Key Pieces: The bibs are a more breathable alternative to T-shirts with a sporty, practical fabrication that could be layered with virtually anything.
Release Date: Available end of January.
Editor’s Notes: Emerging designer Arnar Mar Jonsson is strongly inspired by the cultural and climatic transition between different locations, in this case, his native Iceland and current base in London, “I’ve realised many things are not as mundane as I thought whilst living in Iceland, and have become more intriguing now, we take the fundamental elements of dressing for that harsh environment and appropriate it to urban living”, he tells us.
This lookbook, as well as showcasing Iceland’s unique geology, highlights the collection’s employment of functional materials, in particular the Italian cotton-blend waterproof fabric with optic fibres which mould to the structure of the body to retain its ethereal, ghostly form.
The Supreme FW18 lookbook has arrived and judging by the positive initial reactions, copping this season’s pieces could be more difficult than usual. To gauge levels of interest, SupremeCommunity has opened up a public vote, asking users to judge each new item with a thumbs up or thumbs down.
One of the most notable items in the new collection is the returning box logo crewneck, which users have approved to the tune of 5,598 upvotes at the time of writing. Another evergreen piece that’s likely to prove popular is the trademark logo hoodie, which has 1,446 upvotes so far. The GORE-TEX 700-fill down parka, below, is also sure to be a hit, with 1,568 upvotes.
Judging by SupremeCommunity voting, accessories might also prove a difficult cop in FW18. The Supreme x Steiff teddy bear is the most popular item, with 3,478 upvotes, while the iPhone 8 and 8 Plus battery cases (3,139 upvotes) and Santa Cruz Chameleon bike (2,024 upvotes) aren’t far behind.
Those looking to cop the brand’s pants, headgear, or outerwear pieces, however, aren’t likely to face such stiff competition if the number of downvotes is anything to go by. Users don’t appear too hot on the printed washed regular jeans (546 downvotes to 74 upvotes). In fact, all of Supreme’s FW18 jeans have fared badly in voting. Elsewhere, the work pants (465 downvotes to 169 upvotes), plaid beanie (301 downvotes to 71 upvotes), and quilted studded leather jacket (a whopping 1,385 downvotes to 135 upvotes) fare badly.
Hayden Dore is a student from Birmingham in the UK who has taken his passion for hyped brands and is applying it to iconography from the worlds of pop culture and advertising. Much like @Cole, another artist we interviewed about his mashups, Dore’s art focuses primarily on streetwear. Using Photoshop, Dore takes icons of our world and inserts them into classic images and onto classic products.
In addition to his original work, which he posts on Instagram under the name PAST SEASON, Dore has started a website to air his views and showcase his work, but he hopes it can become a community-driven forum where streetwear fans can contribute their opinions.
We caught up with the young up-and-coming artist to talk about PAST SEASON, streetwear, and the influences behind his mashups of Supreme, OFF-WHITE x Nike, and more.
My Instagram originally started as a feed for vintage pieces and older streetwear products I wanted to share. Eventually, it turned into more original content. One such project, the Supreme Nike sneaker concepts, was actually featured on Highsnobiety and gained quite a bit of traction.
PAST SEASON is a place I can upload streetwear-related designs. The website is for blog posts and opinion pieces on what I think about the streetwear community. Eventually, I would love it to be more of a community-focused forum where everyone can get involved. At the moment, it’s a place where I can get out my creativity through streetwear.
I’m looking to start selling affordable posters of my designs because I think streetwear is a bit too expensive and too limited. I think it’s important that people who like streetwear culture, they don’t have to spend £300 on a pair of sneakers. They can buy a poster for their room that costs a fraction of that and still show that they like streetwear.
I’d definitely have to say Nike and adidas, simply because they’ve got a really great balance between athletic style and streetwear style. What Virgil Abloh did with his “The Ten” collection earlier last year was amazing, and I’m really looking forward to what Jerry Lorenzo does with his Nike collaboration. I also really like PLEASURES. Alex James is the founder and it has a grunge aesthetic. I think it’s a little bit different to what’s happening in streetwear right now.
