Conceptual design within the automotive industry has seen many a young up and coming designer try their hand at creating the concept car of the future. Many of these cars have practicality and reality at the forefront of the design, with the aim of physically producing the car at some point in the next decade. Other designs are pure science fiction, belonging more in the world of Blade Runner rather than on the streets of London. Take a look at these futuristic design ideas and see if any would be your pick for the ultimate car of the next decade.
The most ambitious concept that all car manufacturers are taking on is the idea of the driverless vehicle. Prototypes are being produced that demonstrate that the technology needed for an autonomous driving experience is already here. Test cars have been made available to the public to experience a driverless journey.
In 2016, the first self-drive car was put on show in Milton Keynes for the masses to examine and to have a go in. The Lutz Pathfinder travelled at 15 mph through pedestrianised streets with a person at the helm should anything go awry. And this is where the problem lies at the moment. People are wary of technology that involves no human interaction. To put every iota of your trust into a car travelling along the motorway at 70mph is quite a leap of faith. The joy of driving for the discerning gentleman is to feel every bump in the road, hear the roar of the engine and to be in control of your own driving experience. Driverless cars take this away, and it is unclear whether enthusiasts see this concept as a positive or a negative development in engineering.
Looking sleek with a gunmetal finish, the Faraday car of the future is achingly beautiful. Powered by an electric battery, this isn’t in any way reminiscent of the clunky Prius or the boxy Nissan Leaf. The Faraday allows the driver to embark on longer journeys with a near 400-mile capability when fully charged. It can reach 60 mph in under three seconds and shakes off the stereotypical slow and boring tags from the nonstandard fuelled cars persona.
Available in 2018, the Faraday will require a £4000 deposit if you want to be first in line to grab yourself one of these cars of the future. If you’re after a concept car, but your budget is a tad tight, it’s wise to consider employing the services of a secured loans company to allow you to invest in the technology of tomorrow. You never know, you may have a future classic on your hands and look after it well, it could prove to be a lucrative investment.
The automotive industry is developing quickly with more and more concept designs appearing at the biggest car shows every year. It’s only a matter of time before one of these cars of the future captures the imagination of car enthusiasts and we see a concept car revolution all over the globe.
Starting out in 2003, based on the coastline of England in St Agnes, Tom Kay set out to create a company that provided functional, durable and innovative items for people who love the sea. Although their head office is situated in the far south of the country, they actually have their own store in central London on Earlham Street. If you aren’t familiar with the brand, they produce great classic everyday casualwear including a variety of chinos, colourful merino layers (perfect for autumn) along with basic tees, printed swim shorts and brilliant wool socks. They sell more practical accessories for those who regularly surf and swim and are even currently researching into designing recyclable wetsuits to aid the prevention of huge amounts of wastage created by surfers every year. A very interesting idea. Their collections are extremely wearable and the company pride themselves on making quality clothes that last. They even provide their own repair service for scrapes and tears.
Most recently, Finisterre have collaborated with the Royal National Lifeboat Institution for a limited-edition capsule collection. This seems to make total sense for the brand, as not only do their style aesthetics revolve around the British coastline, but founding member, Tom Kay, acts as a volunteer crew member for this lifesaving charity. He started working for the RNLI around the same time that he set up Finisterre and its clear the importance of this charity still remains strong; “The RNLI + Finisterre means a lot to me personally, and to work with the RNLI on this limited-edition range was a big moment for us. The resulting product embodies our shared love and respect for the ocean, a seafaring heritage and the hardiness of the human spirit.”
The collection has their forthcoming season in mind as it consists of warm items such as the thick Gansey lambswool fisherman jumpers (£95) and Alpaca beanies. Both are ideal key items for the winter wardrobe. The jumpers would look great worn over a pair of chinos or with their own selvedge 13 oz denim, made from 100% organic Japanese cotton. Possibly the most dominant item in the collection is the Cromer jacket (£275). This fully waterproof outerwear piece is ideal for the wet and windy weather we will undoubtedly experience during the winter months. It also has waterproof zips to keep out the rain. Keeping environmental aspects in mind with the design, Finisterre have created their own recycled ‘engineered insulation’ for this jacket and an FC (fluoro-carbon)-free outer fabric. Remaining as sustainable as possible is another key commitment of Finisterre.
