Dedicated Menswear Shows Are Making A Comeback

Givenchy will separate menswear and womenswear from June, joining other European brands embracing the uncoupling route.

By Miles Socha, Martino Carrera 25/05/2022

The coed fashion show, which gained popularity in recent years, is yielding to a great uncoupling in order to give menswear a bigger spotlight.

Versace and Dsquared2 are among European brands that recently reverted to dedicated menswear displays in order to spur their businesses. And now comes word that Givenchy will separate menswear and womenswear to give each category more visibility.

Givenchy’s spring 2023 men’s show, slated for Paris Fashion Week in June, will mark the first time showing menswear alone since Matthew Williams joined the house as creative director in June 2020.

Many argue that coed shows — a format popularized during the pandemic to present a unified brand statement — may be doing menswear a disservice, especially as a new generation of fashion-driven men drive growth in the category.

“It notably simplified the show logistics and generated savings,” said Ralph Toledano, president of the Fédération de la Haute Couture et de la Mode. “Some brands who experienced coed shows are coming back to two shows, but coed will continue to be relevant for smaller houses and no-gender brands.”

In Toledano’s view, there are arguments to be made for coed displays. “If a women’s brand wants to introduce menswear, it is a real opportunity to mix it with womenswear at the early stages of the line,” he said in an interview. “Coed shows also allow houses to illustrate the design consistency of a brand.”

According to Carlo Capasa, president of the Camera Nazionale della Moda Italiana, the coed format is still largely beneficial to emerging brands, helping them contain costs. And when timed with the men’s season, as was the case for 44 Label Group last January, coed formats allow emerging brands to conduct early sales campaigns and generate the bulk of revenues from show pieces, both for men’s and womenswear, which may be the only collection they produce.

But there are risks.

“In general, as womenswear is more impactful than menswear, the audience may be distracted from menswear,” Toledano said. “And if you show womenswear at the men’s fashion week, it is sure that it will get less attention than if you show it in the women’s fashion week.”

Regardless, menswear is becoming more and more visible, according to Toledano. “Probably because the market has been growing significantly for a while, and also because the quality of the collections has dramatically increased, both in wearability and innovation,” he explained.

“Men’s is quite an essential part of the business and showing it separately is putting it back under the spotlight, avoiding the risk womenswear swallows its identity,” echoed Capasa. He underscored how a new generation of male customers is more fashion-driven than in the past, further boosting the segment’s visibility.

“The men’s season is more compact than women’s, as is business, but it is inching up and we expect a strong week in June,” he added.

Menswear generated revenues of $413 billion in 2021 and is poised to grow at a compound annual growth rate of 5 percent until 2024, to half a trillion dollars, according to Euromonitor International. 

But for now, data suggests coed shows get more attention on digital channels.

“When looking at brands that showed men’s versus women’s separately, we see coverage for women’s can be up to four times higher in media impact value than their male counterparts,” according to Launchmetrics. “Even though the two are sharing a piece of the same pie, sometimes coverage for men’s during women’s can mean brands are getting up to 50 percent of the show’s share of voice, which during women’s fashion weeks is usually the same or more media impact value than if they had showed separately during men’s fashion week.”

Launchmetrics’ proprietary media impact value figure tallies the impact of relevant media placements on all channels (online, social and print), inclusive of paid, owned and earned mediums.

Tabulations for the spring 2019 season, before the pandemic led to a splintering of fashion weeks, show that eight out of 10 of the men’s collections with the highest MIV were featured in coed shows, and the only ones that broke the top 10 with a dedicated men’s show were Dior by Kim Jones and Louis Vuitton by Virgil Abloh — both debut collections.

Still, some in the industry are returning to more dedicated menswear shows.

Among the early adopters of the coed format in 2016, Dsquared2’s Dean and Dan Caten switched back to stand-alone displays at the beginning of the year.

“We wanted to give the same spotlight for both of our collections; they carry the same importance in our brand story and deserve to be treated equally. We envision our collections to be shown on the runway, so they can be experienced with styling, a set and music,” explained Dean Caten.

Although the outputs often come from the same inspiration and men’s and women’s displays are related, Dan Caten said that “they are separate, they make a statement on their own. That’s why it’s important to us to go to the runway in separate shows.”

Andrew Groves, a professor of fashion design at the University of Westminster in London, argued that a rise in coed shows has “only harmed menswear,” which he said had been “pushing boundaries” and generating both revenues and consumer excitement.”

