Founded 12 years ago, JBW was born out of a family-owned watch shop in Dallas, Texas as a brand of aspirations. Taking inspiration from the local hip-hop artists who came to the store in search of shining, diamond-encrusted timepieces, JBW began to carve out a niche for itself with a range of accessibly priced diamond watches. Arguably the pinnacle of the watch shop’s offering so far, the Platinum Series exemplifies the brand’s expertise and it just welcomed two new arrivals.
The JBW Platinum Series was introduced in 2019 as a space to reimagine some of the brand’s most popular styles with a more elevated feel. “The Platinum Series is the brand coming into its own. It’s about offering an elevated experience in quality and a higher number & grade of diamonds — the threshold is 500 diamonds,” says CEO Amir Meghani. Each Platinum Series model is produced in limited quantity and individually numbered to signify the meticulous quality and craftsmanship that goes into it.
The latest arrivals to the JBW Platinum Series are Mink and Heist. These statement watches effectively provide the polished finish to the Platinum Series, with each limited-edition design featuring more than 500 diamonds, rubies, and sapphires. It’s not all surface flash, though, as all of the five Platinum Series timepieces run on high-quality Swiss movements for reliability and precision. Combine that with four years of Platinum warranty as well as an engraving service, and the watches are positioned perfectly as investment timepieces.
We love square-face watches, so we’re stoked to see Heist given the JBW Platinum Series treatment. The clean, bold geometry of this square face provides the perfect backdrop for a deluge of precious stones. To be precise, 545 genuine diamonds individually set to the bezel, dial, case, and bracelet. Under the hood, you’ll find a Swiss chronograph movement.
Mink, the other watch alongside Heist to have just joined the Platinum Series, is an enigma. This timepiece is at once classic and unorthodox. The rectangular face is split by two bars running across it, in line with the bracelet. As if the 505 diamonds and 13 rubies weren’t enough, the unique design is sure to catch eyes.
12 rubies tell the time on the face of Olympia which is typified by the undulating cage that details the bezel. 510 diamonds detail the attention-worthy structure which is plated with 18k gold from start to finish.
Echelon delivers square-face energy in a slightly more streamlined package. The tonneau-shaped face contours the wrist for a light sporty feel. There’s nothing else sporty about this watch, though, weighing in with 570 diamonds and a large ruby to the crown.
Jet Setter is a natural fit for the Platinum Series thanks to its clean basic form. A clear face and rounded case pose the perfect foundations for 550 diamonds. This timeless watch gets a striking update and carries it off with ease.
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This May, Art Basel Hong Kong is scheduled to return to an in-person fair for the first time since the pandemic began. Galleries from across the world have officially been confirmed to participate in the 2021 showcase, but not all of them will actually make a physical appearance.
After it was canceled last year due to the coronavirus, one of the starkest differences between the pre-pandemic iterations and the 2021 return is the number of participating galleries. Art Basel Hong Kong is down from 242 in 2019 to 104 this year – a decrease of more than half. However, the fair hopes to make up for this in variety with a new scale hybrid format, which will see both physical and digital mediums throughout the event. 56 galleries have committed to in-person booths at the fair, while the rest will participate remotely through satellite booths.
In addition, the fair is permitting galleries to share so-called “collective booths,” which names such as Hong Kong-based Rossi & Rossi and Manila-based Silverlens will make use of.
As part of the online format, the fair will also invite viewers to experience the event entirely virtually via online viewing, virtual walkthroughs for VIP guests, and a live broadcast of the event titled Art Basel Live: Hong Kong.
“It has been truly inspiring to witness the ways in which the art world has been adapting to the current circumstances,” said Art Basel’s Asia Director, Adeline Ooi. “We are deeply grateful to our participating galleries for their commitment to our show here in Hong Kong this year. We are delighted that we are able to introduce new models that support our galleries, from the satellite booths to the expansion of our digital offerings as a way to amplify the international reach of our galleries with Art Basel Live: Hong Kong.”
Art Basel Hong Kong will run from May 19 to 23, 2021 at the Hong Kong Convention and Exhibition Centre.
Ahead of 420, MONOGRAM, JAY-Z’s cannabis company, has reimagined iconic photos by renowned mid-century American photographer Slim Aarons. Legendary director Hype Williams was tasked with recreating Aarons’ famed images for a contemporary, cannabis-friendly audience. And where would be a more fitting location than the Frank Sinatra House in Palm Springs?
