Back in 2012, beekeepers in northeastern France were abuzz when their bees started mysteriously producing blue honey. After a few months of the bizarre phenomenon, beekeepers discovered that bees were eating the waste from a nearby biogas plant in Ribeauville that had been processing the waste produced from making M&Ms.
According to the Independent, Mars operates a chocolate factory near Strasbourg, around 100 km (62 miles) away from the affected apiaries. They were sending their waste to be processed by the Biogas plant in Ribeauville which was not properly sealing/containing the waste, allowing the bees to feast on it.
It always feels too good to be true, doesn’t it? The fact that just as the weather really starts to pick up and summer sets in, your favorite retailers announce that they’re taking 50 percent off hundreds of labels. The MR PORTER summer sale just kicked off and the selection leaves no stone unturned.
From visvim to Acne Studios, the MR PORTER summer sale caters to all sides of contemporary summer style. Whether you’ve come to realize that you’ve left some gaps in your warm-weather wardrobe or just fancy topping up for the sake of it, be sure to hit the MR PORTER summer sale. You might want to get there soon, too, because the stock doesn’t have a habit of sticking around.
New Balance collectors and beer lovers alike will be on red alert after the Boston brand linked up with Miller Lite for the Shoezie, aka the world’s most stylish koozie.
The partnership comes ahead of fathers day and will be available in very limited qualities. Riffing off the 624 model, the nifty creation will keep your grog cool during the summer months. Until now, we never knew we needed shoes for our beer.
“When we dreamed up the Shoezie, there was only one brand to bring it to life, and that was the maker of the classic ‘dad shoe,’ New Balance,” said Sofia Colucci, vp of marketing at Miller Family of Brands, explained in a statement. “Together, we want to thank all dads out there for keeping the grass cut, grilling those perfect meats, agreeing to the family dog and of course, raising a Miller Lite, one can at a time.”
Ahead of the launch, New Balance has also readied a typical campaign featuring several real-life dads. “The Shoezie brings together two brands that confidently celebrate their connection with dads,” said Jeff McAdams, VP of global marketing for New Balance. “New Balance and Miller Lite are excited to come together this Father’s Day to tip our hats to dads everywhere and give them the opportunity to enjoy the day in comfort and in style.”
The Shoezie is give away only and available to the US only. You can apply for one here.
Whether it’s a Cartier Crash or 18-karat Apple watch, Kanye West has always been a guy who appreciates a good timepiece. But there’s one ‘Ye holds a fondness for more than most, and it’s soon going up for auction in Chicago.
As Highsnobiety watch expert Tony Traina writes for his Rescapement newsletter, the Ikepod Hemipode will go on sale this week, June 10, courtesy of Wright auction. It was back in 2019 when West confessed his love for the watch during a conversation with former GQ creative director Jim Moore, saying: “The founder of Swatch said, ‘A watch isn’t a watch unless it’s round.’ So I cornered Jony Ive and Marc Newson at the Met Ball to accost them about the Apple Watch not being round. Because the Ikepod is my favorite watch and Marc Newson designed it and the band is the same band.”
As West mentions, Newson was the design brains behind the Apple Watch, and its similarity with the Ive — from dial to strap — is fairly evident. If you cast your mind back a couple of years ago, we saw the watch peeking out from underneath West’s leather Dunhill blazer at the Vanity fair afterparty.
Ikepod was founded in 1994 by a Swiss businessman who hired the legendary Newson to oversee design. As Traina explains, the model at Wright is a Hemipode Chronograph powered by a Valjoux 7750 movement, which is slightly different from the one West wore.
“The Hemipode is such a playful design you almost forget you’re handling a huge chunk of 18kt rose gold,” continues Traina. “You’re immediately reminded of the Apple Watch once you strap it on, the most recent horological object that Newson assisted in designing. The rubber strap is the same as Apple’s, with the clasp intelligently designed to hide underneath the strap. But the rest of the experience is much more luxurious than strapping on a smartwatch. The gold case is heavy, the rubber strap feels more robust, the movement uses high-quality components that you can peek at through a window on the case back.”
Estimated to fetch between $10,000 to $15,000, find out more about the Ikepod auction here. Also be sure to follow Tony over at Rescapement.
The landscape of luxury is ever-changing, and it doesn’t necessarily just mean fancy, expensive products anymore. Going from exclusivity to inclusivity, we have seen a shift in the paradigm of what ‘luxury’ actually means.
In Highsnobiety’s New Luxury white paper, we explain how “once strictly tethered to price, craftsmanship, and traditional notions of status and wealth, luxury today is more complicated and dynamic than the acquisition of rare and expensive items that are shorthand status symbols. Once a form of de facto elitism, luxury today is more democratic. While it still comes at a cost, that cost is now more closely aligned with knowledge and access as opposed to cold, hard cash.” Our zeitgeists’ collective consciousness now focuses on quality as the overarching characteristic we strive for. People want pieces that last, and what better than a quality ring or watch?