“Both in its development over the last 300 years, and in its processes of production and manufacturing, menswear is a significantly different discipline to womenswear,” he said in an interview. “Coed shows are frequently reviewed by womenswear critics, who frequently lack an interest in or understanding of menswear,” and tend to focus on the womenswear.

According to Groves, “There is an inescapable need for separate menswear and womenswear fashion weeks and shows, as production schedules and target audiences are clearly different.” He noted for designers who specialize in menswear, such as Craig Green, “the trend toward coed fashion weeks, such as the one in London, means that their work is in danger of being marginalized because it is positioned predominantly within a womenswear context.”

“Despite all the talk about gender boundaries blurring, this is only true for a small segment of consumers,” he added.

Alessandro Maria Ferreri, founder and chief executive officer of The Style Gate consultancy, would agree.

In his view, male customers are drawn to different experiences than women and these do not necessarily include the fashion show format. “In spite of the genderless trend, which has done so good to the broader social and cultural discourse, male and female customers are different and expect to be engaged accordingly, even if they end up buying the exact same products,” he noted.

“Fashion brands could always spread their gender-neutral message, but it does not necessarily mean men’s and women’s should go hand in hand, at the same time and with the same format,” he contended.

Michael Fisher, vice president and creative director of menswear at New York-based trend forecasting agency Fashion Snoops, shared a similar opinion. “It’s great that more designers also offer this [genderless] perspective on the runway. But if the collection in question isn’t meant to fulfill that role, men will still want to see a men’s-only show.”

Coed shows are often “too much of a good thing at once,” he said.

“The overarching narrative of the season is so important. Buyers, editors and certainly consumers depend on storytelling to really understand a brand’s intention….I wish the designers would let each story have its moment to allow the inspiration to fully blossom and the message to come through,” Fisher said.

Groves said he wrote the MA Menswear course at Westminster “to make visible the distinction between the design and production of menswear in comparison to womenswear, and to teach the specific technical and research skills of the discipline.” Students of the MA course were meant to showcase their graduate collection at London Fashion Week Men’s, but now participate in a mixed week in June. “Menswear has once again become invisible,” he lamented.

To be sure, the coed format has burgeoned to the detriment of nascent men’s showcases including London Fashion Week Men’s and New York Fashion Week: Men’s, which slimmed down to just one day ahead of the women’s market in the span of a few seasons.

Could the uncoupling route embraced by some suggest menswear is the next business driver?

“A lot of brands realized how the choices made pre-pandemic dragged down their men’s businesses, which had lots of potential,” Ferreri noted. He allowed that IRL runway shows may not necessarily be the best choice to win over the male audience and he cited digital displays as a preferable choice.

Fisher countered that the digital fashion week initiatives deployed since the pandemic hit in 2020 have done no favours to menswear, which he described as reliant on storytelling as any part of the industry.

“With so many steadfast archetypes in menswear, it’s crucial to romance the novelty of it all — through music, being able to see the silhouettes, and even appreciate the colourways….The menswear consumer has become incredibly savvy over the last decade. They’re not going to want to go back to being a secondary priority like it was for years and years,” he noted.

Bruce Pask, men’s fashion director of Bergdorf Goodman and Neiman Marcus, argued that “menswear and womenswear operate in different fashion cycles along individual timelines with some regular intersection of trends and movements, as in, say, the recent emphasis on dressing up and occasion-based clothing as well as ski-influenced winter fashion.”

“But far more often, I see independence as far as specific key items and trends bear out in the men’s and women’s markets,” he noted, calling “the successful and rapidly expansive designer menswear business at both Neiman Marcus and Bergdorf Goodman a great indicator of the growth potential of the sector and increasing customer interest in the category.”

In his view, “each global fashion capital’s menswear fashion weeks needs further support from the managing organizations, the press, attendees, as well as designers.”

For example, having Burberry show in London would help in building another London Fashion Week for men, as would men’s shows from Alexander McQueen, Ahluwalia and Bianca Saunders, Pask suggested.

“Editorial attendance seems to depend largely upon the presence of major brands so it seems necessary to enrol their participation as well as sponsorship,” he explained.

Asked if there were any men’s collections he’d like to see as a stand-alone show or presentation, he unfurled a long list: Givenchy, Kenzo, Sacai and Off-White in Paris; Bottega Veneta, Missoni and Versace in Milan, and Jerry Lorenzo for Fear of God, Greg Lauren and The Row in the U.S.