I think Virgil achieved exactly what he sought. The collection, from a design standpoint, is amazing. I love the deconstructed feel of it. As far as Nike and Abloh creating more colorways and basically just rehashing the same sneakers, I think it’s good and bad because I actually wanted to get my hands on the collection and I couldn’t. I do think there’s a problem in streetwear at the moment where things are too expensive and too limited.
PLEASURES don’t sell out of products even though their stuff is very desirable and looks great. I think the same applies to Nike and adidas. You can go into a store and get whatever you want and I think streetwear needs a little bit more of that. There needs to be a separation between what’s limited and what’s not.
I actually think it’s needed. I got into Supreme because I saw Tyler, the Creator wearing that blue hoodie in the “She” music video. The younger generation, my generation, sees how celebrities dress and it influences people. I think it’s a good thing, but I think where it becomes a bad thing is when people aren’t expressing their own style. They’re looking at celebrities and dressing exactly like them. I think people should focus on their own style a little bit more.
I think Instagram has made the world 1,000 times smaller. A simple DM can go so far if you’re posting consistently and your content’s good. A lot of accounts that curate streetwear-related things have contacted me and they’ve even re-posted my designs, gaining my Instagram a lot more attention. Virgil even liked one of my posts and Sean Wotherspoon re-posted my Damien Hirst butterfly design on his story a couple of weeks ago. I never thought things like that would happen when I first started the Instagram.
I believe with practice you can create your own style. A lot of the time, my designs will mesh a brand or sneaker with an existing, real-life object. An example would be when I put the Supreme logo on the side of a red double-decker bus in London. People thought it was real and I’m very flattered by that. I think that’s how I’ve evolved. I’ve taken elements of streetwear and sneakers and blended them with my interests and real-life scenarios.
Yeah, definitely. A lot of my friends give me some really good ideas. I think it’s good to surround yourself with people that are like-minded. Also artists like Damien Hirst and Jeff Koons — I look at their work and I think, “Okay, how can I put a streetwear spin on that?” Even a lot of Instagram designers that are cool right now. There’s this one guy called FILFURY, he’s actually based in Birmingham where I’m from, and he’s doing a lot of cool things in the streetwear scene.
I’m not educated in design at all. I go to university for business. I started designing when I was about 11 or 12. I was fortunate enough to have my own computer and ended up designing on Photoshop. I learned how to use it from YouTube tutorials. I think the internet is a great place for people can learn — they should really take advantage of that.
Definitely the “Inside the Mind of” series. I did three photos where I took a portrait of Kanye, Pharrell Williams, and also Virgil. I did an abstract interpretation of what goes on in their head when they’re designing sneakers — it’s three of their most popular sneakers inside their head.
Apart from that, the Damien Hirst one was really cool as well. I think the mix between the fact that sneakers are too expensive and too limited and that Damien Hirst is the richest living artist right now is ironic. It comments on how streetwear has become materialistic.
Yeah, sometimes. It’s not a writer’s block, I’d say it’s like a design block. If I do have a hard time with anything, I’ll literally go outside and see what inspires me. A lot of my work combines real life with streetwear. Literally, I was walking outside, saw a traffic light and thought, “I can do something with that.”
I think meme culture is great within any community. It’s like having an inside joke only you and your friends know that’s related to a topic you’re all interested in. It’s a breath of fresh air amongst all of the hype and materialism in streetwear right now. One of my favorite meme-based streetwear accounts is @itsmaysmemes. Everyone in the community seems to be in on the joke, which is a great thing to see. Oh, and I can’t forget Bella Hadid’s “Homeboy’s gonna like… get it” line. I think that made everyone want to go out and buy a pair of fresh sneakers. As long as people aren’t taking it too seriously, then I do think it’s a good thing.
Key Pieces: Amid an extensive selection of elevated basics such as tees, sweats, and hoodies, the highlights of the collection are the outerwear styles. Fusing clean lines with a functional slant, the range of lightweight rain jackets are ideal for transitioning into fall, while the classic woolen coats can be thrown over any ‘fit when you’re feeling a dapper.