In addition to their heavy knit jumpers, there is also the versatile 100% organic cotton navy hoody and classic grey sweatshirt which will be perfect for relaxing in on a weekend, or for layering up underneath the jacket. Both come in a simple design with the ‘RNLI + Finsterre logo’ in the bottom corner. There are a small select range of accessories available in this collaboration too, which include a pompom rib stitch beanie, Alpaca blend socks, organic cotton printed tote and even an RNLI pin designed by Falmouth artist, David Doran.
Finisterre will donate 10% of all sales to the RNLI charity in support of their hard work to save lives at sea.
Just as we’re settling into Summer nicely, we bring you an update on transitioning your wardrobe into autumn. Yes, we’re sorry about that, but preparation is key gentlemen. We recently sat down with Giles Farnham, the Head of River Island Style Studio to get his expert tips and ideas on a swift transition into next season.
1. Thou Shalt Do Denim
As the weather turns, it’s out with lightweight linens and in with more rugged attire. Our new 14oz ‘warp’ denim has a tough look, but stretches vertically to move with you, for maximum comfort.
It might be a touch too warm in temperate to don that shearling coat just yet, but one should be prepared for when the dark clouds inevitably draw in! A lightweight jacket will protect you from those pesky showers.
It might not be time to dust off that chunky pullover just yet, however the nights are getting longer and come nightfall there’s a nip in the air. Arm yourself against the evening chill with a fine gauge knit or a loose crew neck.
Sweats have enjoyed something of a renaissance in recent seasons. Easy to dress up or dress down, they’re fast becoming the laid-back essential for those fresher months when a shirt on its own won’t quite cut it.
At first glance,Raf Simons’ appearance gives away very little about his god-like reputation within the world of fashion. The Calvin Klein Creative Director’s trademark black jumper, black dress trousers and battered Adidas Stan Smiths are a good visual metaphor for his minimalist roots. However, they are in stark contrast to his eye-catching runway shows for his eponymous menswear label, or the dazzling, floral couture he designed whilst serving as Creative Director at the helm of Dior.
The 49-year-old is, without a shadow of a doubt, one of the most influential designers of his generation and is held in esteem by anyone with so much as a passing interest in fashion. All of this on its own is impressive by anyone’s standards but the unconventional route that Simons took into fashion makes his status today all the more awe-inspiring.
Growing up in the small town of Neerpelt in Belgium, Raf Simons made his first major step toward his current position when he began a course in industrial and furniture design at a college in Genk. During his studies Simons secured an internship with Belgian fashion designer Walter Van Beirendonck – in spite of having previously seen fashion as “a bit superficial” and “all glitz and glamour”. Keen to alter his intern’s perception, Beirendonck took Simons to Paris Fashion Week where he saw his first runway show – fellow Belgian Martin Margiela’s 1991 ‘all-white’ show – it was at this point, Simons says, that he knew he wanted to be a fashion designer: “I walked out of it and I thought, ‘that’s what I’m going to do’. That show is the reason I became a fashion designer.”
Four years later in 1995, Simons founded his now legendary, namesake menswear label and presented his first few collections on 8mm film. These early works caught the attention of the fashion community and earned him a spot at Paris Fashion Week in 1997. Following his debut runway show, Raf continued with his menswear label, as well as doing work for the likes of V Magazine and Ruffo Research. Shortly after, in 2000, he secured a teaching position in the fashion department at the University of Applied Arts in Vienna, a position he would hold for five years until he made the biggest leap in his career thus far.
In 2005 Raf Simons was appointed Creative Director for luxury German fashion house, Jil Sander. He stayed in his role there until 2012 when he was replaced by Jil Sander herself who returned to resume her old position, leaving Raf to step down. In the months following his departure the rumour mill was working overtime with speculation about where he might end up next. That was until April of the same year when it was announced that Simons would be replacing John Galliano, following his dismissal, as Creative Director of one of the most revered fashion houses on the face of the earth, Dior.