This article originally appeared on WWD.


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The Tod’s SS25 Men’s Collection in Milan Was a Showcase of “Artisanal Intelligence”

It was also the debut men’s collection by creative director Matteo Tamburini.

By Josh Bozin 20/06/2024

Earlier this week, Tod’s presented its SS25 men’s collection at the Padiglione d’Arte Contemporanea (PAC) for Milan Fashion Week, where all eyes were fixed on Matteo Tamburini and his debut menswear collection as Tod’s newest creative director.

Striking “a balance between tradition and modernity”, was the former Bottega Veneta designer’s intention, and indeed his showcase offerered a spotlight on the quality, materials, and detailing that are central to the Tod’s wardrobe.

“The collection is more about subtraction rather than addition, highlighting the very elevated, timeless and relaxed materials,” says Tamburini via a statement.


In line with Tod’s restrained design codes, the garments presented were characterised by timelessness, unmistakable Italian flair, yet a casualness appropriate for everyday wear. Only the best leathers were used in the collection—thanks to the Pashmy project, which Tod’s unveiled in January to champion high-end Italian materials—used in creating garments like the Tod’s Bomber, the Gio Jacket, the Shirt Jacket, the Di Bag sack, as well as footwear staples, like the Tod’s T-Riviera.

Of course, the iconic Gommino driving shoe wasn’t without an update, too: you’ll find a new sabot interpretation, as well as the Bubble Gommino introduced in a new boat model with the T-bar accessory.

“Craftsmanship” was at the forefront of messaging, with chairman and chief executive officer of the Tod’s Group, Diego Della Valle, reiterating the message of honouring artisanal arts in an increasingly digital-first world.”[It’s] important to uphold artisanal intelligence, keeping under control artificial intelligence as it is now developing rapidly and powerfully,” he said via a statement.

“Individuals and artisanal intelligence at the centre, with its traditions and values, will contribute to keep artificial intelligence in check. Our Italian craftsmanship and supply chain can be an example of the combination of tradition and the new speed of artificial intelligence.”

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Pitti Uomo’s Best-Dressed Men Cut Through the Noise With Personal Style

From vintage gems to tasteful tailoring, attendees of Florence’s biannual tradeshow brought their best sartorial selves.

By Naomi Rougeau, Lorenzo Sodi 20/06/2024

Whether or not you’re well versed in the ins and outs of Pitti Uomo, the biannual menswear tradeshow in Florence that brings together buyers, press—and, naturally, a vast ostentation of peacocks—the chances are that photos from the gathering are still making their way into your newsfeed. You might even smirk at the mention of it. To be sure, you’ll encounter plenty of “overdressing” strolling through the main venues but by and large, great personal style manages to cut through the noise.

Part of what makes the Pitti scene so exciting is that menswear moves relatively slowly. It’s less about seeing something earth shatteringly new but rather gradual shifts and discovering fresh ways to put things together. Menswear regulars such as Alessandro Squarzi, owner of a considerable vintage archive that influences his Milanese boutique Fortela, can be relied upon to provide inspiration on how to make tried and true staples and silhouettes feel modern.

Speaking of new old things, vintage fashions made their way into the chat in a big way this June, whether in terms of rare finds or sustainable efforts via upcycling, fabric development and natural dyes (Paris-based De Bonne Facture achieved an ideal medium brown using coffee, for instance). At the heart of the conversation was another bona fide vintage guru Maurizio Donadi who made a case for the timelessness and democratic nature of indigo with his centuries-spanning exhibit of antique garments from around the globe.

Below you’ll find a dozen of our favorite looks from Pitti Uomo 106, lensed by our eagle-eyed street-style photographer Lorenzo Sodi. We hope they inspire.

Lorenzo Sodi

A lesson in simplicity and the power of a classic palette—good quality vintage accents such as a turquoise embellished belt buckle add interest to timeless workwear. Ray-Ban’s universally-flattering Wayfarer sunglasses are the perfect finishing touch.

Lorenzo Sodi

Sans suit and shirt, the neckerchief (of which there were many at Pitti), adds a welcome dose of colour to a white tee and relaxed jacket and proves that sometimes one choice detail is all it takes. A well-loved, slightly-too-long belt and canvas Vans contribute to the casual harmony.

Lorenzo Sodi

Whatever the weather, you’ll find Douglas Cordeaux, from Fox Brothers, looking immaculate in shirt and tie… and a suit made of one of Fox’s many fabrics. British elegance, embodied.

