD

Zoe Tay in Carolina Herrera at Changi T4. Photo: Mediacorp

Chanel’s over-the-top shows are, by now, legendary. No idea is too audacious or too unachievable for the house and their budget, and that includes creating a departure lounge and naming the check in counter Chanel Airlines. In fact, there was even a Chanel Line. Back in 2008, Chanel staged a couture show on an airfield in Santa Monica, Los Angeles. The audience was seated in a hanger and two planes—the Bombardier Challenger 601 (considered “business jets”, hence for private travel)—arrived to allow the models to alight. So spectacular the whole staging was (including a first-class departure gate set up in the hanger, complete with cocktail bars) that guests reportedly gave the show a standing ovation even before the first model, Raquel Zimmermann in an airport-ready navy jumpsuit, could deplane. So outstanding the presentation was that jet-setting attendees, such as Victoria Beckham and Demi Moore were duly impressed. If watching the action outside the aircraft was not quite enough, for the spring/summer 2012 couture collection, Chanel brought the show inside the cabin, with a set that allowed members of the audience aisle or window seat!

The house of Chanel had a long connection to aviation. In 1966, Coco Chanel herself even designed the uniforms—featuring her signature boxy jackets—of the flight attendants of Olympic Airways (now Olympic Airlines) of Greece, which was, at that time, marketed as a luxury airline owned by the shipping magnate Aristotle Onassis (who married the widowed Jackie Onasis). Back then, flying was a stylish affair. And an airport was not a place for T-shirts and shorts and flip-flops as it is now. In bringing back or remembering the romance of travel, Karl Lagerfeld had an airport terminal built in the Grand Palais for the Chanel spring/summer 2016 show. Models appeared as passengers ready to check in at the Chanel Airlines counter, manned by just-as-impossibly-good-looking staff. The flight information display system above (interestingly, not a split-flap) showed the final destinations of Chanel Airlines: Dubai, Seoul, Tokyo, and, amazingly, Singapore! We needed another country to show that we are worthy.

Abercrombie Will Soon Close

The last American casual brand to leave our shores. Will we miss it?

It was bound to happen. But we did not think it would be on their 10th year here. A decade is a long time to be in any market. But there has been declining interest in Abercrombie & Fitch since at least five years ago. This week, at its sole store on Orchard Road (in what was formerly known as Knightsbridge), the calm and uniformity of the stretch of merchandise-free window is interrupted by a sale sign that says “entire store 50%”. This afternoon, two women rushing towards the entrance were heard saying, “quick, quick.” Although the store front was quiet, it brought to mind the long queues seen in the first week of its opening back in December 2011. There are those, however, who remember that during that week, the MRT broke down on three consecutive days, leading to massive public anger. At least five hundred thousand commuters, it was said, were affected during those days. Yet, those who rushed to and queued at the new store in town seemed unaffected by the train disruption and unconcerned that deep dissatisfaction with our mass rapid transit system was seriously mounting.

At the closing down sale, we sense a similar indifference to what’s even more severe than not being able to get home soon enough—an ongoing pandemic. Purchases had to be made. A sale had to be taken advantage of. Bargain hunters left no garment and price tag unchecked. One Caucasian woman with a Saint Laurent tote had both her arms, locked at the fingers, served as a basket. A young chap was scooping up so many track pants, you’d wonder if he wears anything else. Folks of the Merdeka Generation were so numerous, you would not have guessed A&F was once considered a teen brand. We notice that there was hardly any staff. Two were spotted, both manning the only cashier counter opened, on the first floor. A chat with one of them confirmed that the store will “close for good on 2nd May” (last day of sale). There was no mention of the closure on table/counter stands, except the half-price sale. Or, on social media. Why are you closing, we wondered. “They’re not making money,” she offered helpfully. Why, no one shops? “It’s because of the pandemic.” That was not unexpected. Is 50 percent off enough to clear the stocks? “We hope so.” Will you be out of a job next month? “We’ll be retrenched, I guess.”

The merchandise seemed to have ended its seasonal life last year. It is not unreasonable to assume that the stock replenishment and renewal exercise did not continue after the autumn/winter buy, possibly including their supply of environmental perfume. The store was surprisingly and welcomely unscented! You could depart with purchases not artificially fragranced. Much of what they were clearing were standard and familiar separates, but in thicker fabrics than what might be comfortable for our weather. Some shoppers had noticed that the holiday offerings of last December were noticeably unremarkable. Back then, there was already talk that the store would be closing permanently. When Robinsons was clearing out last November, some leasing managers were already saying that the next available large retail space on Orchard Road would be the corner that is Abercrombie and Fitch—2,000 sq m, all three levels of it. Similarly, when Gap bowed out in 2018, as well as American Eagle Outfitters and, two years earlier, Aeropostale, the question was, “when will it be Abercrombie’s turn?”

