You heard it here first: Italian accessories brand Furla is about to make a comeback.
To be clear, Furla never completely lost relevance — but it hasn’t enjoyed a major, fashion-defining moment since the 2010 launch of its Candy bag, a PVC satchel in a slew of pastel shades.
Today, the label launched a new silhouette, the Linea Futura, a top-handled mini-bag in soft shades of pink and chartreuse. While the new style is unmistakably current (it’s made of salvaged leather tanned using lower levels of heavy metals than usual), the launch makes me wonder whether we’re about to witness a Candy bag resurgence.
Between fashion’s Y2K comeback and TikTok‘s “Indie Sleaze” revival, consumers can’t resist nostalgia — and the Candy perfectly captures what style was like a decade ago.
A favorite among the elite fashion blogging set (i.e. Chiara Ferragni, Susie Lau), the plastic accessory was totally fun. Available in eye-catching colorways including glittery pink and entirely clear, croc-embossed plastic, the bag was undeniably tacky — yet its classically ladylike silhouette balanced out the novelty of it being rubbery and see-through.
Eventually, the accessory reached a saturation point — no one wants to anything that’s too popular — and it fell out of favor, as trends are wont to do.
The original Furla Candy is no longer in production, but the label launched Re:Candy, a recycled plastic version of the OG silhouette, in 2021. The eco-friendly revamp is commendable, but there’s something about the original Candy that’s more charming than its reincarnation (maybe it’s the subtler branding, or the metal hardware).
As fashion’s early 2000s craze runs its course, I can’t help but look ahead — are we primed for a return to the 2010s, the reign of the “Basic Bitch?” If so, I’ll catch you there with my Furla Candy bag, cold-shoulder top, and fro-yo.
Um, hey, Anna, what exactly does “Gilded Glamour,” the Met Gala 2022 theme, mean and why do people have to wear white ties to celebrate it? Er, wait, the Met Gala 2022 dress code is white tie. But, still, what’s that?
Like any good Met Gala theme, it’s all open to interpretation, kinda, and we’ll likely see plenty of variety in dress come May 2, 2022, when the gala goes down at the Metropolitan Museum of Art in New York City.
Scoop: and the next Met Gala celeb co-chairs are…Regina King, Blake Lively, Ryan Reynolds, and Lin-Manuel Miranda. Honorary chairs Tom Ford, Instagram’s Adam Moressi and Anna Wintour. Theme is “Gilded Glamour.” Point is: this one is going to be very dressed-up indeed.
Let’s start with the facts: white tie dress is the strictest tier of formalwear, with the smallest amount of wiggle room as to what it entails. And, yes, it usually does demand a white tie.
For inspiration, look to Downton Abbey or the appropriately-named HBO series The Gilded Age, where proper gents are all dolled-up in their tails and ties, complete with a vest and polished black shoes.
There’s not a lot of room for interpretation here but, like with any Met Gala, expect most of the attendees to give the finger to archetypical white tie dress. And rightfully so: it’d be insanely boring to witness a sea of spats and cravats like a parade of penguins without any originality in sight.
Still, white tie offers a good base to work off of, so expect some funky plays on tailoring and lots of wonky ties.
The Met Gala last made a white tie theme core to its dress code for 2014’s event, which kicked off the Charles James: Beyond Fashion exhibit and was perhaps best epitomized by a clean-cut John Legend.
Of course, understanding the Gilded Age is perhaps even more crucial to understanding whatever the hell “Gilded Glamour” is (and don’t think I didn’t notice your British-English spelling of “Glamor,” Ms. Wintour).
With a major economic boost from industrialization and European immigration, the United States entered boom times in the late 19th and early 20th centuries, which is the period in which the Gilded Age occurred. The working class suffered from mass poverty while the fat cats wallowed in abject opulence.
For visual representation, this is the era of excess that occurred just prior to the events depicted in The Great Gatsby, for instance.
Titans of industry and their lackeys harnessed America’s flourishing industry to become rich beyond their dreams; warmonger and newspaper magnate William Randolph Hearst built himself a goddamn castle in 1919.
The shadow that the wealthy’s unchecked indulgence cast over the blue collar inequity is reflected in the term “gilded,” which refers to a flashy layer of gold painted atop another surface, obscuring what lies beneath.
Flash forward to 2022 and damned if we aren’t basically in the same situation.
For us mere mortals not invited to Anna Wintour’s red carpet, at least there’s still a new Met Museum exhibit to look forward to.