Lorenzo Sodi

Relaxed elegance is the foundation of the Brunello Cuccinelli brand. Here, the maestro himself shows us how it’s done in a double-breasted linen ensemble featuring a few personal flourishes.

Lorenzo Sodi

Designer Alessandro Pirounis of Pirounis offers a masterclass on the rule of three with a contemporary twist, subbing the usual jacket with an overshirt of his own design.

Lorenzo Sodi

A renaissance man takes Florence. True to his roots, US Marine veteran, Savile Row-trained tailor and photographer Robert Spangle blazes a sartorial trail that’s all his own.

Lorenzo Sodi

Cream trousers are an essential element of elegant Italian summer style. Designer Nicola Radano of Spacca Neapolis channels one of the greats (Marcello Mastroianni) in a dark polo of his own design, collar spread wide across his jacket’s lapel for a welcome retro lean.

Lorenzo Sodi

Proof of the power of tonal dressing, that can create an impactful outfit just by sticking to the same colour family. A chic ensemble and in some ways an elevated version of the double-denim look, every element is working hard in service to the whole.

Lorenzo Sodi

UK-based stylist Tom Stubbs has long been a proponent of blousy pleats, lengthy db jackets, and statement-making neck scarves and here, in vintage Armani, he embodies the louche, oversize look that many designers are just now catching up on.

Lorenzo Sodi

A tailor splitting his time between Berlin and Cologne, Maximilian Mogg is known for his strong-shouldered, architectural suiting. Yet in Mogg’s hands, particularly with this non-traditional colour scheme, the effect is always modern and youthful.

Lorenzo Sodi

If Max Poglia’s relaxed Hawaiian shirt and suit combo is any indication, summer has truly arrived. But it’s an excellent example of how to wearing tailoring in more casual fashion. This cream db would look perfect with shirt and tie at a wedding in August and just as chic here with slippers and a laid-back shirt.

Lorenzo Sodi

Another example of how tailoring can be laid-back and breezy for summer, from a dude who looks no stranger to enjoying the best of the warmer months. Jaunty pocket square, sandals, untucked linen shirt…go forth and emulate.

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The 13 Best Watches From Pitti Uomo, From Rolex to Patek Philippe and Piaget

Each year in Florence, Italy, men walk the streets in the finest fashions, and they pair their watches perfectly.

By Allen Farmelo, Lorenzo Sodi 20/06/2024

Pitti Uomo is a major fashion gathering in Florence, Italy where brands bring their best to buyers and fashion editor alike. But, perhaps more interestingly, Pitti Uomo transforms the streets of Florence into an urban runway on which guys from around the world with more than a passing interest in style go about their business—even if in some cases that business seems just to be hanging around waiting to be photographed—in their best threads and, of course, some excellent watches.

We pondered the relationship between men’s fashion and watches in more detail earlier this year, and what’s fascinating about the intersection of fashion and watches is how to situate the timepiece within an ensemble. To give you a sense of how that plays out, this year we saw a tonal pairing of a tasty vintage Rolex GMT Master Pepsi (red and blue) with rose and mid-blue summer plaid, and we saw high-waisted military green Bermuda shorts paired intelligently with a beat up old Elgin field watch with a matching green strap. Both looks were killer, the watches working as perfect accents, and there are many more great pairings to consider below.

As is often the case at fashion shows (including Pitti Uomo in previous years), Rolex dominated. Horological snobs might look down on this choice because the Crown is so often the default choice for so many, be they collectors signalling their access to rare references or those just getting into this obsession. But a more nuanced read on this tendency is that Rollies are fabulously versatile watches that one can rock with each new outfit—which some men will swap throughout the day. Breakfast might call for a casual look, lunch something more daring, and dinner that perfect summer suit. What better than a Rolex for all occasions?

But it wasn’t just Rolex at Pitti Uomo this week. The urban catwalk brought out Paiget, Patek Philippe, Audemars Piguet, and Cartier, as well. But our favourite watch was a vintage Tudor Sub on a turquoise bracelet.

Below are the 13 best watches from Pitit Uomo 2024.

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The 10 Best Omakase in Sydney

Sydney’s best Japanese chef’s-table dining experiences.

By Belinda Aucott-christie 06/06/2024

In Japan, where food is a cultural art form, omakase stands for traditional Japanese foods made with seasonal ingredients. A good omakase meal, prepared with purity and mindfulness, can make an unforgettable imprint on the culinary memory. Yet in a land defined by seasonal traditions, omakase is a relatively new concept.