Simons’ move to Dior thrust him, not just into the high-fashion spotlight, but also into the public eye in a way that he hadn’t been before. This introduced his work to an entirely new audience and earned him legions of new fans in the process. His first couture show at Dior was a colossal success and even had the feature film – Dior and I – made about it.
With hype around the designer growing all the time, German sportswear behemoths Adidas signed a contract with Raf to collaborate on a line of footwear. Their first joint effort was, of course, Raf’s take on his favourite Adidas silhouette, the Stan Smith. His version featured a premium leather upper, perforated ‘R’ detailing to the sides and was released season by season in a variety of interesting colours. Since then the pair have gone on to release some of the most hyped footwear in recent history, including the opinion polarising Ozweego.
After several very successful years at Dior, Simons shocked the fashion world when he announced in October 2015 that he would be leaving the legendary French fashion house. His decision resulted in him ranking as Google’s top trending fashion designer of 2016. In the years that followed Raf Simons continued with his label before it was announced in August 2016 that he was to be hired by Calvin Klein as their Chief Creative Officer. His first show with CK held at New York Fashion Week this year. Prior to this, eager fashion fanatics had their appetites whet with images of Stranger Things star, Millie Bobby Brown, modelling some of the first CK designs since Raf has been in charge.
In partnership with multimedia exhibition FACES&LACES, Sneakerness Moscow set up camp in Moscow’s Gorky Park over the weekend.
In addition to our on-foot coverage of the best 20 sneakers we saw being worn at the event, we also carefully scanned the shelves to find the most expensive sneakers for sale in the Russian capital. Topping the list is a very rare Slam Jam iteration of the ASICS GEL-Lyte III from 2010, followed by the PUMA Autodisc with auto-lacing technology, and the Hanon x ASICS GEL-Lyte III “Wildcats” securing third place. Check out the full list below.
1. Slam Jam x ASICS GEL-Lyte III “Fifth Dimension” – $2,000
2. PUMA Autodisc – $1,670
3. Hanon x ASICS GEL-Lyte III “Wildcats” – $1,500
4. Supreme x Louis Vuitton Low-Top – $1,170
5. adidas Originals YEEZY Boost 350 V2 “Red” (Supreme Custom) – $1,000
6. Supreme x Nike Air More Uptempo (Custom) – $840
7. Nike Air Force 1 Mid (Ewos Custom) – $840
8. Ronnie Fieg x Cultureshoq x ASICS GEL-Lyte III – $800
9. Ronnie Fieg x ASICS GEL-Lyte V “Mint Leaf” – $800
10. ACRONYM x NikeLab Air Presto Mid “Olive” – $750
11. Just Don x Nike Air Jordan II Retro “Beach” – $750
12. Nike Air Max 97 “Swarovski” – $620
13. Balenciaga Speed Trainer – $610
14. adidas Originals YEEZY Boost 350 V2 “Cream White” – $590
15. Nike LeBron X “Cork” – $500
16. Nike Air Jordan IV Retro “White/Tour Yellow” – $500
17. Nike Air Jordan IV Retro “Mist Blue” – $500
18. adidas Consortium x MASTERMIND JAPAN ZX500OG – $420
19. Air Jordan IV Retro 11Lab4 – $390
20. adidas Originals ZX8000 OG – $300
Jimmy Fallon fought back tears last night as he delivered a moving speech about the weekend’s violent events in Charlottesville, Virginia.
The host began, “even though The Tonight Show isn’t a political show, it’s my responsibility to stand up against intolerance and extremism as a human being.”
After describing that he felt “sick to his stomach” while watching the news coverage of the “Unite the Right” rally, Fallon went on to talk about his children who need people to look up to, including “leaders who appeal to the best in us.”
“The fact that it took the president two days to come out and clearly denounce racists and white supremacists is shameful,” he declared.
Fallon then issued a call to action to other white Americans: “It’s important for everyone, especially white people in this country, to speak out against this. Ignoring it is just as bad as supporting it.”