The sequel to last year’s exhibit, In America: An Anthology of Fashion opens to the public on May 7 as a multimedia experience showcasing American designers active from the 18th century up to the current day.
“I’ve always wanted to be a painter. I thought it was the most romantic version of being an artist,” Josh Sperling reflects. “But my interest was never in traditional methods.” The Ithaca-based non-traditionalist has risen to notoriety for his paintings that defy the typical four-sided pictorial plane we’ve taken for granted. In squiggles, swirls, arcs, and interlocking blocks, his shaped canvases jut from the wall bringing 2D imagery into 3D space.
For his latest exhibition, DAYDREAM, opening at the Lower East Side outpost of Galerie Perrotin, Sperling divided three floors into separate formal focuses. The first floor presents the monochromatic swirls and spirals that have defined Sperling’s practice for some time. The second floor features a “squiggle room”—similar arching forms laid out using the wall as negative space—as well as a new, harder-edged series he’s calling Concentric Squares. The third floor is dedicated to his composites, which assemble different visual motifs into frenzied compositions. “This show is big and ambitious, the kind of thing that started off as just a daydream,” he says of the title’s origins. “And,” he adds, “I feel like as an artist you spend a lot of time inside your own head. The most fun part of being an artist is daydreaming.”
The artist’s life was hardly unfamiliar territory to Sperling. His grandfather was a sculptor with a studio in New York City and his father an art instructor upstate where Sperling grew up. “I always thought I’d be an artist. I never really thought about any other professions,” he tells me. Though he had brief forays into other fields like graphic design, none stuck. His induction into the contemporary art world truly came in 2012 when he moved to Brooklyn and began working with KAWS.
There, he began with carpentry, color-mixing, and painting, moving into design and other production elements over the course of five years. As KAWS’ stardom continued to rise and his practice expanded, Sperling says he got to try his hands at nearly every role in the studio. “I never knew what a studio looked like with employees, and KAWS was super helpful in showing me how to navigate that,” he recalls.
Not only did his time with the Companion artist shape how he runs his studio and interactions with the art world, it also helped him develop the more conceptual aspects of his practice. “My love of color is definitely a lot from him, because he’s an extremely good colorist,” Sperling says. “He is super important for me.”
Sperling’s approach to color underlines the precision he brings to his practice. In his Ithaca studio, he’s got a cache of around 1,200 custom paint mixtures, each exact ratios of pigments with white or black or gray, kept in two-ounce jars with a canvas swatched with the shade glued on top. “I wanted to really make sure that I developed a system, because I basically now have infinite possibilities,” he explains. “I’m not depending on a company to do it for me, I’m just doing it myself.”
Though he’s recently moved to a new, larger studio to accommodate his expanding practice, he still often begins his thoughts in his previous workspace, a 19th-century barn on his property. “It’s kind of like my sanctuary, where I can do the creative process away from the sound of sanders and staple guns and all that.”
Sperling begins planning out his designs by hand on paper or a computer tablet. “Once the form looks good in black and white, it’s locked in place and it’s not changing.” From there, he makes a scale maquette of the design and uses his proprietary tints to fill in the model, “basically like a coloring book.” Sperling and his studio assistants then extrapolate the amount of paint needed on a digital scale to get to full-size, side-by-side testing with the maquette along the way to ensure a perfect match. This rigorous exploration was part of the inspiration behind the Concentric Squares Sperling will be unveiling at Perrotin: a series of interlocking, vibratory bands set within custom-made square frames that serve as “scientific experiments” by setting different shades side-by-side in a repeated composition. “It’s a vehicle to see how colors interact with each other,” he says.
Other compositions in DAYDREAM are more free-form, gestural, or textural. After all, much of what distinguishes Sperling’s output is the non-traditional shapes his canvases take. After getting the colors and design squared away, realizing a painting begins by cutting the plywood bases and stretcher-bars for the custom canvases that will match those planned out, building on experiences in woodshops and the like that Sperling had early on. “A lot of my art is just dealing with these skills I had gained through my younger life and using those to my advantage to dictate which way my art was going to go,” he notes, reflecting on the trajectory that got him to his current practice. “It’s a recurring part of our practice. We cut everything here, we glue everything, we stretch everything, we paint everything, we make all the crates. We do 100% of the production here.”
Sperling happened upon the basis of his practice—using custom-shaped canvases painted in monochrome acrylic—in 2013 when he began playing with unusual plywood cuts. “I knew at that point in time like, ‘Oh, this is super fun and it’s not too specific of an idea,’” meaning that he wouldn’t be faced with the “shorter road” of, well, painting himself into a serialist corner. “[The approach] was general enough that it would allow me to go in many directions, but also specific enough that it could be recognized as my style.”
