It’s the weekend, baby!
And what a week it’s been. We’ve witnessed Men’s Fashion Week FW22’s best shoes, chatted with Dennis Rodman, tried to get MSCHF sued, and bid farewell to legendary designer Thierry Mugler
There were plenty of collections worth rounding up and we chatted with the creatives behind Midnight Studios, 032c, Aries, and Awake NY x Lacoste to get the inside scoop.
We also got the exclusive on big moments like Arc’teryx’s second System_A drop and the new Givenchy GIV1 sneakers.
On top of that, new offerings were served by Palace, MCM, Jil Sander, Acne Studios, Carne Bollente, Engineered Garments, GOLF WANG, Picante, Stone Island, and Fred Perry x Raf Simons.
There was also the debut KENZO collection from some guy named NIGO, which brought out Balenciaga superfan Ye — still getting into hijinks with new flame Julia Fox — and future Tiffany & Co. collaborator Pharrell, who flexed his own Red Wing boots.
While Ye dominated headlines by confirming DONDA 2, Kim Kardashian got even richer off SKIMS, Virgil Abloh’s Louis Vuitton Air Force 1s raked in thousands at auction, Supreme x Burberry rumors hit fever pitch, and Lamborghini took to outer space.
With all that content behind us, we’re facing the weekend looking like the new melting emoji
Just don’t ask us what we think of Minnie Mouse’s new pantsuit.
Milan and Paris were packed with high-profile moments, from Virgil Abloh’s final Louis Vuitton runway to NIGO’s KENZO debut, anchored by the usual solid showings from Highsnobiety favorites like AURALEE, LOEWE, and Hermès.
“Far from alpine performance, Arc’terx’s Veilance line’s latest product is a GORE-TEX tote bag, and judging from the reactions, fans aren’t all that pleased.”
“The himbo is kind, ripped, and stupid. He is not desired for his stupidity, though — he is irresistibly attractive because he is beautiful (obviously) and endearingly devoid of the traits inherent in toxically masculine archetypes like the tortured, misunderstood genius (Jesse Eisenberg’s Mark Zuckerberg) and the charming narcissist (Don Draper from Mad Men).”
This clash between brashly confident young Kanye (an unstoppable force) and the industry he exists in (an immovable object) makes up the best parts of JEEN-YUHS’ first chapter. Over the course of just over 90 minutes, it follows the burgeoning musician through about two-thirds of 2002, perhaps the most important year of Kanye’s life.