Release Date: Drop one: July, drop two: August, drop three: September
Editor’s Notes: The minimal yet utilitarian aesthetic typical of Scandinavian design has pervaded the fashion industry for at least a decade now and, although counter trends such as chunky and OTT sneakers have arisen, it continues to hold its weight as one of the most effortlessly cool ways of dressing.
Hailing from Denmark, minimum’s Fall/Winter 2018 collection captures this aesthetic to the fullest. Titled “Portraits | Landscape”, this season’s collection is inspired by these photographic orientations. The “portrait” influence manifests itself through a focus on collar details that create interest in a portrait-style photo. The “landscape” play comes to life through colors and materials which, as the name suggests, are inspired by the shades of the Danish landscape.
The FW 2018 collection is hitting the market in three drops, all of which have their own theme. The first drop combines teddy textures with lightweight and technical synthetics and adds interest with hits of lilac. For women, feminine cuts and flowing sheer fabrics are given an edge with a retro color palette.
Drop two amps up for the fall, placing the importance on layering, wooly melanges, functional details such as heavy pockets, and military green tones. The utilitarian theme carries over to the women’s offering, with workwear-inspired fabrics and masculine cuts contrasted with feminine prints.
The final drop of the season is designed for braving the colder Nordic conditions featuring lightweight and water-resistant pieces alongside more classic styles such as woolen coats. Stripes and checks, shades of indigo, and accents of corduroy bring interest to the men’s line. The ladies are treated to a modern collection of garments designed to draw attention in a portrait photo—think lace collars and neckties.
Check out the campaign video above, and hit the button below to check out all the ‘fits and cop the collection as it drops.
Key Features: The sneaker features a comfortable black and white knitted upper, with hits of yellow and indigo PUMA branding on the heel. The knitted ankle collar provides added support and YesJulz’s signature can be found on the lateral side of the shoe. A black Ignite athletic sole completes the look.
Release Date: TBC
Buy: PUMA and select retailers TBC
Editor’s Notes: Julieanna Goddard, aka YesJulz, is the to join PUMA’s growing roster of influencers. The social media maven, who runs an all-female creative agency whose clients include PUMA and Vevo, now has her own collaborative sneaker, which drops as part of her debut capsule collection with the German sportswear giant.
Dubbed the Tsugi Shinsei “YesJulz,” the sneaker is an athletic, performance-focused shoe. “Tsugi” means “next” in Japanese, which is the overarching theme of YesJulz’s collection: to be ready for whatever comes next.
In addition to the kicks, the collection includes a pair of tights, a top, and a hoodie, all of which come in the same yellow, indigo, black, and white colorways.
Check out the sneakers above and leave your thoughts in the comments below.
The views and opinions expressed in this piece are those solely of the author, and do not necessarily reflect the position of Highsnobiety as a whole.
Hollywood is having a tough time at the moment, what with a new scandal unearthed seemingly every week. Netflix hasn’t been immune to the drama, when last month the first trailer to its original series Insatiable dropped. Soon enough, the internet was in uproar, sparking widespread criticism and a change.org petition to stop the release of the show, which had gained over 230,000 signatures upon the show’s release on August 10.
But what exactly is all the fuss about? First up is the show’s premise: lead character “fatty Patty” is bullied at high school because of her weight, until one summer she’s punched in the face requiring her jaw to be wired shut, only to arrive back in the fall as a skinny and confident hot girl. She then decides to exact revenge on all of those who wronged her.
There’s a number of reasons the show has rubbed people the wrong way but mostly it’s the accusation that Insatiable is fat phobic. Debby Ryan, who plays Patty, is a thin and attractive young actress who dons a fat suit for the scenes in which Patty is overweight. That’s not unexpected in Hollywood but it certainly doesn’t help the show’s cause.
Until the show’s release some days ago, the public had only the controversial trailer to base their criticisms on. In response to the backlash, Lauren Gussis, Insatiable’s creator, released a statement outlining that the premise was based on her own experience in high school and that the show wasn’t out to fat shame, but rather point out how dangerous fat shaming can be. There was much discussion—with most of it out to stop the show from even getting a release—but ultimately Netflix stood behind Insatiable, hoping that audiences would give it a chance.
