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As an enduring symbol of effortless style, the grey hoodie is a piece that deserves a space in everybody’s winter wardrobe. Much like other staple silhouettes, this one comes in many shapes and forms, making choosing the perfect one a challenging task.
With each design devoid of any notable graphic treatment, the focus lies solely on cut and material. As all of these brands have been producing hoodies for years now, you can rest assured that they are good for starting any respectable collection.
Coming in at a slightly higher price point, the selection above serves to blur the line between luxury and streetwear even more. Featuring notable brands like Acne Studios, Juun.J, and Sasquatchfabrix., each piece promises years of wear.
Just when you thought it couldn’t get any more luxurious than the previous segment. Featuring favorites from Burberry and Helmut Lang, the above are only for the most experienced grey hoodie aficionados.
Our designated Selects section features products that we love and want to share with you. Highsnobiety has affiliate marketing partnerships, which means we may receive a commission from your purchase.
Russian luxury brand Caviar has created a one-off pair of Apple Airpods Pro, wrapped in 18-karat gold. The luxe — and presumably quite heavy audio accessory — will set you back an eye-watering $67,280
Coming with a matching gold charging case, the Airpods are made from “750-content gold.” If you somehow happen to be in the market for insanely ostentatious tech, the Airpods are unfortunately already sold out. However, if you really feel the need to flex, Caviar also offers a range of luxury Airpod cases. The leather cases range between $1000 and $1150 and premium alligator leather or python skin versions priced at $139 to $1450.
This isn’t the first gold-dipped Apple product Caviar has produced. Back in October, the brand unveiled its iPhone 11 Pro “Discovery Solarius.” It’s constructed from 750-content gold and features a yellow sun diamond at the “12 o’clock” position. The Solaris “Full Gold” iPhone will set you back $65 730 for 64GB.
My feelings on style, and life, can be boiled down to one video: Juice vs. the Sauce. The sauce is innate. The sauce is everlasting. And if you’ve got the sauce in your style, you can find a dope fit anywhere. An expensive and or highly coveted piece may give you the juice, but the sauce it does not guarantee.
In an effort to prove this, we turned to Amazon to cull five affordable looks that are bona fide heat. Each of the looks styled here feature pieces that never go north of $180 and most of which fall in the $50 to $80 range. And with a focus on the utilitarian, they’re also incredibly easy to put together and pull off. Scroll through the looks to find some standout steals that’ll boost your wardrobe.
This RDX track suit is designed for weight loss, but it’ll also trim the fat from your dependence on more obvious, prominent brands. The blocked striping is lowkey killer, especially on the top as it crosses over across the body and down the arm.
Here we have a look that’s as aggressive as military brand’s pencheant for all-caps names. Together, the black tactical cargo pants and boots are downright menacing. There are plenty of takes on the combat boot in fashion, but you can never go wrong with the OG. While Oakleys are popping off right now, you can achieve the same effect for less with Torege sports shades. The simple but trusty Gildan T-shirt lets the rest of the fit do the talking while reinforcing the remarkable power of a plane white tee.
Carhartt WIP deservedly gets heaps of praise, but don’t forget about the main line. The matching work pants and field jacket feature striking brown color blocking with just the perfect amount of safety orange. Blundstone’s tried-and-true boot magnifies the effect, and one last dash of peacocking comes from the super affordable bucket hat from a brand that’s, frankly, random as hell.
Arc’teryx, The North Face, and Solomon form a holy trinity of dependable outdoor gear here. The balaclava is not for the feint of heart, but it rounds out a look that dares the winter to bring its worst.
The workwear and Wallabee combo may not earn you automatic induction into the Wu-Tang Clan, but it will be one of the most assured looks in your repertoire. Every man should have a pair of Clarks’ classic moccasin, and the decision to either wear the jumper full stop or tie it off at the waist is a blessing, and why we condone the rise of coveralls.
Instagram has begun testing hiding likes for users worldwide. Yesterday, the company announced it was rolling out trials globally.
Those included in the trial will no longer see like counts and view numbers on other users’ posts, and will only be able to see those numbers on their own content. Instagram claims it is introducing this feature to make users more comfortable genuinely liking content without being judged by the herd. This change could also make users more comfortable sharing their own posts without the public pressure of like counts.
While the feedback from early testing in Australia, Brazil, Canada, Ireland, Italy, Japan and New Zealand has been positive, this is a fundamental change to Instagram, and so we’re continuing our test to learn more from our global community.