“Slim Aarons defined a lifestyle and an era, and this campaign is proof that his imagery, style, and taste still resonate,” said Getty Images curator Shawn Waldron, adding, “Hype Williams creatively pays homage to Slim’s incredible talent while updating the setting and personalities in a truly inspired way.”
Williams recast some of Aarons’ most notable poolside vignettes, tapping Best New Artist Grammy nominee Chika, New York-based trio of culinary experts & activists Ghetto Gastro, rapper & songwriter Curren$y, designer & stylist Aleali May, and fashion & beauty model Slick Woods as the faces of a new luxury aesthetic.
Each shot was styled by Highsnobiety’s own Corey T. Stokes, who wove modern accents and streetwear elements into Aarons’ timeless original work. The recreations of “Keep Your Cool,” “Desert House Party,” “Poolside Glamour,” “Leisure and Fashion” each illustrate the expanding landscape of modern luxury and its relationship to cannabis culture.
“The perception around cannabis has shifted a lot since the 20th century. If you were to ask me and my peers how we’d define the good life today, weed would definitely be a part of it. Whether we’re smoking to inspire creativity or to celebrate an achievement, cannabis has a rightful place in modern-day culture,” explained Williams. “HOV has a vision for the industry that he’s bringing to life through MONOGRAM. His focus for this campaign was to showcase how beautifully cannabis fits into the good life today, and I am honored to be a part of it.”
The campaign comes soon after both houses of the New York State Legislature approved legislation to legalize marijuana. “Being creative like this becomes a natural part of the fabric of New York City only reinforces that cannabis has a right to exist within our customs, arts and social institutions,” shared Carter. “New York’s decision to legalize is a victory for the entire industry, and I’m excited to have MONOGRAM play a role in bringing that message to life in my own backyard.”
New installments of the campaign will also be introduced later this year, coinciding with the debut of Slim Aarons: Style – a new monograph that takes a deep dive into the fashion and style represented throughout Slim Aarons’ work. Hitting shelves on September 21, 2021, Slim Aarons: Style features nearly 50 previously unpublished photographs pulled straight from the Slim Aarons archive in London, offering a brand-new look into his legacy.
Supermodel. Mother. Fashion icon. And now, Non-Fungible Token. Kate Moss will be auctioned as a triptych of NFTs today titled “Episode 1: Kate Moss.”
The three installments depict the fashion legend at her most quotidian: lying in bed, driving her car, and enjoying a countryside walk. Each will be sold as an edition of one and will be accompanied by a unique audio certificate acknowledging the buyer recorded by Moss herself. The owner will also be accredited in a post on the official @KateMossAgency Instagram.
A percentage of proceeds will be donated to Adwoa Aboah’s Gurls Talk, which provides resources and a safe space for women with a focus on mental health support. (The exact percentage of donated proceeds has not yet been disclosed. Highsnobiety has reached out for clarification.)
The NFTs have been described as “personal in their capture but offered up for ownership forever” by the creators @mitnft, a collective of artists exploring the increasingly liminal realm between the public and the personal space.
So, how much are these NFTs going to sell for? If history tells us anything about the conflation of supermodels, the art world, and NFTs, possibly quite a lot.
It’s not the first time Moss has been immortalized as an expensive artwork. In 2006, British artist Marc Quinn unveiled his “Sphinx” sculpture: a realistic statue of Moss in a contorted pose made out of cast iron bronze. At the time, Quinn said the gesture was “a mirror of ourselves, a knotted Venus of our age.”
Quinn was later commissioned to recreate the statue in a smaller 18-carat gold version that was dubbed “Siren” and cost a reported £1.5 million (approximately $2 million by today’s conversion rates) to make. It was soon sold at Sotheby’s auction house for approximately $800,000.
If a naked Kate Moss in cast iron bronze was a reflection of the times in 2006, a free-the-nipple-compliant Kate Moss NFT may be a worthy (and suitably absurd) reflection of the zeitgeist for now.
Bidding for the opportunity to own the freshly minted edition “Sleep with Kate,” “Drive with Kate,” and “Walk with Kate” opens on Foundation.