Unfortunately for the streaming platform, the show doesn’t hold up. With a 15% rating on Rotten Tomatoes, criticism has included AV Club’s apt comment that “Insatiable purports to be satire, playing every bit of offensive dialogue and questionable storyline for laughs, yet none of it is funny.” While Rotten Tomatoes summed up the critical consensus stating, “Broad stereotypes, clumsy social commentary, and a failed attempt at ‘wokeness’ make Insatiable hard to swallow.”
It’s quite cringe-inducing to think that the showrunners and actors were so adamant that the public give the show a chance after the initial trailer controversy — insinuating that perhaps everybody was living up to a PC-gone-mad culture while the show offered real value in highlighting what’s bad about the world through witty humor. The truth was and still is: the last laugh is on us. Netflix after all was able to air the show and no doubt rack up countless views as everybody tuned in to see what all the controversy was about.
What’s most harmful are the various myths the show holds up — many of which seem so outdated — that it’s surprising they’re still a common occurrence in Hollywood, let alone from a new, young show that’s billing itself as “woke.”
Netflix has really plunged into the teen movie and TV show sphere in the last year. While some have been successes, there have been just as many fails. It’s certainly true that drama tends to carry with it a more serious meaning and it’s through the platform’s darker offerings that it’s found its greatest successes. For example, 13 Reasons Why. While the show (and particularly its second season) suffered some criticism regarding its portrayal of topics including suicide and rape, overall it lent a genuine voice to the discussion surrounding teen bullying and suicide, while garnering praise for bringing the conversation to the table in such a widespread way.
In comparison, Insatiable comes across as farcical — which considering the subject matter — does not work to its advantage. In real life, fat shaming often manifests as attempted humor where the victim is ridiculed for being overweight. By portraying this story as a quirky comedy instead of a drama, the show’s creators have in turn made light of being fat and the trials that come with it. Being overweight is certainly not the same thing as suicide (which is not to say that the former and the bullying associated with it hasn’t led some to the latter), but when the media constantly belittles the struggles of being overweight as mostly just comedic fare, it lessens the experience of people who live with it.
If Netflix had given Insatiable a darker slant, it might have offered something new to the range of stories dealing with fat shaming and body acceptance in Hollywood, but by keeping things light and comical—though incidentally highly offensive and not funny— it’s failed to provide sincere support within an industry that’s notoriously body negative.
It takes some pretty weak character development to come up with the stale notion that fat people must be miserable, but to hinge an entire show’s premise on it? That’s not only lazy scriptwriting but it reinforces negative stereotypes that quite frankly should not even be up for discussion in 2018. The body positivity movement has been slowly gaining momentum in the last few decades, and while there’s still a long way to go — particularly in Hollywood — it’s had a profound impact on changing perspectives, allowing for greater inclusivity of all body types.
As Patty’s voiceover flatly narrates how “high school was a nightmare” while she was fat, we’re shown her depressing experience in scenes: eating ice cream on the couch, struggling to run in gym class, a cartoon pig with her face on it stuck to her locker, and the crude, if not elementary, words her peers describe her with: “Fatty Patty’s huge” and “It smells like bacon.” It’s frustrating because it’s as if the writers haven’t even tried to develop overweight Patty’s character beyond fat high school girl cliché, even though she’s Insatiable’s key protagonist.
This one-dimensionality extends to the entire series, in which Patty’s character does not develop until she loses weight, with only a quarter of the first episode dedicated to introducing her backstory and even that is done through an uninspired voiceover. As the season progresses, Patty is not only revealed to be a terrible friend (spoiler alert: she quite literally loses the trust of everybody close to her while constantly bringing attention back to herself as a victim) but over the course of Insatiable it’s clear that she is not even a good person, leveraging morals and the law in order to make herself feel better even when she’s the reason behind her own misery.
