If there was only one person on this list, it would probably be Philo. The British designer, who cut her teeth at Chloe in the early 2000s, first as an assistant then as creative director, joined Céline in 2008. Philo has provided a palette for the modern woman and become something of a minimalist icon in her own life, shunning dresses and opting for slim, solid colored trousers and Stan Smiths as her everyday uniform.

Not only has Philo expressed her admiration for menswear, her designs for Céline lend themselves well to a typical men’s wardrobe as they are predominantly utilitarian pieces: relaxed button-up shirts made of luxurious fabrics, shaggy knits with relaxed shapes, masculine suiting with dramatic silhouettes and oversized outerwear. For men with a sleight frame and a deep enough wallet, some of Céline’s designs are already accessible. But imagine a fully dedicated men’s collection from Philo—an amped up Dries Van Noten-type label with more minimalism and a touch of British tailoring. That’s an equation I think we’d all like to see come to life.

The prodigal son of Balenciaga, who took the helm at the ripe old age of 25, Ghesquiere has been considered one of the most talented modern designers since his rise to stardom that began at that house in the late ‘90s. After more than 15 years in charge, Louis Vuitton tapped him to follow-up the highly successful tenure of Marc Jacobs. Still just 45 years old, Ghesquiere’s been responsible for revitalizing a struggling house and shouldering the burden of one of the biggest names in all of fashion.

And he does it through his astute design sense that captures the full spectrum of formal and casual. At Balenciaga, founder Cristobal’s tailoring skills deeply inspired Ghesquiere, who called on inspiration that led to structured jackets, billowing proportions and the use of high-tech materials and fabrication like laser cutting. Looking over Louis Vuitton’s previous seasons, it’s clear when Ghesquiere began injecting his DNA after the theatrical phase of Jacobs, moving the house from the spectacle-heavy to the more refined luxury that has showcased wearable, but memorable designs in leathers, plastics and metal embroidery. He’s mentioned multiple times his desire to start his own label, but never commented on menswear. Nevertheless, we’d love to see it.

The days of the Olsen twins being known as actors is long gone. Over the last few years, their child star moniker has drifted toward luxury fashion darlings with their label, The Row, and shirked the failures of previous celebrity-fashion endeavors. Since the two started the brand in 2010, everything about it has been pared down and simple, but designed with an ultra-high luxury price and the materials to match. With double-faced coats, caches of cashmere and an almost exclusively neutral color palette that only occasionally incorporates animal prints and skins, The Row has the recipe to turn most of its wares into menswear with some simple fit adjustments. While the label has released some menswear in the past and has since re-entered the market, it was in somewhat piecemeal fashion: located in the stores, but not shown during fashion week, nor easy to find online. All we’re saying is that we want more.

The French-born Altuzarra has quite the pedigree to his name: he interned at Marc Jacobs, freelance designed for Proenza Schouler and worked as the first assistant to Riccardo Tisci at Givenchy. After building that resume, he struck out on his own in 2008 with his brand Altuzarra, based in New York City. Since launching it has been the recipient of some of fashion’s highest honors from the Ecco Domani award for emerging designers to the Swarovski award for womenswear design.

Altuzarra’s style has evolved and matured since he first hit the scene, but has remained in the vein of his idol, Tom Ford, displaying a woman’s shape and sexiness without being overly explicit. His outerwear calls on classic stylings with fine fur collars, cape-like shapes with arm openings, and occasional naval-inspired touches such as gold buttons, epaulets and toggles. His collections often border the thin line between frivolous and regular, a boundary that only a few menswear designers are capable of. This mix of variety and restraint would be a welcome addition to the menswear world.

Dossena may be somewhat of a new name for many. The current creative director of Paco Rabanne, Dossena spent four years designing at Balenciaga where his boss was Nicolas Ghesquiere. After Ghesquiere’s departure to Louis Vuitton in 2012, Dossena left the brand as well without any prospects but was quickly snatched up by Paco Rabanne to help revive the label’s past success, which had run through a myriad of creative directors since the eponymous founder left 1999 after having a documented break down.

Since taking over Paco Rabanne in 2013, Dossena has given rise to a rejuvenated brand profile that hearkens back to the “Wacko Paco” days, integrating chainmail (a Rabanne signature), neoprene, plastic molds, asymmetrical sportswear and generally “sci-fi” inspired designs into the collection. His designs channel some of the technical inspiration he honed at Balenciaga as well, mixing a fresh mindset of new-school techniques with the Rabanne brand heritage. His material experimentation and penchant for standout footwear wouldn’t miss a beat if it was aimed towards the men’s market.

Jacquemus is the newest entry to fashion on the list, launching his label in 2009 at the ripe age of 19 while still working in retail at a Comme des Garcons store. He’s still young and, by all indications, has a long future ahead of him. Which is why he should get into the menswear game soon, before it’s too late. While some of the whispers about the brand point to an unserious designer who is more dedicated to garnering attention than making compelling clothing, it’s resonated with followers who see the inspiration—or dilution—of Martin Margiela or Rei Kawakubo in his work.

Still, Jacquemus often plays with bold patterns, shapes, oddly oriented and structurally significant pieces that play accent to a more mainstream Parisian minimalism—like an overcoat with grandiose shoulder pads and a cinched waist or thin turtleneck that has no sleeves. Toning such designs down to make them wearable for men used to the Rick Owens' and Yohji Yamamotos of the world would absolutely make sense.