Family run, high-end jewelry brand Wempe has been in the game since 1878, making it not only a connoisseur at its craft but an established name within the retail industry. Founded by Gerhard D. Wempe in Elsfleth, Northern Germany, the business has been successfully molded and developed by members of the Wempe family for over four generations.
Opening in 1988, the Wempe store on Kurfürstendamm in West Berlin has been a landmark for the company’s unbridled success. As a pinnacle of the brand’s vast impact on the luxury jewelry industry, the Kurfürstendamm store underwent an incredible expansion two years ago. Transforming into not only a retail store for its own label amongst the likes of Patek Phillipe and Cartier, but a goldsmiths atelier, and showcase spot for up and coming young designers. As the only store currently with a workshop for revamping and resizing old jewelry, Wempe Kurfürstendamm is focused on giving pieces a new lease of life again, truly seeking out the beauty in the possessions we already have.
Walking into the store you instantly feel transported into a whole new realm. Material-wise, everything is extremely cohesive, with final touches and details all having been taken into close consideration. From marble countertops and a state-of-the-art bar, to a concealed cigar room and exorbitant lounge area, the two-storey emporium will have all you texture loving aficionados drooling. From gorgeous timepieces to intricately designed elegant jewelry, Wempe is a master of class and creativity, and now it’s taking it one step further.
As a business with deep roots in its field, Wempe wants to use its respected position to break down barriers in the high-end retail industry, with the final goal of making luxury accessible.
By setting aside space in the Berlin Kurfürstendamm store to be curated in collaboration with Highsnobiety, Wempe gave its platform to young, ambitious designer Nadine Ghosn, and Berlin-based creative studio a c t e™ for a first-ever multi-collaboration exposé.
Born in the US, and of Lebanese-Brazilian descent, Ghosn has spent her life between Tokyo, Paris, and New York. Currently based in London, she continues to build her eponymous label Nadine Ghosn Fine Jewelry. We caught up with Ghosn to talk about the collaboration, her process and design style, to find out just why it’s important to merge vested brands like Wempe with contemporary individual pioneers in the same field.
As an individual with a background almost entirely different from jewelry design, Ghosn’s deviation into this craft and industry didn’t stem out of nowhere. “I’ve loved jewelry since I was a kid. My sisters would ask my father for dolls or books and I would just ask for gems. When I could buy myself a present from my first job, or when I had free time on the weekends I would go to the small street fairs and check out hand-crafted pieces. It was during my management rotation with Hermes that I got the opportunity to understand it better; through working with their jewelry creative and commercial teams. That really ignited it and I felt ready to take a risk and learn something tangible, even though the likelihood of success was low” she explains.
Ghosn’s personal style and approach to jewelry design is pretty unique. “I’m a bit of a misfit, always have been and always will be. Think bold, cheeky and colorful. My approach to the conventional jewelry landscape was atypical when I started – mostly because I had no guidance on where to go and how to do it. The industry was very insular and shared learnings were often not discussed. As I had no contacts or networks I just learnt from the ground up and created my own approach.” With a keen focus on craftsmanship and quality, Ghosn comments on how she personally spent time in Beirut with craftsmen who showed her the ropes of making jewelry in a way like no other. When it comes to her inspiration, she strives to make the ordinary, extraordinary. “I love the idea of taking something that most of us are familiar with and using my materials and challenging my manufacturers to create something that’s fun and what people want to wear – but that also puts a smile on their face.”
This showcase with Wempe sees Ghosn display three of her most prolific collections. ‘Too Cool for School’, takes inspiration from everyday academic life, leading us on a trip down memory lane with a collection that teems with pencils, paperclips, and protractors. This nostalgic line teleports these objects into a new dimension in a charming ode to our childhood. Through the globally relatable form of Lego pieces, ‘Building Blocks’ nods towards the constant assembling and reassembling of different parts of our lives. Reminding us that we are able to overcome challenges step-by-step, this collection focuses on collectiveness and growth. Finally, ‘Bare & Vie’ explores the habitual symbols and motifs we come across daily. From text and headphones to hamburgers and charging batteries, this collection has an underlying playful persona, typical of Ghosn’s unique style and perspective.
“I try to push the boundaries of what exists and the code of conduct within the industry. I have no jewelry background, and although that was seen as a weakness, it actually put me at quite an advantage as it allowed me to develop my own out of the box thinking and translate it into art form through precious metals and stones. The burgers for example are emblematic of me breaking the status quo, challenging manufacturers and retailers who were not used to having seven rings be sold as one. I love this democratization of jewelry.”