Last week, Instagram announced it would expand the test to the US, but now it’s running everywhere to a small percentage of users in each country. It’s the company’s attempt at alleviating the negative impacts of social media. So far, Instagram claims results have been largely positive. It is unclear whether this will become a permanent feature on the platform.
Taylor Swift‘s upcoming American Music Awards live performance might be up in the air. The singer opened up this week about her continued battle over her song rights with Scooter Braun, claiming the prolific music manager is actively blocking her from performing her old songs.
In a statement on Twitter, Swift says Braun, who owns the rights to her music, and Scott Borchetta, the CEO of her old record label Big Machine Records, are preventing her from playing a medley of her songs at the AMAs and have even blocked the use of any of her old music in an upcoming Netflix documentary. This makes any recorded events until November 2020 “a question mark.” She wrote “The message being sent to me is very clear. Basically, be a good little girl and shut up. Or you’ll be punished. This is wrong. Neither of these men had a hand in the writing of those songs.”
The battle over Swift’s music has been regularly erupting into the public sphere since the singerleft music Big Machine Label Group. Borchetta subsequently sold BMLG along with Swift’s masters, to Braun, who manages Justin Bieber and Kanye West. According to Forbes, Swift claims Braun is blocking her from buying back her catalogue and has allegedly even directed his clients such as Kanye West, to bully her on several occasions.
In a new petition, fans and fellow artists are rallying behind Swift and demanding the music executives allow her to perform her music. The petition has already garnered over 50,000 signatures.
Lil Peep‘s second posthumous album Everything is Everything has arrived. Listen to it below. Dubbed as a lovingly-curated collection of songs from Lil Peep’s career,” the 19-track album includes unreleased music alongside previously shared tracks such as “cobain,” “walk away as the door slams,” and “witchblades.”
Three of the album’s tracks also appeared on the Goth Angel Sinner EP which released earlier this month.
The album drop coincides with the theatrical release of the documentary by the same name. The highly anticipated film, Everybody’s Everything, is an intimate portrait of the late rapper, as told by his friends and family. Read what critics are saying about it here.
Both the album and the documentary arrive a year after his first posthumous album, Come Over When You’re Sober, Pt. 2, and two years on from his accidental death by drug overdose. The title was taken from an Instagram post Lil Peep published the day before his death. In it, he spoke about wanting to be “everybody’s everything.”
Perched in the Santa Monica mountains of Los Angeles is The Getty Center, a palatial open-air expanse made up of curvilinear architecture, idyllic gardens, and 16,000 tons of stone, housing multiple centuries’ worth of priceless art. It has some of the most scenic panoramic views of LA you’re likely to see: one side overlooks the entire city past the 405 freeway, on another, you can see the Pacific ocean. It’s here that Solange is exhibiting her latest interdisciplinary art endeavor, “Bridge-s,” a series of performances, films, and artist talks she has programmed in partnership with Getty, Dropbox, and IAMSOUND.
Earlier this week, Solange previewed the centerpiece of “Bridge-s:” a live music and dance performance she directed and composed, featuring choreography by Gerard & Kelly. The performance takes place on an outdoor terrace in a clearly-defined square, each side about 50 feet; viewers stand on all sides. (The audience at the preview included Dev Hynes, Tyler, the Creator, Thundercat, Syd, and Solange’s son, Julez.) A troupe of musicians take the floor one at a time, stationing sparsely within the square with drums, piano, keyboards, upright bass. Vocalists and horn players mill in, out, and around. Solange’s vocal flourishes can be heard in the minimalistic jazz arrangements she has composed. Dancers enter, one or two at a time until there is ultimately about a dozen, each dressed monochromatically in a shade of beige, brown, or bright marigold— same as the instrumentalists. As the late afternoon sun began to sink and saturate the terrace, everyone looked golden.
The choreography is consistent with contemporary dance, which fuses elements of ballet, jazz, and lyrical styles; in the performance, the dancers orbit around the square and around each other, repeating sequences, spoken elements, and percussive body sounds like slaps and steps. At times they interlock and lift each other to create shapes and play with scale. They move in elliptical, measured intervals, like a clock. It speaks to the “transitions through time” that the series itself thematically centers. In Solange’s words, “’Bridge-s’ is a reflection on how much transition can be controlled and accelerated by our own ideas, thoughts, and movements vs. the natural process of time and space.” The performance begets an understanding of time as something that is indeed cyclical, but also relative and malleable.