That hardly means things aren’t changing. In addition to the new monochromes and squiggles, as well as the Concentric Squares color experiments, Sperling is also presenting a series that’s “less geometric, more handbuilt, and has a more gestural, hand-drawn quality than previous ones.” These “composites” or “collaged” pieces layer many of his usual forms with more textured and less rigid edges and finishes—in compositions stretching nearly 22 feet long. “I always like working at a big scale, but then scaling up the show just inevitably scaled up the pieces,” he explains of working with Perrotin’s Orchard Street space, adding that technical necessities of stretching canvases around tight arcs also limit not how large, but how small, he can go.
Though at their heart minimalist, the zig-zagging and whirling shapes Sperling prefers are hardly restrained. That said, they’re not free-wheeling either. His paintings retain an almost mechanistic precision of line, and the finishes on each surface don’t display any obvious touch, creating sculptural paintings that are almost iconographic in character. “I’m pretty influenced by design and architecture and just craftsmanship in general,” Sperling says of the tension between the custom-made and the reproducible in his work. “I feel like part of ‘craftsmanship’ with air quotes around, like woodworking, is removing the hand from it.”
While Sperling certainly has his economy-of-means-style historical references—Frank Stella, perhaps most obviously, or Ellsworth Kelly, along with Josef Albers, especially in his most recent pieces—he explains that most of his inspiration comes from outside contemporary art. “I find I’m influenced more by not art. I see something in architecture, in graphic design, and I feel like it’s more okay for me to use that and borrow it.”
This also helps him since he spends most of his time away from the big centers of contemporary art many artists live in. “When I’m in New York, I’m inspired by going to shows and walking down the street and looking at the architecture, and when I’m here [in Ithaca], I’m more inspired by walking in the woods or just driving on back roads, getting that space to think.” Plus, he buys three or four books a week: “There’s definitely a lot more space to think in the country. Or at least the environment makes it easier, quicker to get into that zone”—that zone of daydreaming.
Sperling’s DAYDREAM is on view at Galerie Perrotin New York from April 28 through June 11.
Gone are the days of tiny bags, because now, we’re bringing all of our belonging with us every single day.
I won’t lie – I’ve loved a tiny bag. But obviously, they’re a lot cuter than they are convenient, so it was only a matter of time before we decided to prioritize size.
If you remember what red carpets used to look like back in the day, you’ll be familiar with the era when celebrities used to bring their big bags to events. Lord knows what they were bringing, but it sure made for some great photo moments.
Now, it is rare to see a celeb even use a bag at events, unless it’s something like Coperni‘s glass bag that Doja Cat wore to the Grammys, and even off-duty style rarely features a purse that fits more than a phone, wallet and some gum.
As someone who’s done a deep dive into Kim Kardashian‘s ever-changing style, there are plenty of gems of her sporting oversized bags (and oversized belts, too) on the red carpet. It really used to be a thing, and now it is slowly coming back as plenty of celebs and influencers have started opting for larger accessories.
They’re not quite hitting events with them yet, though, but only time will tell.
On the Fall/Winter 2022 runway, we saw plenty of big bags, but we’re already seeing plenty of celebs step out with big accessories.
Initially, I thought that maybe the huge tote was just a coincidence and that I just happened to see the same bag twice in a week, but then I spotted Chriselle Lim in a Chanel tote that was – you guessed it – oversized. The same tote has also been a focus point in Chanel’s recent campaigns, which usually means we’re about to see it everywhere.
We’ve seen huge quilted bags by Bottega Veneta grace the runway, and it is only a matter of time before they get spotted on the street. Time to place your bets on who will be the first to wear it.
There was also a huge Mowalola bag that debuted for SS22, that we’re expecting to see more of.
The big bag reckoning is coming, but its presence is subtle thus far. In a world where big trousers, big boots, and big sunglasses are already reigning supreme, it only makes sense that big bags would make their inevitable return.
We’re bringing laptops, a sweater for when it gets chilly, at least one pair of sunglasses, gum, toiletries, a charger, and all other necessities wherever we’re going.
There are plenty of bags on the market, and this season, we want the big ones.