To equip the lead character with no remarkable interests or personality traits in their overweight state is degrading, damaging and simply untrue of real life. In contrast, AMC’s Dietland has created a complex heroine in Plum Kettle — who while struggling with her weight — is not solely defined by it, and afforded a much more complex arc.
Oh if only this were true, both in high school and beyond. Hollywood has had us believing since the dawn of time that if you lose weight, ditch the glasses, dye your hair blond etc., that your life would turn around and suddenly your crush would ask you on a date. Of course there’s a suspension of belief with movie magic, but the fairytale makeover is another Hollywood trope that’s old hat.
In combination with the previous myth that all fat people are miserable, this offers a double blow – change your physical appearance and not only will you no longer be miserable — but you’ll have a completely new life! This is a continued theme within the show, as Patty muses on how she can recreate herself now that she’s no longer fat. This idea is reinforced by Bob Armstrong, her beauty pageant coach, whose aim is to make her a beauty queen and winner, all the while reinforcing harmful notions such as being “skinny is magic.”
Patty’s newfound confidence is clearly integral to the plot, but besides the lack of realism in such an extreme personality change, the message that Insatiable is sending is part of a long history in Hollywood of shunning one’s previous fat persona. One of the most notable incidents of this is Monica from Friends, where the character went from dull and desperate to confident and having it all. A similar tactic was used in Insatiable wherein a thin and conventionally attractive actress donned a fat suit for the part, suggesting that such change in size was voluntary and merely needed taking off of excess baggage.
The fact is that getting a haircut, changing your clothes, or losing weight won’t change who you are fundamentally as a person. These things can help you to feel better about yourself (although it’s important to understand it won’t be the cause of deep character changes) but it’s a long way to go from sad and depressed on the couch to popular girl getting all the guys and wreaking vengeance like there’s no tomorrow.
Wacky plot points aside, the crux of Insatiable is certainly not unrealistic – overweight girl loses weight, people take notice, the potential for change arises. It’s certainly common for teenage girls to obsess over their size, to try diets and exercise, or at the extreme end of things wind up with a dangerous eating disorder like Bulimia or Anorexia Nervosa.
What Insatiable conveniently glosses over with its wishy washy plot line that details how Patty loses weight (whoever agreed to the punched-in-face-then-jaw-wired-shut scenario needs to be sacked) is the much darker side of being a teenage girl and how one might lose their unwanted extra weight. It’s not through freak accidents and hospital stays but often from extremely harmful patterns that can spiral out of control and ruin lives. The fact is diseases like Bulimia and Anorexia often lead to unhealthy and destructive habits for years to come, while eating disorders have the highest mortality rate of any mental illness.
From how Patty’s relationship to food and eating is portrayed, it appears she has a Binge Eating Disorder, which is a more recently diagnosed eating disorder. Characterized by excessive eating binges without the purging that’s associated with Bulimia, BED is a problem in its own right. And while the show more than willingly details Patty’s struggle in moments where she’s attempting to binge at low points, it doesn’t open a genuine discussion of how she does eat the rest of the time. It’s as if her entire fat-turned-thin narrative is secondary to the revenge plot and over-the-top drama that ensues, making it even more of a throwaway aspect.
By wholly ignoring the realistic and harmful behaviors that many young people undergo in order to lose weight and substituting that with a quirky backstory in order to fast forward to the fun part where “Patty’s hot” and payback is sweet, is beyond ignorant and should not be taken lightly.
One of the most upsetting aspects of the show is the lack of forethought regarding the topic of high school revenge. By now high school shootings have moved past the point of commonality and are tragically simply expected in America. The Guardianreported in May after the Santa Fe High School shooting that “elementary and high school students have grown up practicing ‘active shooter drills’ along with fire drills, preparing for how they should respond if a gunman attacks.” While The Washington Post’s ongoing analysis into the true figures of high school shootings “has found that more than 150,000 students attending at least 170 primary or secondary schools have experienced a shooting on campus since the Columbine High School massacre in 1999.”