Characteristically, Solange engages the space in its entirety. Intermittently throughout the performance, dancers and instrumentalists appear on distant balconies and in peripheral corners of the grounds, expanding the scope of the performance well beyond the square. A drummer makes his way behind a kit situated on a grassy clearing several yards away; meanwhile, a single dancer on an upper terrace moves in sync with the group in the central square. A horn section bleats from a staircase on the far side of a sunken garden, suspended above the treeline. A percussionist lays a beat with mallets used against the thick stone columns. The performance is inseparable from the environment; a reminder that a work of art’s physical context integrally informs our relationship to the piece.
At the end of the 45-minute preview performance, a beaming Solange entered the square to take a bow alongside her performers and collaborators. She thanked them, as well as Getty, for the opportunity “to experiment and evolve,” and said she felt eager to further her practices as both a director and composer. This comes as no surprise to anyone who has paid attention to the work she has produced over the past three years. Solange has been honing herself as an artist of multiple disciplines, in tandem with her career as a recording artist, and carving a space for herself fine art institutions; from the iconic 2017 presentation of her performance piece “Scales” at the Guggenheim, to the video/dance/sculpture work “Metatronia (Metatron’s Cube)” featured at the Hammer Museum in 2018, to the presentation of her When I Get Home film in New York, Los Angeles, and London museums earlier this year.
“Bridge-s” is Solange’s first offering in which she does not herself take the stage. This next chapter of her artistry sees Solange taking what she’s learned from her extracurricular interests and from aestheticizing her own work— through stage design, choreography, art direction, music composition —and implementing those skills in new contexts that go beyond propping up her recording career. It’s an exciting development that should inspire any artist with similarly sprawling inclinations; anyone whose creativity unfurls in multiple directions that are subject to intertwine but that also subsist as individual, lively avenues of their own.
Riding the Getty tram from the gallery space back down to the parking level after the event, I gazed out the window. The full moon stared back, round and yellow as an egg yolk, looming low above the mountains. In unison, everyone on the train turned to marvel at it. The woman next to me instinctively pulled out her iPhone to snap a photo before quickly remembering out loud, to no one in particular, that you can never really get a good picture of the moon— not one that does it any justice. No one responded, but everyone apparently agreed, because the rest of us didn’t dare try either. We just took it in. It was understood that some experiences, like the moon and like the performance we just watched, are a matter of time and place.
“Bridge-s” will be free entry and open to the public on November 16-17.
We’re under the magnificent glass dome of Milan’s Galleria Vittorio Emanuele II, Italy’s oldest shopping center and one of the world’s most opulent, where models stand in vintage puffer jackets, looking straight through the gathered crowds with the kind of thousand-yard stare that burns deep into the soul. After a while, some of the women begin distorting their limbs into improbable postures, before others take a seat on the cold mosaic tiles. A few are overwhelmed by the ineffably haunting atmosphere and tears begin to roll down their cheeks. Watching a ballerina cry is as sad as it sounds.
But this isn’t some odd atrocity exhibition, rather, it’s an installation from the legendary Vanessa Beecroft in celebration of Moncler’s House of Genius pop-up store. Beecroft’s tableaux vivants are deceptively challenging, an exploration of existentialism that invites those involved to interpret how the audience is interpreting them. Each performance references the political, historical, or social associations of the place where it’s held, the models and clothing also chosen specifically. Often, Beecroft disregards the latter in favor of bare human flesh. It’s what makes this coming together with the Moncler puffer jacket — an icon of heavyweight outerwear — so curious.
“When I was growing up, there was a big boom of Moncler jackets worn by a particular group of teenagers,” she tells me, reminiscing. “They were from Milan and they were called the Paniari. They would wear them with Timberland shoes and Levi’s. They looked amazing.”
The Italian-born Beecroft studied art in Milan but has long since lived in Los Angeles. It was the Hollywood Hills’ eclectic colorscapes that inspired her work for Moncler, including the homeless tents that have, regrettably, become a familiar sight throughout the city in recent years. “It’s all in your face there, all of these realities next to [one another],” she says, referencing LA’s schizophrenic urban fabric.
Despite her long involvement in the fashion world, it’s Beecroft’s work with Kanye West that has seen her star go supernova. Somewhat antithetical to the ethos of a creative autocrat like West, the Moncler Genius project is all about collaboration, operating under the motto of “One House, Different Voices.” Beecroft tells me that she had only two weeks to realize the performance, which proved challenging because she had also just undertaken a job for West — whom she has resumed working with again — that will be revealed in the coming fortnight. Like West (and Moncler Genius), you sense she harbors an inherent desire to push fashion forward, to challenge its orthodox practices. Like the runway, for example.