New from Nike ISPA (which stands for improvise, scavenge, protect and adapt), the Link and Link Axis sneaker models are designed to further the brand’s future in circular design. The sneakers are constructed from three modules that interlock rather than relying on glue, meaning they can easily be disassembled and recycled after use. Each style also uses recycled materials (including 100% recycled Flyknit and 100% …
Scott will appear at three Primavera Sound events across South America: first in São Paulo, Brazil on November 6; then in Buenos Aires, Argentina on November 12; and lastly in Santiago, Chile on November 13.
The move comes as the artist slowly creeps back into the spotlight, a return first marked by Project HEAL, a charitable initiative announced in March.
And on April 29, a documentary detailing the Astroworld tragedy and its fallout will hit theaters across Texas (unsurprisingly, it’s already generating controversy).
Scott and the extent of his involvement in Astroworld is a subject that inspires heated discussion.
Over the past few weeks, the rapper’s devoted fans have flocked to Highsnobiety’s Instagram to voice their opinions (and quash disagreement, or at least attempt to) regarding his divisive comeback.
“Still not sure how it’s his fault that the event company he certainly hired to handle this stuff failed,” one user wrote. “Life’s been good with less of him and the Kardashians,” another quipped.
Whether or not Scott was responsible for the deadly disaster that was Astroworld, the rapper’s reception at Primavera Sound will serve as an indicator of how ready the public is for his return to the spotlight.
In the meantime, let’s not forget the 10 concertgoers killed by the crowd surge that occurred during Scott’s last performance: Franco Patino, John Hilgert, Brianna Rodriguez, Rudy Peña, Danish Baig, Jacob Jurinek, Axel Acosta, Madison Dubiski, Bharti Shahani, and Ezra Blount.
No one does a graphic shirt better than WACKO MARIA and few blue-chip artists are better suited to an all-over print than Jean-Michel Basquiat, who again graces a round of WACKO MARIA’s signature Hawaiian shirts.
Basquiat shirts have become a WACKO MARIA tradition over the years, with previous editions launching for Spring/Summer 2020 and 2021, always incorporating the late artist’s illustrative paintings in an all-over print.
For WACKO MARIA SS22, the Basquiat designs are back and as vivid as ever, with three new shirts graced from front to back by works from Artestar‘s Basquiat collection.
Each lightweight short-sleeved, camp-collar shirt sports an all-over printed painting, which will surely look even more impressive IRL when they launch April 30 for ¥38,500 (about $300) apiece at select WACKO MARIA stockists.
WACKO MARIA’s signature statement shirts are arguably the best part of its seasonal collections: the Japanese brand rarely serves up anything too crazy, otherwise, despite (or perhaps due to) its frequent collaborations with likeminded labels like NANGA and Dickies.
That is, of course, just fine by WACKO MARIA’s customers, who certainly don’t come to the brand for trendy flexes or adventurous new silhouettes.
The WACKO MARIA fan instead enjoys the reliability of the Japanese brand’s classic blazers, skater-y coaches jackets, leopard-printed accessories, and creased work pants, channeling a ’50s-era greaser with an appreciation for horror films, hip-hop, and jazz.
After spending months in a pandemic, our relationship with the great outdoors has changed drastically. Remember when you weren’t allowed to be inside, so the only activity was walking, hiking, or cycling around aimlessly?
Whilst we’ve embraced the outdoors a lot more recently, we’ve also began moving into the digital world, with the Metaverse being one of the biggest topics, as well as cryptocurrency, NFTs, and so on.
Hunter has recognized this, and for its latest campaign, it has tapped Alhan Gençay and Mia Monaghan – two gamers – to leave their screens and explore the British countryside.
Somewhere between online and IRL, that’s where Hunter’s PLAY collection sits.
The label’s iconic wellies have been a part of plenty of adventures, and as more and more people are braving the outdoors, the shoes are making their way into everyone’s lives – even the people you’d least expect.
“I was a big homebody before COVID, but after those lockdowns I needed a lot of fresh air. [I’m] hardly inside now!” said Alhan, adding that despite his new outdoor interest, “I play daily. Luckily I get to do what I love for a job so I’m never not playing. I always make time for gaming no matter how busy my schedule, it keeps me on track.”
“During the pandemic I lived in an area of London that is very grey and clinical with lots of high rise buildings and not much green space. It actually became quite depressing, especially when rules and restrictions meant you couldn’t travel even a short distance for a walk. You had to stay near your house. I work from home now and do my best to get out and about every day because I’m grateful to be able to,” said Mia.
The campaign is all about showcasing that everyone can be outdoors, and should embrace it, regardless of experience or background. Bird watching, berry picking, a walk to the corner shop – you name it! The shoe is for everyone.