If anyone tries to tell you word-of-mouth marketing doesn’t matter anymore, just mention Mark Maciver’s name. One of the biggest (if not the biggest) barbers in London, he’s cut the hair of LeBron James and Stormzy, among others, and he has earned almost all of his opportunities through good word of mouth. It’s no surprise; this guy is Dumbledore with hair clippers. Maciver does this all as SliderCuts, an alter-ego inspired by an old MC name that is now synonymous with great hair throughout the UK. Breaking on nearly 100,000 followers on Instagram as well as having put out his first book, Shaping Up Culture, in 2019, Maciver continues to leave a footprint on the world — even amidst the pandemic.
Maciver tells Highsnobiety that his mother and brothers gave him haircuts as a kid and this is what ultimately pushed him into the industry. “I got tired of their basic cuts — no offense intended, as this is the reason I’m here today — and wanted something better and fresher. So I decided to try it out on myself,” he says over email. It led to years of learning, studying, and applying the art of barbering to many heads — including his own. On more than one occasion he cut his hair completely off, dissatisfied with the results. But over time, he established himself as a talented clippersmith who built a network of clients through referrals from others. His social media buzz came in, and so did the high-profile heads.
At the height of his popularity so far, everything changed. The pandemic, which has killed 123,000 in the UK as of this writing, has made huge changes to how barbering is conducted in shops throughout the country and the world at large. “I’ve had to shut down my shop, which is my main source of income, and during the times when we have been open, serving people has become increasingly more difficult,” Maciver says. “Now we can’t have lots of people waiting in the shop anymore, we’ve had to remove most of our waiting chairs, so it felt like a different vibe in the shop.”
This has led to life feeling “like a doctor’s appointment,” according to Maciver. Hopefully that changes sometime in the future, but until then, he’ll be building his brand with his one-of-a-kind cuts, integrating himself further into London’s pop culture, and preparing for things to go back to normal.
Here’s Mark Maciver, aka SliderCuts, on his come-up, cutting celebrity hair, and barbering during the pandemic.
A great haircut is often the reason that a lot of people feel more confident walking into a situation. When you’re looking good, you feel good, and as a result you end up performing better in whatever it is; interviews or just meeting up with people, it gives you a level-up mentally. And this is one of the reasons I love what I do.
When I was 13-14 years old. I’ve been interested in hair. Growing up, I was always intrigued by haircuts and the way that people styled [their hair]. In both real life and television. The triggering point for me to join the profession was that we never had money to go to the barbershop, so I would get my haircut at home by my mum or older brothers. But I got tired of their basic cuts — no offense intended, as this is the reason I’m here today — and wanted something fresher, so I decided to try it out on myself.
The process was a slow one, where I focused on my craft and always took a lot of pride and respect in my work and the SliderCuts business. If you know me, you know that every hour of every day is full of me doing something — I’m always busy. I graft, and it was this that helped me to grow and improve as a barber gradually. Having a big client list isn’t something I take for granted, but I do believe hard work does pay off. Eventually you just need to apply the right mindset to your craft.
The business grew in popularity before the days of social media, and I was cutting hair in those days as well, via word of mouth. Once I cut one person’s hair, they told someone else, and then before you know it, X could be friends with Y, and this all happened naturally through personal recommendations.
When I was 18, I got an unofficial apprenticeship in a shop called D&L and I worked as much as possible. As soon as college was done, I worked there full-time. The barber above me there had some bigger name clients, and as I continued my journey, I was trusted more and more to work with them, and if there wasn’t a customer in the shop for me, I would stand there studying the techniques and process.
Eventually, I became a heavily sought-after barber and was one of the first people in the country to have my own website as a solo barber. At the time, only big-name barbershops had websites, and this was around 2008/2009, so for anybody that was searching for a barber online (especially a black Afro hair barber), I was the only person to come up.
I built up a big social presence by being pretty open about oversharing. I spend time creating content, and I really enjoy doing it and always have a lot to say. You have to be open when you are in a barbershop. I want everyone to come in, chill, and chat, and I don’t think you can really be standing there silent and unengaging. So being on social media isn’t too far away from that for me. The more I shared, the more I seemed to gain followers and ended up with quite a few clients, like Anthony Joshua, Reggie Yates, Tinie Tempah, and others.