Finally, the comedian finished the monologue by paying tribute to Heather Heyer, the 32-year-old who was killed in Charlottesville over the weekend for “standing up for what’s right.”
Streetwear’s niche days are long gone. Today, street-inspired garms don’t just influence major fashion designers’ work, they make up entire season’s collections. Everyone wants a piece of the pie.
Even the term itself has become almost redundant. Having consolidated so many aesthetic aspects of street culture and beyond, streetwear has gone from a restricted and often scoffed at section of fashion to having the fashion industry bending at the knee and taking cues from every part of its broad history. While purists might argue, streetwear and fashion-at-large are essentially one and the same at this point.
So while certain collections remain limited and prestigious, there’s also a plethora of new brands and retailers from which to cop your latest grail. La Maison Simons is one such retailer providing the best of both worlds. The iconic Canadian retailer offers its own DJAB and TWIK collections alongside some of the most respected names in the game, making it an unlikely one-stop shop for today’s fashionable shoppers.
In partnership with La Maison Simons, we’ve styled the DJAB menswear collection alongside some of the hottest brands they currently offer, pairing adidas, Kappa, Reebok and more with DJAB’s unique styles and street staples.
The brand looked to ‘90s fashion and culture when designing this season’s DJAB range focusing on oversized fits, heavy fabrics, bold prints and a sportswear-inspired aesthetic.
Fundamental to streetwear, military and workwear inspired pieces feature within the collection too; denim shirts and cargo pants with DJAB’s own take on contemporary patterns and detailing.
La Maison Simons didn’t shy away from a bold color palette for its ‘90s-style athletic wear. Brighter shades work alongside lighter pinks, beiges, purples, and blues.
DJAB is availablealongside brands such as adidas Originals, Vans, Champion, Fila and more at La Maison Simons now. Shop the looks directly via the images above or visit the link below to see more.
Over the weekend, JAY-Z dropped yet another stunning visual accompaniment behind his new album 4:44. His latest video was for the James Blake-featuring track “MaNyfaCedGod,” and starred Academy-Award winner Lupita Nyong’o. And just like the previous visuals, JAY has now shared a behind-the-scenes footnotes video providing deeper context for the track. Watch it below via TIDAL.
This latest entry in the 4:44 footnotes series delves into the topic of mental health, with JAY discussing the stigmas surrounding members of the black community. “We can’t go to get therapists,” he says, “You crazy at that point. It’s like, ‘A psychiatrist? You crazy.’” The video also sees comments from the likes of Chris Rock, Trevor Noah, Meek Mill and Michael B. Jordan.
Read our review of JAY-Z’s 4:44right here, and revisit the video for “Moonlight” below.
In other music news, Justin Bieber has teased a few details behind an upcoming single titled “Friends.” Get the scoop right here.
It’s anything but low-key at the night show. Travis Scott is playing at New York’s Terminal 5, and Virgil Abloh—under his Flat White moniker—is opening with a DJ set. The sprawling dance floor of the venue is divided between the kids ready for the rodeo—closest to the stage, ready to mosh at moment’s notice—and a smattering of casual fans and certified washed-olds towards the back, away from the guaranteed pandemonium that will ensue as soon as Scott takes the stage.
Tonight also happens to be Travis Scott’s birthday. But at this moment, the place that’s popping the most is the merch stand.
A gaggle of concertgoers is huddled in front of a long table covered in black cloth, various “Birds Eye View” tour tees, hoodies, and hats hang behind it, from cobalt blue tees with a holographic print to purple tour hoodies that would soon end up on the body of Kylie Jenner—who happens to be here tonight, along with Jaden Smith, Sasha Lane, and other attendees of note.
Despite the fact that Virgil Abloh is spinning a mere few feet away from them, the kids seem decidedly more excited to get their hands on the exclusive merch he designed for tonight, having debuted a limited-edition hoodie on his Instagram just hours before.
The collaborative merch is a full sweatsuit, consisting of a hoodie and sweatpants featuring Scott’s signature Bird’s Eye View tour graphics spliced with Abloh’s penchant for sans serif typefaces and ironic usage of quotation marks. There’s also a coordinating T-shirt for completists. Nerds will fawn over the fact that the blanks used are Champion Reverse Weave, the sportswear manufacturer’s line of high-end knits that hits all the right notes that get vintage heads to salivate.