The Play boot is all about self-expression, and there’s nothing as rewarding as stomping through the muddy forests with a pair of bright wellies on your feet. Trust me, I speak from experience.
If you’re looking to get out this summer, the Hunter Play boots are currently available online, starting at $105 USD.
Oakley is going back to the future with its reintroduced Sub Zero sunglasses. By carefully preserving the original design and only updating its technical specs, Oakley’s forward-looking (pun… intended?) eyewear is as close as it gets to owning the OG, except even better.
Back in 1992, the Oakley Sub Zero’s ultralight frame and massive, shielding lenses redefined the term “technical sunglasses.” Until the early ’90s, no other eyewear brand had dared to concoct something so dangerously elegant, yet reliably tough.
It’s just that the mainstream wasn’t ready for the Sub Zero’s vision (literally). Popular fashion at the time lacked Oakley’s vision of ultra-sleek frames powered by top-shelf functionality.
Oh, how times have changed.
The shape of Oakley’s 2022 Sub Zero sunglasses — which launched April 28 via Oakley and the Highsnobiety Shop — is nearly identical to the one that first arrived in 1992
However, Oakley has made a few under-the-hood updates, like beefing up the lenses with Prizm tech and swapping in Unobtainium nosepads and earsocks to lock the Sub Zero in place atop the wearer’s face.
Despite the new tweaks, the resulting shades are still featherweight, because no one knows better than Oakley how to squeeze maximum performance into a minute package.
“In the ’90s, Sub Zero didn’t just break the mold of what sunglasses could look like: it changed the way they were made,” Brian Takumi, Oakley VP, Brand Soul and Creative, explained. “It completely altered both the look and feel of modern eyewear, showcasing that when you stop at nothing to reach a goal, the impossible can be achieved.”
“Thirty years ago, Sub Zero set the stage for Oakley’s next chapter, fueling an unprecedented era of success. Now, the re-issue sets the stage for what’s to come in the future.”
Part of Oakley’s MUZM collection, the Sub Zero is follows last year’s X-Metal release as the latest Oakley classic to return with modern tweaks.
And, just like how Damian Lillard boosted the X-Metal revival, Oakley has tapped another top-tier athlete to ring in the Sub Zero’s relaunch.
This time, the Californian sportswear specialist is aligning with Olympic vet, Tony Hawk’s Pro Skater 1 + 2 skater, and Team Oakley member Aori Nishimura, who stars in the campaign that kicks off the Sub Zero’s triumphant return.
“Skate culture influences my style when I am on and off my skateboard,” Nishimura said. “I am naturally drawn to unique and disruptive designs, so I was immediately into the Sub Zero.”
Considering that Oakley’s Sub Zero was launched nine years before Nishimura was even born, the sunglasses’ immediate appeal is testament not only to the contemporary appeal of flexing high-tech specs, but also Oakley’s inimitable design acumen.
With the fashion biz only just now catching up to where Oakley was decades ago, the timing of the Sub Zero’s rebirth couldn’t be more fortuitous.
This week’s FRONTPAGE finds us chatting all things fits with Shai Gilgeous-Alexander, an NBA player who is redefining both the game and off court style.
The NBA is in a period of transition. Following the 2010s, which was perhaps the most predictable decade in the league’s history (it was nearly guaranteed that the Heat, Cavs, Spurs, or Warriors would win), dominance is up for grabs, and the former surefire ways to win a championship – like forming a superteam – offer no guarantees. This year alone, out of the two top contenders for the championship, one (the Lakers) didn’t even make the playoffs, while the other (the Nets) had to contend in the play-in tournament just to get to the postseason. But it’s exactly this wide-open landscape that has given space for the league’s younger stars to shine, and few have shined quite as bright this past year as Shai Gilgeous-Alexander, a guard for the Oklahoma City Thunder.
Born in Toronto in 1998, Gilgeous-Alexander was raised in Canada in an athlete-dominated household. His mother, Charmaine Alexander, competed as a track star for Antigua and Barbuda in the 1992 Summer Olympics, while his father actively coached him as a youth. Growing up, there wasn’t much discussion as to whether he would be an athlete or not, but rather just what kind and when. By the time he was 16, he’d transferred to high school in Tennessee to play against better competition than he could find in Canada. After graduating and playing for Kentucky in college, Gilgeous-Alexander entered the 2018 NBA draft and eventually found his home with the Oklahoma City Thunder where this past year he averaged a career-high in points, rebounds, and assists.