Omakase originated in Japan in the 1970s as affluent Japanese began to dine more regularly at first-rate sushi counters. Bowing to the expertise of the sushi master, omakase loosely translates to “I’ll leave it to you.” In a setting where money is no object, letting the chef decide was designed as a chic way to take the awkwardness out of ordering.

In Australia where there’s an abundance of fresh seafood, omakase menus have experienced a recent rise in popularity. Today omakase is any series of small dishes served directly by the chef to the diner. Each part of the meal is presented on beautiful ceramics and lacquer wear, with a great —and somewhat— intimidating reverence for elegant details. It’s a chance to see a chef’s knife skills up close and get a feel for their cooking style.

Omakase menus are based on whatever is freshest at the market and can be influenced by the chef’s mood, expertise, and response to the guest. They can be slowly paced like a ceremony—hushed and reverential—but they can also be rowdy, humorous, and personal.
Here we give you 10 of the best to try in Sydney.

Yoshi’s Omakase at Nobu Crown Sydney

Crown Sydney, Level 2/1 Barangaroo Ave, Barangaroo. Open: 12–3 pm, 5:30–9:30 pm Phone: 02 8871 7188 Reservations: F&; $380 per head (including matched wine and sake).

Sushi Oe

16/450 Miller St, Cammeray; Tue – Sat. SMS only 0451 9709 84 E: Phone: 0426 233 984 $230 per head.

Kisuke with Yusuke Morita

50 Llankelly Place, Potts Point; Tuesday – Saturday: 17:30 – 10.45 (closed Sunday/ Monday) $185-200 per head


102/21 Alberta St, Sydney. Lunch, Friday to Saturday 12 -2:00 pm Dinner, Tuesday to Saturday 5:45 pm – 8:1 5pm (closed Sunday & Mondays) P: 0408 866 285                                     E:; $150 – $210


Shop 04 2/58 Little Hay St, Sydney, Lunch: Fri-Sun 12:30 pm. Dinner  Tue-Sun 5:15 pm or 7:45 pm sittings.  Reservation via SMS at 0488 688 252; $220 per head @kuon.omakase


The Darling, Level G, 80 Pyrmont St, Pyrmont. Open dinner Monday to Thursday from 5:45 pm P: 1800 700 700 $300 per head


368 Kent St, Sydney; Open Tue – Wed – Thur: 6 pm Fri & Sat: 5:30 pm P: 02 9262 1580, $220 per head.;

Choji Omakase

Level 2, 228 Victoria Ave, Chatswood —upstairs from Choji Yakiniku. Every Monday to Wednesday at 6.30 pm. One seating per day only. $295 per head.

Gold Class Daruma

The Grace Hotel, Level 1/77 York St, Sydney; 12–2:30 pm, 5:30–9.00 pm Phone: (02) 9262 1190 M: 0424 553 611·$120 – $150 per head


Besuto Omakase, Sydney Place precinct, 3 Underwood Street, Circular Quay. Omakase is available to book for dinner – Tuesday to Saturday. 5:30 pm & 8pm sittings. From $250.

Frequently Asked Questions

Why is no soy and wasabi offered during my omakase meal?
Even though sushi and sashimi are being served, the chef is serving each piece of sushi so quickly and directly that the chef is applying the wasabi and soy to the sushi themselves. Watch as they brush the top of the fish with soy and dab a tiny amount of wasabi on the rice, under the fish. You should not need to add extra, and in fact, it can be insulting to the chef to add more. Bathing the bottom of the rice of your sushi in soy sauce is considered bad manners, as it is seen as detracting from the flavour of the fish.

Nobu, Sydney

Can an omakase experience accommodate my dietary needs?
Although there is often little variation once the chef has set the daily menu, some customisation is possible. Advise the restaurant when you book and remind them of allergies or aversions again as you sit down. They will let you know when you book if your allergy is possible for the chef. Japanese menus feature a lot of seafood and dashi so accommodating a no seafood request can be genuinely tricky.

What are the golden rules for chopstick etiquette?
Use your chopstick holder in between eating, rather than putting chopsticks on your plate. Don’t use your chopsticks to gesticulate or point; if offering food to someone to try, never pass food directly from your chopsticks to theirs. Rather place the food onto a small plate and let them pick it up.
Never touch communal or shared food with your chopsticks. The longer, slightly larger chopsticks are like sharing cutlery, never put these in your mouth.