How did we get to this point—when merch wasn’t a way to commemorate the show, but a main event unto itself? While there has always been a certain affinity for music merchandise and band T-shirts, vintage Metallica and Slayer tees have since been reproduced for modern consumers, causing some to declare the fad officially dead. But as far as a rap music is concerned, only recently have tees become a mass-market trend. Vintage versions are highly sought-after, and can demand a hefty price. According to DJ Ross One, who quite literally wrote the definitive book on rap tees, that rarity comes from the fact that for the most part, hip-hop culture didn’t really understand how to successfully market itself through merchandise.
“Hip-hop in general through the ’90s was really bad at doing merch, especially for concerts,” he remembers. But he does admit certain artists foresaw the value of merch early on, citing Chuck D of Public Enemy, the Beastie Boys, and Naughty By Nature as early pioneers. In many cases, merch wasn’t picked up as a memento at a concert, but ordered through catalogs and CD liner notes, as was the case with Naughty By Nature’s Naughty Wear line.
But now, the physical interactions between listeners and artists are diminishing in favor of virtual ones. You can’t really brag about your record collection when it exists in the cloud instead of on a shelf. And for artists, the digitalization of their careers means it’s even more important to tell a consistent story through multiple platforms, not just through an album, but also through Instagram, concerts, and yes, merchandise.
That’s where Bravado comes in. Founded in 1997 by Keith and Barry Drinkwater, the music merchandise company was acquired by Universal Music Group in 2007. Their artist roster includes classic bands like The Rolling Stones and The Beatles, and modern heavyweights like Travis Scott, Justin Bieber, The Weeknd, and Kanye West. Mat Vlasic, who has served as the CEO since March 2015, understands the importance of leveraging an artist’s platform as an omni-channel brand.
He points out that in the past, artists could express themselves in other ways, like CD packaging, but as the industry has evolved, so have their creative responsibilities.
“More than ever, an artist has to focus 100% on every single aspect of their business,” says Vlasic. “10 or 15 years ago, you could focus on the music. If you didn’t want to think about how your brand was portrayed in apparel, or other consumer products, you didn’t have to.”
For Bravado, business is booming—to the tune of reported revenues of 313 million euros in 2016, up 13.4% from the previous year. Events and concerts are currently where Bravado converts the most sales by person.
“You got 70,000 people in a stadium that are super excited coming into the show, and even more excited coming out of the show, and you’re exiting through the gift shop,” explains Vlasic.
But where Bravado is changing the game is by taking merch beyond the stadium setting, orchestrating 21 global pop-up shops for Kanye West’s The Life of Pablo project, bringing Justin Bieber’s Purpose tour merch (designed by Jerry Lorenzo) into fashion boutiques like Barneys and VFILES, and partnering with VLONE to create a Tupac Shakur-inspired cafe in New York’s Lower East Side, replete with exclusive collabs. Most recently, Bravado ventured out of music to create merch for Dave Chappelle’s Radio City Music Hall residency, designed by Heron Preston.
“The Virgil/Travis thing was super-organic. because they’re both natural collaborators, and obviously friends too,” says Charlie Mangan, a Senior Product Manager at Bravado. “Virgil is opening for Travis. Virgil hits him with the three limited pieces. It causes hysteria, but it also supports Travis and Virgil’s brands. The merchandise is an extension of OFF-WHITE, and the bird stuff is an extension of Bird’s Eye View. So those things add clout to the other products. If I can’t get the Virgil hoodie, I still want the Bird’s Eye View hoodie, because I want to show my affinity for Travis Scott.”
These types of creative partnerships make sense to Vlasic, because he reasons that if artists are going to spend countless hours and creative energy forging their sound and the visuals of their live show, it’s only natural that they would have an equally discerning lens to their merchandise. In working with cultural heavy-hitters like Virgil Abloh, Jerry Lorenzo, and Heron Preston, Bravado taps into the hype cycle of limited-edition collaborations and the ephemeral nature of a concert or pop-up shop to create demand for their product.