A lady from my church put me forward to be on a YouTube show with a friend of Stormzy’s. After we shot the program, we were all talking, and conversation got onto my haircuts. They all started looking at my Instagram and his friend sent him a picture of one of my cuts and said that he should visit me. That was it. Then a few weeks later I get a message from a random number saying, “Yo bro, I need you to save me.” I looked at the WhatsApp profile pic, which was him with David Beckham, so we organized a haircut for that day on a photo shoot. I cut him, he loved it, and the rest is history!
The reality is you will never give the same amount of effort on everything. But that is my aim, and I’m honest with myself, so I check myself whenever I’m slacking. I have this Bible verse that I try to always remember, which is: Colossians 3:23, “Whatever you do, work at it with all your heart, as working for God, not for human bosses.” This mindset has helped me through the years because even if I got away with cutting corners with people, I always knew god was watching. Also, I feel guilty when I don’t give a client the cut or service they deserve from sitting in my chair.
The pandemic has majorly affected my business. I’ve had to shut down my shop, which is my main source of income. And during the times when we have been open, serving people has become increasingly more difficult. Now we can’t have lots of people waiting in the shop anymore, we’ve had to remove most of our waiting chairs, so it felt like a different vibe in the shop.
I miss seeing people and chatting with them face to face; however, the pandemic has helped me to stretch myself into other areas, which I’ve always wanted to go into, such as teaching. I’m doing online business classes [which you can find here], creating more content where I’m just doing sketches, which I really enjoy, and I’m working on adding in some new chapters to my book Shaping Up Culture.
The impact on the barbering industry has been horrible, because plenty of shops have had to close. It’s also eerie, because we don’t know how we’ll have to go back to normal where we can work freely (with restrictions and measures in place) without the fear of us going into another lockdown or tiered system. Last time we, as an industry, didn’t have much time to prepare, and I’m sure many felt the effects of this as much as I did.
The pandemic has made it a lot more difficult to have that social environment. Reduced numbers in the shop take away from the busy, debating chilling spot it once was. The barbershop is known to be the place you can go to even when you’re not getting a haircut. Now you can barely be there even when you’re getting a cut. You have to come bang on-time for your appointment, leave straight after, no shouting, come by yourself if possible, sign this form on your way in. Getting a haircut can now feel like a doctor’s appointment.
I still allow group conversations to flow in the shop. I do more online conversations on platforms like Clubhouse and Instagram so those who can’t be here can get a little feel of the barbershop.
Union continues its 30th-anniversary celebrations with yet another exclusive capsule. For the second installment, Union has tapped Noah; a brand that owes a lot to the Los Angeles stalwart.
When Union opened its doors on Spring Street in 1991, it changed the retail landscape, but it also changed the lives of Noah’s founders, Brendon and Estelle Babenzien. The couple was introduced by Chris Gibbs and Beth Birkett, the founders of Union. ”This connection makes this one of our most personal collaborations to date,” the brand shared on Instagram. “Needless to say, Noah and Union are truly family in every sense of the word.”
Speaking on Union’s legacy Brendon Babenzien reminisced, “Union became one of the absolute musts when my friends and I took the LIRR to NYC to skate. It was the most pioneering store we had seen. Union was the origin point for everything that came after.” He added, “They inspire us and I can say for sure that their genuine nature and creative approach to life is what has allowed Union to lead and endure for three decades.”
“I love everything Union stands for and represents. I’m so ecstatic, but not surprised, they’ve reached 30 years (it gives me inspiration!)” said Estelle Babenzien, “Union is the new classic; a heritage brand. I’m very much looking forward to the next 30 years!”
Speaking to Highsnobiety earlier this year, Gibbs explained, “For our 30 year anniversary we thought it would be a good opportunity to celebrate this “streetwear moment” in true streetwear style; the collaboration.”
Noah and Union have teamed up on an exclusive collection of hoodies and tees that celebrate the singular identities of both parties. The co-branded pieces commemorate historical Black figures including Alexandre Dumas — author of classics such as The Three Musketeers and The Count of Monte Cristo.
Keep an eye out for more Union collabs throughout the year. The plan, Gibbs tells us, is loose. It’s likely to be one to two capsules per month and the pace will pick up towards the end of the year, and then they’ll crank “the heat up and end with a bang.”