Instead of merely purchasing a product, consumers are now buying into the designer, the lifestyle and the community. “My customers are buying into my vision. There’s this openness, yet people tend to ask me, “what’s the age range?” and I say, “there isn’t one.” I have people of all ages wanting bits, I just made earrings for a 70 year old. You know what I mean?”
a c t e™ also pushed the boat out when it came to creating the display environments for Ghosn’s pieces to shine. The creative studio drew inspiration from the magical and uncanny beauty of the surrealist movement to build a dialogue with Ghosn’s unconventional work, showcasing her expertise. Creating a juxtaposition between the imperfection of surrealist objects, and the perfection of high-quality jewelry, a c t e™ has assembled abstract sculptures that awaken curiosity and invite you deeper into the collection. From oversized broken pencils and melting brick blocks, to a landscape composed of a tongue and twisted pliers, a c t e™ plays with the dichotomy between mysticism and traditionalism pushing our senses into another world.
When it came to working with Wempe, Ghosn voiced how the family-run aspect of the business was something that drew her in from the start. “I’m an old soul and Wempe always have their eye on longevity and creativity, which is what really matters. Between us there is a clear palpable passion for the trade and I think we both have a lot to learn from one another. The fact that we have shared values also helps us speak the same language and understand our different perspectives.”
In a day and age where everything and everyone is moving at such a fast pace and wanting the next new thing, Wempe is stepping back and really focusing on what is important – attention to detail and building foundations for successful partnerships. “I definitely didn’t want the cash cow kind of retailer dynamic where I push on something and then it’s done,” explains Nadine. “There’s an element of time that we both give, so if the collection doesn’t work the first season, I don’t think it’s done. It’s giving people that time to get acclimated to the pieces, to become familiar, and to get curious. I believe that by taking me on and including me in its selection, Wempe is making quite a bold statement. First by supporting a young designer, and second, by leveraging its platform and introducing new unconventional designs. Through its actions, it’s showing its will to keep innovating and elevating the industry. To many, it might seem like a marriage of paradoxes, but really it is a step into the future.”
With a desire to weave and tell stories, and to really build personal connections, Wempe’s focus on people is what really makes it stand out. Through this collaboration with Highsnobiety, Wempe is building a platform and facilitating a space for young, ambitious designers to grow and gain exposure. Wempe’s focus on interconnectedness in our current cultural sphere is not only enriching the jewelry industry, but creating a symbiotic relationship between luxury, art, design, and fashion – all the while maintaining an undying appreciation for the product and craftsmanship.
Book an appointment here to see the exposé at the Wempe Kurfürstendamm store.
Life-saving services, financial assistance, rights advocacy and more crusades for the queer community An array of organizations actively reinforce the rights that LGBTQ+ people have won in their struggle for equality, and many more continue to fight oppression, injustice and violence against the queer community. Not only during Pride, but all year long, it’s important to keep these organizations top of mind and assist when …
500 pieces from John Galliano’s legendary tenure at Dior between 1996 and 2011 are going up for sale at a French auction.
Parisian auction house Cornette de Saint Cyr has curated the hefty selection of items, 300 of which came from a Russian woman who began to acquire Galliano’s work when his debut collection arrived in fall 1997. WWD reports that 50 items came from another client who favored tailored jackets inspired by the house’s iconic “Bar” suit, while around 100 handbags such as the Lady Dior, Gaucho, Malice, and Cadillac models are also included.
“The sale is very representative of the evolution of Galliano’s style at the house of Dior,” explained Hubert Felbacq, director of Cornett de Saint Cyr’s luxury and vintage department, to WWD. Prices range from around $36 for smaller accessories right up to over $7,000 for the FW06 python coat. The sale comes at a time when archival fashion is enjoying a boon, particularly among younger consumers.
Galliano’s tenure at Dior came to an end in 2011 after he was accused of making anti-Semitic and racist remarks in a Parisian cafe. A one-time punk stylist, Galliano was responsible for turning Dior into a multimillion-dollar brand. The designer claimed to have been suffering with substance abuse due to being overworked. He was succeeded by Raf Simons before eventually joining Maison Margiela in 2014.
See exactly what’s going under the hammer here and look out for the auction taking place today, June 7, at 2 p.m. CET.
Both brands have taken to Instagram to confirm the news following mounting leaks from industry insiders. So, Supreme’s Milanese flagship might be more than a thumbed nose at the fake Supreme — it’s indicative of the New York brand’s infiltration of Italian high society.
As Highsnobiety’s Jake Silbert noted when rumors began to surface, “Pucci is ripe for a mainstream revival, given that its trippy, colorful prints laid the groundwork for recent work from the likes of Raf Simons and Dries van Noten and fit neatly into the current zeal for flashy retro flavor.”