So we must ask ourselves, should we be creating light entertainment focused on high school revenge violence? Is this responsible in 2018? The free-speech advocates will no doubt point to previous teen revenge comedies like the cult classic Heathers, in which two students routinely kill off their peers as payback. But that was 1988 and the world was a very different place. And while a Heathers reboot was planned for this year—all of which was filmed and completed— in the wake of the Stoneman Douglas High School shooting the release was put on hold temporarily, only to be dropped entirely by Viacom out of concern regarding its inappropriate nature. It was undoubtedly in poor taste for the Heathers reboot to come so far in the production process, however it was a move in the right direction that such a huge company such as Viacom would pull a series in its entirety so late into production.
Where Insatiable drops the ball is in its laissez-faire approach to violence. A body count of three people might not be a big deal in an action blockbuster movie, but in a show that exists as a fairly realistic take on high school only Hollywood style, is concerning. And all enacted by the former bullied-turned-bully protagonist Patty. The message that’s being conveyed is that payback is sweet and it’s only fair game to off someone that did you wrong.
No matter how you repackage it, we’re living in a day and age where high school revenge porn is no longer a fictitious joke we can vicariously live out through movies. These scenes haunt us in real life, with countless real people—teenagers and adults alike—hurt and killed while others are forever traumatized. It’s not only irresponsible to protest otherwise, it devalues any potential for progress in what is a crisis in modern America.
After the trailer scandal, but before Insatiable aired, Netflix’s original series vice-president Cindy Holland backed up Insatiable by stating: “Lauren Gussis, who is the creator, felt very strongly about exploring these issues based on her own experiences, but in a satirical, over-the-top way. Ultimately, the message of the show is that what is most important is that you feel comfortable in your own self. Fat-shaming itself, that criticism, is embedded in the DNA of the show.”
Vulture’s Jen Chaney put it quite succinctly in her review of Insatiable when she said: “It turns out the show is not as bad as you imagined. It’s actually worse. Like, worse in ways that you can’t even anticipate. Insatiable is an equal-opportunity train wreck. It doesn’t merely traffic in stereotypes about fat people; it does the same thing with regard to the LGBTQ community, Southerners, women, Christians, conservatives, African-Americans, and probably some other groups I’ve neglected to mention. It makes jokes about pedophilia and statutory rape that made my skin crawl.”
Whoever thought this brand of so-called humor was necessary and a modern way to take on universal problems, teen and adult alike, is beyond me. What is for certain is that Insatiable doesn’t succeed at anything it set out to do, except for perhaps bringing discussion to these topics but undoubtedly for all the wrong reasons.
What is one of the most recognizable logos in fashion just became the biggest tabloid in New York City. Hot off the press, Supreme shocked commuters this morning as they walked passed their local bodega to find the newsstand covered in a blanket of red box logos. After rumors circulated over the weekend, an unexpected collaboration between Supreme and the New York Post has officially come true. On Monday, the news publication dropped its latest paper with a Supreme front page advertisement.
The collaboration itself is impressive, but the cover’s minimal design is a cultural moment all on its own. The special promotion cover features the paper’s signature letterhead, but forgoes the extra large and bold eye-catching headlines and photos of the most trending news, and is sidelined a for a solo red Supreme box logo on white background. That’s it.
The streetwear brand released a video early Monday morning video unveiling the partnership, which ultimately led to fans searching around the city at the crack of dawn to buy a newspaper. In 2018, that’s unheard of. Yesterday’s unveil was a spectacle to be hold, and already one of our favorite collabs of the year for its sheer brilliance. Here’s why.
According to Yahoo! Finance, the New York Post is the fourth largest newspaper in America with a circulation of 424,721. While it’s unclear how many of those subscribers are print vs digital, anyone that’s been to New York knows how ubiquitous the fabled tabloid is.
Available in practically every newsstand and bodega in the city, Supreme couldn’t have chosen a better New York-based legacy media to work with. The New York Times might seem like a more obvious and prestigious fit, but it’s unclear if the publication would ever go for a collaboration of that caliber and the NYT wouldn’t necessarily fit the brand’s values in the first place, which we’ll get to in a minute.