Without a menu, how can I know what I am eating during omakase?
Omakase is often a no-menu situation, and you are expected to try new things. Attending an omakase experience with an open, trusting mind yields the best results.
There are Wagyu and tempura omakase that reflect the chef’s personal predilections and training, but in a standard luxury omakase, the format will include a lot of freshly caught seafood and will usually kick off with a delicate appetiser. This will be followed by a sashimi and sushi course, a savoury egg custard (chawanmushi) with meat and seafood, a cooked or blow-torched market fish, a soup course, and dessert.

Can I talk to the chef during omakase? What is the protocol?
Guests at an omakase experience are welcome to ask questions of the chef; in fact, interacting with the chef is part of the experience. It is considered polite to ask questions or inquire about the food so they can explain.

What is best to pair with omakase  in terms of drinks?
In general, wine and sake are a perfect match for omakase. Aged fish and vinegar have strong umami flavours so depending on which course you enjoy, different wine and sake will pair well. Dry chilled sake is a great choice. Amazing sakes are imported into Australia, so trust the restaurant to advise you and take you on a sake journey at the same time.  If you don’t like sake, drinking chardonnay, a crisp young riesling, or even a dry complex Riesling is also totally acceptable. All three styles help bring out the flavour of the fish. Champagne can also be good. Try a blanc de blancs— 100% chardonnay —for a great way to start the meal. As you progress, remember that sake is good for dishes with a strong taste, such as uni and eel.

Nobu, Sydney

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The Sonos Ace Headphones Are Music to the Ears

The audio giant has (finally) revealed its foray in the personal listening category.

By Josh Bozin 20/06/2024

In the ever competitive market for premium headphones, few brands have captured the hearts (and ears) of audiophiles, professionals and enthusiasts alike. Bowers & Wilkins, Bose, Sony, and even Apple come to mind when debating great audio brands in 2024. Then there’s Sonos.

For over 20 years, the American audio manufacturer has been lauded for its high-end capabilities, particularly in a home setting; Sonos changed the game for the integration of home entertainment. But it had yet to venture into the realm of headphones.

Until now. Earlier this month, the company marked its long-awaited entry into the personal-listening category, with the launch of its highly anticipated Sonos Ace over-ear headphones.

“Fans have asked us for years to bring the Sonos experience to headphones,”says Patrick Spence, CEO of Sonos, “and we knew our first foray into the category needed to champion the type of innovation and sound experience Sonos has become synonymous with.”


On paper, the Sonos Ace is an enticing proposition: a premium over-ear headphone featuring lossless and spatial audio, intuitive Active Noise Cancellation (ANC), and Aware Mode. Most appealing, however, might be its new immersive home theatre offering; the Sonos Ace can pair to compatible Sonos soundbars with just a tap of a button. The new TrueCinema technology, which arrives later this year, will precisely map your entertainment space and then render a complete surround sound system for an unparalleled listening experience.


Retailing at $699, they aren’t exactly cheap, and there more affordable headphones that compete with Sonos in terms of audio output and high-fidelity sound. But where Sonos thrives is in the details. Available in  stealthy black and pure white, the Sonos Ace are sleek and stylish right out of the box. Sure, there is some resemblance to the Apple Air Max Pro—arguably its greatest rival in the over-ear headphone segment—but Sonos has also added its own design touches, and it’s clear the Ace was made to look and feel as good as it sounds.

Its distinctive, slim profile elegantly blends metal accents with a sleek matte finish, and thanks to the use of lightweight, premium materials like memory foam and vegan leather, you get an airy fit that isn’t overbearing, even after extensive use. The design of the Sonos Ace is also intuitive; tactile buttons make controlling the headset a cinch, and pairing with Apple or Android devices is also straightforward. The dedicated Sonos App is also helpful for customising (somewhat) your listening experience, from altering EQ to turning on certain capabilities, like Head Tracking.


It does fall short on a couple of key fronts.  I was expecting more from the Active Noise Cancellation (ANC) for over-ear headphones of this price point; there’s no way the ANC as it stands will filter out the sounds of a plane engine, for example. I also found the Sonos Ace has an issue, albeit subtle, with the mid-bass, which can sound muddy and lack punch at times.

But these are small nits. The Sonos Ace only adds to the company’s impressive standing as an unimpeachable innovator in the audio industry.

For more information, visit Sonos.


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