The first look seems to suggest that the collab will lean into this aesthetic. Multi-hyphenate Sage Elsesser dons a silky camp collar bowling shirt and shorts combo that features Pucci’s signature geometric, kaleidoscopic designs.
For its part, Supreme is charged with introducing the Italian brand and its aesthetic to a new generation. Pucci is also owned by LVMH, which worked with Supreme on its RIMOWA and Louis Vuitton collaborations. LVMH chairman and CEO Sidney Toledano told Menkes back in 2018 that he was angling to bring Gen Z into the Pucci fold — something that a Supreme partnership could certainly achieve.
Balenciaga‘s Spring 2022 ready-to-wear presentation, titled “Clones” considers how our sense of reality is mediated through an increasingly filtered — perfected, polished, conformed, and photoshopped — lens.
To drive the message home, Balenciaga tapped artist Eliza Douglas (who you might recognize from most of their recent shows, as well as Burberry’s chaotic SS21 presentation) to model all 44 looks for women and men. See for yourself below.
In the video directed by Quentin Deronzier, Douglas appears as a series of digital clones, some of which are deepfakes, or models with the artist’s photogrammetry-captured and CG-scanned face digitally grafted on.
It’s both a critique of fashion’s “hero” item-trend fixation and a perfect rejoinder to Gucci’s recent Balenciaga-hacked “ARIA” collection. The “Gucciaga” collection mixed the codes of both houses. As Alessandro Michele explained, “Gucci becomes for me a hacking lab, made of incursions and metamorphoses … I have plundered the nonconformist rigor of Demna Gvasalia and the sexual tension of Tom Ford.”
After the first collab at the Gucci show, Highsnobiety’s Christopher Morency wrote, “The collection will obtain grailed status for the simple reason of existing, and in the end — regardless of audience sentiment.”
In response, Balenciaga has interpreted Gucci’s recognizable signatures as Balenciaga products. Here, ironically, Gvasalia merges the house codes to explore and question ideas of authenticity, counterfeiting, and appropriation within the fashion industry.
“Yes, it’s an easy cash grab, a straightforward attempt to give the actual customers who buy into the two brands and who so many in the industry lift up their nose to exactly what they want,” notes Morency. “But don’t dismiss that what Gucci and Balenciaga have demonstrated” with both collections. Their second collaboration proves once again that, “marketing moments like these will create such a level of hysteria that in today’s hype-driven industry the efforts will transform into desirability.”
For example, an archival double-G diamond monogram design is transformed to consist of double-B logos in Gucci’s iconic tone-on-tone palette on a variety of leather goods and classic accessories. The line, which also includes limited-edition bags hand-tagged with “This Is Not a Gucci Bag,” will be in stores starting in November of 2021.
While the references to Gucci are thought-provoking and effective, it is a Balenciaga collection through and through — complete with supersized silhouettes, homages to fast food, and even a sweatshirt featuring the Simpsons wearing pieces from Balenciaga’s last season. Wrap coats recall a classic Balenciaga cocoon construction, and the brand’s signature parka and puffer make a reappearance, as does a new signature, the tracksuit.
Elsewhere, tactical cargo pants transform into coveralls and cyber goth-style raver pants; skirts in denim are tricked out with metal hoops and studs, and straps.
Balenciaga Crocs 2.0, the second collaboration between the two brands, sees the classic clog made into pumps, boots, and platformed pool slides. Meanwhile, Trooper boots and Derbies receive thick-soled, square-toed, and angular on all sides. Runner sneakers, introduced in Winter 21, receive a cut-up aesthetic in the shape of a traditional running shoe.
Balenciaga has come through with its latest franken-fashion offering, just in time for summer.
First, they gave us “pantashoes” during the brand’s Spring 2017 ready-to-wear; a theme that would evolve into a full-blown high-neck pantashoe-catsuit by SS2o. Since then, Balenciaga has continued to use hybridity to reference and remix cultural references.
But with no more subcultures to be discovered Demna Gvasalia has returned to the ever-inspiring dadcore aesthetic. Their latest offering riffs on two permanent fixtures in any suburban dad’s permanent rotation: blue jeans and cargo shorts.
The beige and blue cargo-short jeans are a composite of military and vintage workwear influences, formed of two different styles joined for a deconstructed, layered effect. They’re made from cotton twill and denim, with flap pockets and side adjusters to personalize the oversized wide-leg fit.
On the heels of Balenciaga’s Gucci collaboration/hack, and ahead of the brand’s return to couture this July, this jean-shorts mashup seems like a throwback to Gvasalia’s anti-fashion roots (albeit with a $1,250 price tag).