Two very different vehicles underpinned by the same design thinking Ford‘s all-new Mustang Mach-E and Bronco Sport have more in common than meets the eye. Though the appearance of the two vehicles differs, it’s the thinking behind them that tells us plenty about Ford’s current approach to car design—one fueled by not only a need to compete with other brands in the space, but also …
When it comes to fast food and fashion crossovers, Telfar and White Castle’s history of collaboration might be the most organic. The fast food joint holds a special place in the label’s wild and wonderful story and Telfar continues to pay homage by restocking and tweaking its collaborative uniforms.
Telfar first kicked off its uniform partnership with the hamburger chain in 2017 and then again last year. Now, for White Castle’s 100th anniversary Telfar is bringing back the unisex capsule once again, but with one very special new edition: a monogrammed durag.
Telfar’s brand and approach to fashion has always been an unashamed love letter to Black culture and introducing a durag into such a meaningful collab is just an extension of that story. The durag proudly celebrates the label’s ties with America’s oldest fastfood chain with an all over “White Castle” print in blue.
Elsewhere, Telfar brings back what have now become staples of its White Castle edit. Namely, tees, hoodies, beanies, caps featuring the partnership’s signature cobranded logo – the restaurant’s vintage-style font with Telfar’s unmistakable logo in the letter “C.”
As Telfar’s shop reads “Real ones don’t need an explanation of why there is a Telfar x White Castle collab.” If you’re not a real one, we’ve got you: Telfar’s relationship with White Castle stretches back to Telfar Clemens’ childhood. He spent the majority of his life living one block away from a White Castle in Queens and can recall fond, late-night memories attached to various New York City locations. Things came full circle in 2014 when Telfar threw a fashion week party in its Times Square location. Since then, they have had numerous charitable tie-ups, including a project that saw the NYC upstart design uniforms for staff to wear in the eaterie’s some 400 nationwide locations.
The latest Telfar x White Castle collab and durag drops today at 9 am ET. Head over to Telfar to shop.
It’s no secret that H&M has always had its finger on the pulse when it comes to collaborations. From Marni to Margiela, the retailer’s joint ventures’ life on the shop floor is always short-lived with most selling out in a matter of hours.
For its latest partnership, H&M has taken a slightly different approach and teamed up with Good News, a fast-growing London-based brand paving the way when it comes to footwear made with a smaller environmental impact than the industry norm. Some of the methods the brand is taking to lower the footprint of its products are reducing the number of processes and parts to its sneakers, using recycled and natural materials, and OEKO-TEX dyes as well as donating leftover stock to those in need.
Marking H&M’s first-ever footwear collaboration, the unisex drop comprises seven sneakers and one pair of slides made from a range of progressive materials such as Bananatex — a fiber woven from banana plants – Vegea – a leather alternative made from grapes – and Bloom Algae EVA for the soles (more details on the drop, here).
As the collaboration hits H&M stores online and around the world, we checked in with those who’ve already got a pair to get their thoughts on the release and the steps they’re taking to lead a more sustainable lifestyle.
What steps are you taking to lead a less impactful lifestyle?
I try to apply sustainability in my everyday life step by step. I hardly eat any meat, and when I go grocery shopping it’s mostly biological and local. Because of my job, I receive a lot of clothing and it’s impossible to keep and wear everything. I have become more selective with gifting and I only accept gifts that I know will add value to my closet and which I can wear for years. I donate lots of my clothes to charity and I give them to family or friends so nothing goes to waste and everything will get a second life.
How do you feel about the partnership between H&M and Good News?
I love the collaboration, the design is great and the message behind it is even better.
How has the way you think about sustainability changed in the last five years?
A lot of my views today on sustainability have come from growing and learning about the power that falls within our hands within the choices we make daily. In school, I was only ever taught to recycle, but not the effects of and different ways of a more sustainable life.
What are your thoughts on the collaboration?
I feel the partnership makes for a great bridge to the sustainability both brands believe and hold on to. I love the stability of the shoe, although it’s sustainable, I love how the shoe feels solid on foot.
What steps are you taking to lead a less impactful lifestyle?
I praise the lifestyle of using things until they‘re broken and fixing them again. Increasing the lifespan of everything we use is probably the easiest way to reduce our footprint.