But Gilgeous-Alexander has become equally as known for his “tunnel fits” (outfits players wear when showing up to games). Unlike other players, Gilgeous-Alexander doesn’t use a stylist or plan his fits, but instead creates all of his looks himself. In some ways, he is a true inheritor of the individualistic NBA style that was spearheaded a couple of decades ago by Allen Iverson (who famously eschewed the NBA’s then strict suit-only policy and wore whatever he wanted while sitting courtside or speaking to the press); chains, egregiously large T-shirts, oversized embroidered jeans, and boots. Commonly mixing the latest streetwear with vintage selects, Gilgeous-Alexander’s style mirrors his conscious, cerebral, and deadly style of play. And in a league where styles tend to oscillate between the extremely mundane to the almost comically absurd, Gilgeous-Alexander strikes a tasteful middle-ground.
Hot off his career-high season, we spoke with Gilgeous-Alexander about his plans for the offseason, growing up in Canada, and how he never think’s other player’s fits.
SHAI GILGEOUS-ALEXANDER: It’s going well so far. I don’t plan on doing too much. Working out, I might travel, get away a little bit. There’s a few fashion shows I want to check out in June. That’s about it.
Yeah, it was a good season. It had its ups and downs. It was fun, above all, and that’s what’s most important. It was fun.
I look back a little bit, to see what I could have done better. Then I try to get better at it for next season. But after I do that I just focus on the next one.
Absolutely. I always wanted to play in the NBA. My parents always pushed me to try to be the best that I could be, and that’s the highest level. So yeah, that was always my goal.
I’m not too sure about that. I don’t think it’s about where I come from, but I do think I’m different and I approach the game in a different way. But a lot of that’s due to the way I was brought up, and the way I was taught to play, as opposed to where.
It’s been cool to see the growth. The difference in the amount of Canadian players from when I was younger to today is drastic. Hopefully it continues to grow like that. To know that I’m one of the guys that kids look up to as kind of a pioneer to younger kids, it’s an honor and a privilege. It’s something that I think about all the time, and I make sure I’m doing the right thing because of it.
I’ve always been interested in fashion so I’d probably be a model or have a clothing line. Definitely something in fashion.
Yeah, for sure. It’s been a lot more fun than I realized. I didn’t know going into it that it’d be this fun. Playing so much basketball, being around great teammates, it’s really the best time of my life.
No, not really. I always had super high goals. They just become more reachable every year, and make me work harder.
Cerebral, smooth, calculated. I would say I’m always thinking the play ahead of the play. The next play, the next lead, the next decision.
Yeah, I would say both of them are smooth, they both come natural, and they’re both just me being me. It’s all about being authentic to who I am.
Very streetwear, but also very versatile. I like to be as confident as I am on the court, off the court, in what I wear. So no matter what it is, at the end of the day, I want to make sure I’m confident in walking around, feeling like I’m myself.
Usually I do it the night before, but I just start with one piece of clothing, whether it’s pants, shirt, a hoodie, and then I try to build the fit around that piece. It’s about starting with the right thing.
Yeah, city for sure, weather-wise. And then the game sometimes, too. I tend to try to put on nicer fits for bigger games.
Nah, not at all.
I will one day. I haven’t got a route to it yet, but I probably will one day.
There’s a lot of good brands out there. I always can’t wait for new seasons to come out, because it’s a new wave of stuff that’s different. These creative directors for the brands are so creative, and they really spin the game in so many new directions. Every time there’s a show for the next season, I’ll watch the show. I’ll see what models are wearing, and then I’ll kind of keep tabs on when it’s coming out.
Absolutely. I think so many players in the NBA, and more than just basketball players, want to do so many things with their life, and being a brand gives us a platform to do so. That’s what I’m trying to do with fashion as well… a brand.
No, not for me at least. Because I try to be creative with it, and it comes natural to me. I just try to be myself at the end of the day, and try to be different.
It depends on how you wear it. Usually I just spin clothes to fit my style, my aesthetic. There’s obviously a lot of stuff that’s mass produced, and a lot of guys get their hands on it. I try to stay away from those types of pieces. But I just spin things in my own way.
Just trying to get better in every area, and to win as many games as possible. But besides those two things, I’m not really worried about all of the individual stats. I think that’ll take care of itself.
I don’t know. I would, for sure love it to be with something with fashion or something with clothes, because I know it’s another passion of mine, and I’ll enjoy doing it, but I’m not sure yet. We’ll see.