US casual apparel brands have lost much of its appeal from the time Gap arrived on our island in 2006 (even before the iPhone!) with a 836 sq m “Southeast Asia flagship” in Wisma Atria. Throughout much of the ’90s, when Gap was popular, most Singaporeans were buying their clothes when travelling. And they needn’t go to the US, as Gap and its ilk were available in Tokyo and—even nearer—Hong Kong, where once a little street in Tsim Sha Tsui called Granville Road gave Gap fans—and certainly Abercrombie—their fill of merchandise by way of outlet shops. By the time Abercrombie arrived here, the brand was not as new as it seemed since many of those who love the label had brought their share during their holidays in the US, or, for the less-travelled, across the Causeway in also-outlet shops such as the Reject Shop. Abercrombie, as did its compatriot brands, scored by selling basic merchandise characterised by conspicuous placements of logotypes, but with far sexier branding (campaigns were famously shot by the now-disgraced Bruce Weber). But the formula never changed, not even when copies such as Bangkok’s CC Double O emerged, complete with similar store interiors, to tempt visitors, such as those from our island. If we really required basics, and fashionable ones too, we already had Uniqlo—they were earlier than Abercrombie by two years.

When Abercrombie opened, national pride could be sensed as the store was only the second to launch in Asia after Japan. The opening was not without fanfare, and was certainly more attention-grabbing than any witnessed till then. It was conceived to be remembered. Half-naked men—with only red track pants—paraded the store front daily, amenable to gawkers who must take selfies with them and to those who can’t resist appreciating their musculature by running their fingers down their abdomen. Many onlookers, including those that would be known now as the “Pioneer” generation, showed that we have arrived at a time when what was considered indecent was being redefine. As SOTD contributor Mao Shan Wang recalled, “even my mother wanted to touch them!” These weren’t shirtless men at a construction site (already rarely seen); these were men showing off, aware of their good looks, and their magnetism attracted both men and women to the store, even long after their sojourn. They were not guys seen on paper bags; they were flesh and gut. “From now till the opening,” one enthusiastic report at the time went, “you can expect these sexy hot bods to be in attendance.” If you really didn’t know better, you’d be wondering what the store was selling.

Abercrombie opened on our shores just two years after the Obama presidency. The first African-American to be elected president had promised “hope and change”. The US of A was to experience seismic shifts: demographically, socially, and technologically (Twitter was only picking up pace, no one was imagining a TikTok). Casual American fashion was slowly losing its wholesome appeal to not only the Americans, but also those abroad who were being converted by the Swedes and the Spaniards (and to an extent, the British) into fast fashion fans. H&M was selling retro-print T-shirts (so too was Uniqlo), but Abercrombie was stuck to the aesthetic dullness of its previous, controversial CEO Michael Jeffries, still banking on its appliqued graphics, heavy on the A&F logo. And, not forgetting how tight the clothes were (especially for the men). Mr Jeffries, himself a mature—and a bottle blond—personification of his Abercrombie ideal, told Salon in 2006 that his brand was for “cool” people, which presumably did not include the “overweight or unattractive people” he did not want seen in his clothes. Even before wokeness was a word, this did not score well with many people. Although Mr Jeffries issued a public apology when the comments were made known in 2013, the impact of his tone-deaf comments on Abercrombie could not be blocked or reversed.

Those heaving, bare-chested chaps on the pavement of Orchard Road only served to augment the positioning of the brand. Shoppers who did not care about their sexualised image, the dark-as-Zouk interior of the store, the dance music even at eleven in the morning, and the bothersome all-over scent that makes even Lush smelled discreet, just avoid it, like a bad joke. One segment of consumers who seemed more lured by it than others were gay boys. They wore the athletic, bicep-enhancing tees and polos as date clothes as much as club wear. Abercrombie made casual sexy and youthful insouciance equally so. The trick is to appear in the threads not self-aware, as though you’re naturally as glowingly appealing as those blonde gods lensed by Mr Weber. Or the store’s if-you-are-not-good-looking-you-can’t-work-here staff. The Abercrombie moose logo, whether on a plain crew-neck tee or a polo shirt, was like a badge that indicated you belonged to a club, one that honours only physical perfection. This ideal, often without sartorial merit, was eventually also appreciated by the masses, who had yet seen the fading glory of American preppy for a largely white consumer. Abercrombie was not hard to understand just as Americana, decades earlier, was not hard to digest.

But times do change, as well as consumer tastes. President Obama’s place in the White House elevated America’s image outside the US. But, when Donald Trump took over—to the horror of the world, that no longer held true. Which non-American would want to don anything that blatantly aligned the wearer with the MAGA States? In fact, Abercrombie’s still-blatant “all-American” branding was, and still is, its undoing—USA is no longer a seductive sell. Although its brand image was rehabilitated after Michael Jeffries’s departure (“ousted”, as was reported) from the company in 2014, things would not be the same for the brand. The cool that it so naturally exuded weaken, the clothes looked dated, and the store still dark, as if it could not come out of a doomed gloom. They did not, to borrow from an old phrase, get their mojo back.

Update (18 April 2021, 6.30pm): Abercrombie announced on Instagram earlier today that “the store is closing on 2 May 2021”, adding, “we’ve enjoyed being your Abercrombie”

Photos: Zhao Xiangji