What do you hope to see brands do in the future to reduce their impact on the environment?
I would love to see brands use as many locally sourced & produced products as possible. The shirt I can buy in Germany doesn’t have to be the same as in Brazil, since they have completely different available resources. I wouldn’t even decrease the margin of profit, if advertised well.
What steps are you taking to lead a less impactful lifestyle?
I’m making every effort to eliminate single-use plastics, eat less meat and fish, and support brands who are making valiant efforts to be sustainable in their supply chains, shipping materials, and beyond.
How do you feel about the partnership between H&M and Good News?
H&M obviously has such a large platform and impact in the fashion industry, so I think it is their responsibility to share that audience with sustainable brands like Good News who are doing things differently and with the planet in mind. I hope H&M continues to partner with these smaller sustainable brands to increase awareness and overall continue to put sustainability front and center. Hopefully, this partnership with Good News is a sign of much more to come because the fashion industry still has a long way to go, but brands like Good News are paving the way for a more sustainable future.
How has the way you think about sustainability changed in the last five years?
It has changed drastically I must say. I was always very aware of how important it is to take care of our earth since a young child with the few things we learned in school and a few commercials I have seen on tv. But I say the way I think about sustainability has changed for the better because of how many more people are much more in tune and on board with actually saving our planet. The message is just getting stronger and stronger and its getting hard to ignore which is important.
What do you love most about the sneaker?
What I love the most about the sneaker is the color blocking. Beige and green go together so perfectly. I also really like how the sneaker has some chunkiness to it. Makes the sneaker more noticeable.
How has the way “sustainability” factors into your life changed in the last five years?
I’ve only been really paying attention to my own footprint for the past three years. It changed my life in a way that I know I’m doing the right thing and I’m doing my part. The world is already kinda messed up, I personally don’t wanna be part of that.
What are your thoughts on the H&M x Good News collaboration?
A very nice alternative and I was glad I could’ve been part of that as I’m personally paying a lot of attention to my footprint and trying to make it as small as I can. So trying to bring some awareness with dope shoes was definitely a great way of doing it.
Imagine Ronaldo and Messi in the same team? Or an album by Kanye West and Drake? Or a sneaker collab between adidas and Nike? Those are the kind of levels we’re dealing at when it comes to the rumors that Balenciaga is set to team up with Gucci, as reported by WWD.
It’s speculated the partnership will be unveiled as part of Gucci’s “Aria” collection, which is set to be presented digitally as a series of short films on Thursday. Quite what Demna Gvasalia’s input was isn’t exactly clear, but it’s a notable development given Kering Group labels have removed themselves from this season’s Milan and Paris Fashion Weeks, thought to be part of a wider company strategy. Alessandro Michele, you may recall, announced he will only show twice per year and has begun experimenting with new ways to present his vision. Gvasalia, meanwhile, has also been experimenting with roll-out.
The news comes not long after Gucci reported poor sales figures for the fourth quarter of 2020, dropping 10 percent year-on-year. A cynic might suggest that such a titanic coming together is an obvious hype-generator for a company looking to get back to growth — a must for Kering given how, despite a relatively harsh 2020, the Italian house still accounts for close to two-thirds of its $19 billion profits. It’s also worth noting that “Aria” marks Gucci’s 100-year anniversary, meaning this could well be a special centenary one-off. If it is indeed the new normal, then we could be about to witness the cross-pollination of sister labels in a way never-before-seen.
It’s not the first time two luxury names under the same umbrella have collaborated before: Most recently, LVMH’s Alexandre Arnault brokered a collection between Rimowa and Kim Jones’s Dior in 2019. But in terms of scale and clout, it is entirely unprecedented. Bear in mind both brands ranked first (Gucci) and second (Balenciaga) in Lyst’s most recent Q4 power rankings, with the former buoyed by its #Guccifest film festival and The North Face tie-up.
Ostensibly odd bed-fellows (at least as far as aesthetics go), Michele and Gvasalia have more in common than one might first assume. After turning the fashion world upside down in 2016, the duo has both preached the importance of individuality and expressed their distaste for the ephemerality of fashion. Interestingly, they also read from the same hymn sheet in terms of genderless collections. If you haven’t, it’s well worth checking out Alexander Fury’s New York Times piece from 2016.