Supreme for its part complemented the collaboration with a digital rollout of the full FW18 lookbook and collection preview, sending Reddit, Twitter, and blog comment sections into a frenzy of hype. Together, the one-two punch of the daily print circulation (plus the earned media that comes from rabid fans sharing the issue on social media) and the digital offerings from Supreme direct make for the kind of media attention most brands can only dream of.
Supreme didn’t just win the newsstand or the blogosphere this week, they won both. They simultaneously broke New York City digitally and physically, and that couldn’t have happened without the New York Post.
In a nutshell, Supreme is the king of the resell market, and the aftermath of the paper rollout proves it. By noon, most news stands in the city were sold out of the issue. By 12:30, the promo item were already reselling online. What started with an initial cost of $1.50, resellers were asking up to 10 times more. On eBay, the most popular copies were sold for less than $10, however, others were selling for much larger amounts including $20, $50, and even $85.
All of this just proves what Highsnobiety staff writer Jonathan Sawyer was quoted as saying in the New York Times, that all the brand needs to do is “Slap a Supreme logo on it, and it will fly off the shelves, literally no matter what it is.” It’s the ultimate flex and something Supreme doesn’t need to be vocal about for it to be obvious.
Perhaps the most subtle implication of this collaboration is that it shines a light on how Supreme thinks of itself and how it takes those thoughts and presents them to the world. Every single day of the week commuting New Yorkers are confronted with the latest celebrity gossip, absurd crimes, and disgraced politicians smack dab on the front page of the latest New York Post. Simply put, it’s no accident that Supreme joins these ranks with this simple yet effective cover.
With controversial product releases and divisive campaigns practically part of its mission statement, Supreme has earned its place as an indelible part of New York culture, one worthy of praise, blame, ridicule and fandom just like any run-of-the-mill New York Post cover.
It also raises the age-old question that has plagued Supreme from the start, but especially since the brand’s $1 billion valuation just under a year ago: is the brand a high-concept fashion-meets-art-meets-skating project that its most loyal fans claim it is? Or is it simply a cynical albeit brilliant marketing play on Supreme’s part that speaks to James Jebbia’s prescient knowledge of the current and future media landscape?
To answer this question or at least approach something like an answer, it’s worth drawing comparisons with another headline-stealing figure who did something eerily similar this year: Kanye West.
The recently gifted Pornhub premium subscriber made headlines months ago after turning to none other than TMZ as his platform to “inadvertently” promote his upcoming album Ye and rant about Donald Trump, the MAGA hat, and slavery. Many automatically discounted the seriousness of West’s thoughts on these subjects because of the outlet’s reputation, while others considered the move brilliant for its blurring of celebrity culture and for its skirting of traditional mainstream media. The decision to go straight to TMZ to vent seemed to be the culmination of everything Kanye and perhaps even more so, his wife’s family, the Kardashians, pioneered over the course of the last decade.
This dominance of the media largely reflects what Kanye famously rapped on 2005’s “Bring Me Down”: “Everybody feel a way about K but at least y’all feel something.”
The same can now be said about Supreme and while there won’t ever be a consensus on what the brand is actually all about and stands for (unless Jebbia for whatever reason comes out with it), we at least now have an idea of how Supreme views itself and how it amplifies its myth through unexpected collaborations with the like of divisive tabloid media.
Last but not least, the collaboration gives everyone (in the Big Apple at least) the chance to finally own a Supreme product. In comparison to this week’s run, last year’s MetroCard activation almost seems like a playful experiment. While that collaborative product was only available at a few subway stations across the city, this week’s New York Post issue could be picked up at nearly every newsstand and bodega in the city – provided you were quick enough.
This time around though the collab was even more affordable and ubiquitous, ensuring that everyone that wanted to get their hands on one could get their hands on one and with a collaboration of this size, it begs the question: What New York staple will get the red box logo treatment next time? “I love NY” mugs? Food carts? Taxi cabs? Why stop at NY? What about sending Supreme to space or the deepest parts of the ocean?
Regardless of where the red box logo ends up, one thing is clearer than ever: just when it seems has Supreme has done all it can to get its name out and challenge wide-spread perceptions of it, it does what no one expects and keeps fans, new and old, guessing what’s to come.