“I was never a great fan of the traditional fashion runway,” she confirms, which will come as no surprise to anyone who has ever watched a YEEZY show. “I didn’t like the destitution of cheap music, the walk that is so fast, the show. It was too similar, too quick and consumeristic – but the big fashion shows are even worse.
“In the art world, the importance of the actual gallery or museum is fading, since people can just look at the work online and they kind of dismiss going to a place and viewing it. That’s a shame, because there is an importance to the actual theatricality and the spectacle. For example, early Saint Laurent fashion shows, where the ladies come in – it’s more intimate. I feel like there should be a balance.”
The internet, too, has also had a profound effect on the relationship between performance art and fashion. When Beecroft was working with Helmut Lang and Prada in the early ’00s, there was no such thing as Instagram. Nowadays, people can gorge on content indefinitely. It’s something she laments.
“In the ’90s, you were starved; I was starving, craving that visual. Now I feel less so because I keep seeing imitations or other things happening online. At the time, I remember you had analog materials, magazines, books, and when you saw something live, or even in photographs, it was really fulfilling. Today I feel less so, but [the current state will probably lead to] something positive. I’m waiting for that to happen.”
“What do you think it will be?” I ask.
Beecroft pauses, before opening the question up.
“I’m wondering if it will be a progressiveness,” she answers, getting philosophical. “For example, if I show a naked woman and nobody understands and I have to go to another museum and show another naked woman, [still] nobody understands. By the time you do it online, within a month, maybe they will get it and we’ll move to the next chapter. So maybe social issues could be dealt with faster. Because capitalism is so insidious and evil, it might just trigger you back into another pocket where you can’t get out. So you have to buy a new iPhone and you have to have something. So my wish would be that issues would be understood on a larger scale faster, and we could move on, but I’m not sure.”
Back at the Galleria that night, people clamor to film and take photos of Beecroft’s tableaux. The place is heaving, so much so that there’s a line to enter the Francesco Ragazzi-designed House of Genius. As a 17-year-old student who worked as an au pair, Beecroft used to walk through the venue when it was cold and empty. Tonight, she’s the toast of the hottest party in Milan.
Paris-meets-Tokyo imprint Kitsuné has opened its first Café Kitsuné location in the United States, in New York’s West Village neighborhood. A modern reinterpretation of the Parisian café and wine bar, Café Kitsuné New York is open all day, every day.
Evoking a Japanese sensibility, the café is designed by Masaya Kuroki in collaboration TBD Architecture Studio, using natural materials. A dual-level white-oak bar counter serves as one of the standout design elements within the space, in addition to the velvet banquettes, large mirrors, and seating by France’s Maison Drucker.
The menu is conceived by Chef Yuji Tani, offering specialty coffee drinks, sweet and savory treats, internationally-influenced small plates, and natural wines. Customers can also take advantage of French cuisine must-haves with a unique Japanese twist. The coffee beans at Café Kitsuné New York are roasted in France, while the wine list is curated by seasoned wine expert, Billy Smith.
Co-founders Gildas Loaëc and Masaya Kuroki also tapped various New York City friends to contribute to the business, including pâtissier Ayako Kurokawa of Burrow for Café Kitsuné fox-shaped cookies, gourmet pâtisseries, and teacakes; Nicholas Morgenstern of his namesake parlor for seasonal ice creams; and Josh Russ Tupper and Niki Russ Felderman for their family’s signature smoked salmon.
Café Kitsuné New York 550 Hudson St.
New York, NY 10014
Key Features: The Northwave Espresso is offered in suede and leather variations, featuring an eco-fur lining. Embroidered branding has been applied to the tongue and heel. The standout element of the sneaker is its chunky rubber sole.
Editor’s Notes:Slam Jam is ushering in the relaunch of the Northwave Espresso, one of the more iconic sneakers of the ’90s. The Espresso debuted back in 1991, as it combined the sole of a snowboard boot and the upper of a sneaker.
The Espresso comes from Northwave, originally known as Calzaturifico Piva. The brand was founded in 1972 in the famous shoe district of Montebelluna. A Japanese board brand also focusing on sailing, windsurfing, and paragliding, Northwave was the number one snowboard boot provider in the ’80s.
After some time of dormancy, the Espresso relaunched in Japan in 2014. Now, the iconic ’90s sneaker is back thanks to Slam Jam, showcasing a slight revamp, and optioned in suede and leather variations. The shoe is also outfitted with an eco-fur lining, allowing you to comfortably wear it throughout the winter months.
Optioned in multiple colorways, you can pick up the resurgent Northwave Espresso now through Slam Jam.
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