“The origin point is always the artist,” asserts Mangan. “There’s no merch business if you don’t have the music to lead it, but the artist is driving the creative more and more.”
That’s definitely the case with artists like Travis Scott, Kanye West, and The Weeknd, for whom Mangan recently oversaw a collaboration with Futura. Now Bravado is branching out even further, not just with pop-up shops and comedians like Dave Chappelle, but high-end installations with some of their more tenured artists. Last weekend, Bravado launched a new shop-in-shop at Los Angeles boutique Maxfield to celebrate the 30th anniversary of Guns N’ Roses’ debut album, Appetite for Destruction. To mark the occasion, Bravado tapped a roster of designers for their own interpretations of the band’s style. The brands include MadeWorn, AMIRI, Kelly Cole, Palm Angels, Enfant Riches Déprimés, and OFF-WHITE.
Virgil Abloh’s contributions include an homage to Axel Rose’s signature red bandana, done up in the brand’s recognizable iconography and a screenprinted “BANDANA” in quotes. Abloh even goes deep, making a shirt emblazoned with the slogan “NOBODY KNOWS I’M A LESBIAN,” reproducing a tee Rose wore in the ’90s, but now with the added text “OFF-WHITE c/o VIRGIL ABLOH,” of course.
“I like to look at it as more of a collaborative partnership than a license,” says Vlasic. “To me a license is just kind of like: give me a check, you can take this, go slap it on whatever you can find, and send me a royalty statement. Whereas in the partnerships, we’ve gone in representing the artist’s brand, sat down and figured out how we’d work together. What makes sense? Where are the creative synergies? How do we talk to your fan base? How do you talk to our fan base?”
Vlasic sees this space as a place where Bravado can really grow. It’s where they’re able to leverage the brand an artist has, and explore how they can expand it from a retail standpoint. Mangan says they already tier the product to different retailers, which is why you can find Bravado artist merch everywhere from Forever 21 to Urban Outfitters, but the high-end collaborations speak to an entirely different, more discerning audience. It’s their version of a prestigious Nike collab that boosts awareness and demand for the general release model. And while Bravado’s current partnerships have been focused on apparel, Vlasic sees a future where artists’ brands extend beyond what fans put on their body, but also in their body.
“Why can’t we do more things in food and beverage? Why can’t we do more things in travel and leisure?,” he asks. “That’s a definite focus for us right now because it’s a lifestyle at the end of the day. The Rolling Stones is a lifestyle. The Beatles is a lifestyle. The Doors are a lifestyle. Travis Scott is a lifestyle. There are lifestyles in all of those things, and we want to be able to have an infrastructure that can help build those.”
While Justin Bieber or Travis Scott restaurants may be in the pipeline, Vlasic doesn’t see the merch wave cresting anytime soon. He points out how much more dedicated fans have become—not just in music, but other entertainment properties like Star Wars, Marvel, and Disney (all of which happen to be owned by the same company). We live in a saturated paradigm where fans of a brand are just waiting for the next thing to consume, whether it’s a film, television series, or album. Hype has evolved beyond apparel and into pretty much anything people are passionate about.
According to Vlasic, the common thread tying all these disparate things together is great storytelling. That’s what keeps people hooked, and it’s why they can get as excited over a trailer as they would a photo of an upcoming product. Bravado is helping its artists build a universe that fans can buy into, but as a result, Ross One isn’t quite sure of how long the products can stay relevant.
“These guys are experts at creating hype,” he says. “It’s a little bit more of a frenzy, and so I don’t know what it will be in 20 years if you look back.”
But perhaps sentimental value still outweighs aftermarket value. At the end of the day, these products are reminders of specific moments that have left an impact on the wearer—regardless of whether or not you were actually able to attend the concert or pop-up. For plenty of fans, having a physical way to interact with an artist, even if it’s as simple as putting a T-shirt on, is enough.
“What it comes down to is if you’re a fan and you love the music, you should go out and buy a shirt and rep it,” says Ross One. “Because there’s a good likelihood it will mean something to you down the road.”