At this point it’s impossible to deny Supreme’s influence on pop culture and if the brand keeps outdoing itself and blurring the lines between art, skating, fashion, mass market and media, there’s no telling where it will end up. Whether or not you managed to cop the collaborative issue, it’s impossible to deny the brilliance of the partnership both for its conceptual basis and for its real-life effectiveness. There’s no telling what other brands will do in 2018 but it’s hard to count on anyone, even Supreme itself, topping the brand’s entry into FW18.
Season after season, tie-dye ventures further from its hippy San Franciscan origins into fashion and streetwear circles, and with new styles for 2018, there’s little sign of the feel-good pattern running its course. Rocked by everyone from Tyler, The Creator to unlikely streetwear icon Jonah Hill, this might even be the trend’s biggest year since the ’70s.
Speaking to Brain Dead’s Kyle NG, who delved deeper into the origins of the trend on his Netflix series Social Fabric, we learned more about why tie-dye pieces remain popular to this day. “Tie-dye is a very relatable pattern because of its historical context,” says Kyle. “Just like camo, it’s something that’s been accepted through a culture. Camo is a pretty crazy pattern, but because of the military there’s a narrative around it, and tie-dye is the same because of the hippy movement.”
An admittedly bolder statement than the lower-key colors of traditional camo patterns, it’s this context that justifies the boldness of the trend. But how does the next generation of tie-dye differ from its original iterations in rainbow-obsessed San Fran? “Personally, I do a lot of different marble dyes now, and we’re seeing a much more artisanal side to tie-dye,” says Kyle. “For me, it’s kind of overtaken those “Zumiez” big box retailer styles and people are looking into new forms to rock.”
And with so many on-trend pieces to choose from these days, it’s no run-of-the-mill mirrored tee that takes pride of place in the Brain Dead founder’s wardrobe. “I’m a huge basketball fan and I always think of my vintage Lithuania jersey when it comes to tie-dye. It’s a crazy aesthetic for an Olympic team.”
Below, we’ve curated some of our very favorite tie-dye pieces currently available to buy from both the high street and the high-end. Whether you’re seeking inspiration for your own designs or want to cop a super on-trend piece from the likes of Levi’s, adidas, or A-COLD-WALL*, the selection of denim, tees, and even socks are setting the pace for how far tie-dye has come. Click through if you like what you see.
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A$AP Bari is suing the woman who accused him of sexual assault, TMZ reports. According to the report, the A$AP Mob co-founder is suing for defamation and civil extortion, claiming the accuser’s claims were to pressure him into settling out of court.
The case stems from a video that surfaced in July 2017 depicting an alleged assault. The woman in question, identified only as Jane Doe, later sued Bari (real name Jabari Shelton) for $1 million. In May this year, Bari was arrested in London, where the attack was alleged to occur, on two counts of sexual assault.
If you have been sexually harassed or assaulted, there are resources to help you. Donate to Rape Crisis here (UK) or RAINN here (US).
In other news, the Manhattan District Attorney’s office has recommended a prison sentence for controversial rapper 6ix9ine. Get the scoop on that here.
Key Features: A white translucent upper is complemented by yellow and orange detailing on the tags, a black Swoosh, and “AIR” text. The upper sits on the Air Max 97’s signature full-length Max Air unit, which has been done up in pink, purple, and gold with a gray outsole. OFF-WHITE branding can be found on the medial side of each sneaker.
While OFF-WHITE had already teased black and gray versions of its collaborative Air Max 97, this is the first we’re seeing of Abloh and Nike’s most daring colorway yet.
The sneaker is part of a collection that comprises three sneakers as well as tennis apparel. The other sneakers in the pack are the similarly colored Nike Blazer Mid and Williams’ “Queen” NikeCourt Flare 2 PE.
Select styles from the collection will launch exclusively in NYC, although Nike has not announced exactly when or how the drop will go down. A release in conjunction with the US Open, which starts on August 27, is a possibility.
As always, check back for updates.
In the meantime, check out the sneaker above and leave your thoughts in the comments.