If you’ve ever taken your pup for a massage, or ordered off the room service menu for them, read on…
Indeed, man’s – and women’s – best friend is getting a wardrobe update, thanks to those keen arbiters of style over at Moncler. In other words, your dog can now dress to the same nines as you yourself.
The fashion brand known for its unfailingly chic outerwear, has just teamed up with Poldo Dog Couture to make the coolest – but also warmest – collection of cold-weather swag for your pooch. And as a project entirely dedicated to our four-legged friends, Moncler Poldo Dog Couture strives to bring the runway to the road, so that Fido/Fluffy can stay warm and fashionable throughout the winter…and isn’t that what really matters?
The mini collection draws inspirations from the brand’s classic down jackets and reversible waistcoats…and even uses the same iconic nylon laqué material for your furry beloved. On those less frigid days, Moncler still has it covered, with the cutest hoodies to keep your stylish woofer at the perfect temperature, while on those high-visibility walks through Central/Echo/Hyde Park…or wherever you choose to exercise your canine companion.
But wait…as if those wooftastic threads weren’t enough, the collection also includes an exceedingly chic collar and matching leash in Moncler’s quintessential tricolor French flag design. (Allons, chiens de la Patrie!)
With winter’s first snowfall behind us and temperatures at peak unpredictability, we all have to consider stylish ways to pack on those layers, tail-waggers included. This is a great start.
MONCLER POLDO DOG COUTURE is available now in Moncler boutiques and at moncler.com.
Leon Bridges has a way of making it all feel so easy – as the soft-spoken Texas singer has managed to go from unknown dishwasher to twice Grammy-nominated fashion plate in less than a few years.
Fresh from LA to launch the limited-edition AHLEM sunglasses inspired by his sophomore album, Good Thing, he quietly glides between interviews, photo shoots, stage set-up and soundcheck as if he’s just sitting down to dinner. Today, the place is Missoula, Montana, and Bridges has managed to sell a packed stop on his tour, even here. He warmly smiles and stands against a wood-paneled trailer wall, casually talking about his role as Gil Scott-Heron in the new Ryan Gosling film, First Man. Directed by Damien Chazelle, it tells the story of the years leading up to and through man’s first walk on the moon.
Photo by Scott Hoeksema
The year is 1969. America is a country torn apart by extravagantly priced, questionable government agendas and deep social strife (sound familiar?). The Vietnam War rages on, set against deepening poverty, social inequality and of all things, the space race. From the perspective of the late, legendary musical poet Gil Scott-Heron, it was a blur of inspiration for his politically charged spoken-word performances, from drug addiction to a nuclear meltdown to the Detroit Riots.
Today, Gosling stars as Neil Armstrong, a man largely hailed as the hero who made history aboard the Apollo 11. And Bridges performs Scott-Heron’s “Whitey on the Moon,” during a protest, underscoring the unthinkable price that was paid for…a white man to walk on a planet far away from the issues that burned so deeply at home.
Bridges’ demeanor suggests that it is perfectly no big deal that his young career has culminated in an appearance in a film that is going to be, actually, a very big deal. And considering today’s political climate, Scott-Heron’s words ring truer than ever.
Wearing a vintage jacket he bought in London and black pants with a maroon side-stripe, Bridges leans back on the sofa and adds up how it all came together.
“I met Ryan while we were both on Saturday Night Live together,” he recalls, “but Damien had caught wind of me and felt I would be great for the part. I perform the piece during a protest scene; it was cool – they really let me just be myself. I didn’t even have to change my hair, which is in a freaking perm. I don’t even look like [Gil Scott Heron] – his hair was always in a fro.’”
And while he connects the dots in his nonchalant style, it’s even easier to forget how green Bridges is. He reflects back to the difficulties he had when his tour stopped at Colorado’s Red Rocks amphitheater.
“I just have never performed in a venue that size,” he says. “I had to get a sense of what my show really was and how to fill it into a space that size.”
Photo by Scott Hoeksema
The 29-year-old is, of course, known as much for his trademark style as his music. Dapper, fresh, yet somehow effortless, his interest in fashion was born when he was still just a young child.
“Even as a kid, I was so into it. I just couldn’t afford to do exactly what I wanted to do,” he recalls. “I studied dance in college. When we performed a Bob Fosse repertoire, African or even a jazz piece, we had to pick out outfits for dance. The costume shops were filled with vintage clothing, and that is where my love for vintage started. I would steal pieces from the costume shop and wear them.”
With Ahlem Manai-Platt at the AHLEM for Leon Bridges launch party, image courtesy of AHLEM Eyewear
Today, Bridges has broken into completely new ground in just one album’s time. Blazing past the sepia confines of hi ’60s, soul-inspired debut album Coming Home, his latest Good Thing is indeed a colorful, hi-fi affair and draws inspiration from influences as varied as ’70s southern country soul, to R&B, à la Jodeci. Each track is completely different from the next, yet each is still steadfastly rooted in Bridges’ personal style. The result of studio sessions he took to LA with producer Ricky Reed, he calls Good Thing a collaborative affair and shyly nods in agreement that it’s a glimpse into his true musical wingspan.
“I just knew that if I was to make another project similar to the first one that I’d be stuck forever,” he says. “I’ve been able to grab more of the attention of the black community with this album, which I really wasn’t able to do before.”
Looking a bit like David Byrne crossed with James Brown gyrating through his setlist, whatever box Leon Bridges may have been in, he’s popped right out of it. Comparisons to anybody, much less Sam Cooke, be damned. And he makes it all look and sound like the easiest breath of fresh air.
“I just like to live within the rhythm,” he adds. Just like that.
We never really gave it much thought, to be honest – but despite living in a sort of parallel universe, cartoon characters still do seem to be subject to the rigors of scheduling. Though the fact that they never age does make one wonder as to the actual effects of time on their seemingly ambiguous reality.
Still, such existential concerns need not necessarily interfere with the desire to simply be in possession of this season’s surely most talked about timepiece. And one of the new GORILLAZ x G-SHOCK collection should absolutely be on the wrist of everyone who counts themselves amongst the disciples of the most enduring animated band in (sort of) existence.
The watches are styled in tribute to each of the four members: 2D, Murdoc Niccals, Noodle and Russel Hobbs – so you may finally have to decide which of them is your actual favorite…despite egalitarian impulses to love them all equally. Best of all, only 1000 of each are being produced – so bragging rights are included in the price. They’ll be available as of November 15…but insider tip: go to the Gorillaz web shop today, October 25, for a chance at early pre-order.
Don’t even consider buying one, though, until you’re in possession of a copy of their excellent new album The Now Now, which was released earlier this year to nearly universal acclaim.
The fashion world is no stranger to collaborations. In the last year alone, Calvin Klein has teamed up with Andy Warhol, Raf Simons with Robert Mapplethorpe and Coach with our favorite Disney characters. Now, Diesel has partnered with famous Berlin kebab kiosk Mustafa Gemüse Kebap, on a streetwear-inspired capsule collection designed by the owner. The line, which features sweatshirts, t-shirts and hats, shows a reimagined version of their logo alongside colorful patches on each piece.
“I just tried to add some special ingredients,” Gemüse told DAZED, “and make sure everybody involved was happy and not hungry, holding a fresh kebab in their hand.”
Along with the collection, the brand made a teaser video that showcases just how popular Mustafa Gemüse Kebap really is. In one of the world’s coolest cities, skaters, punks, tourists and fashion girls alike all line up for blocks to taste one of Gemüse’s exalted delectables. (Now we’re hungry, and can’t wait to get back to Berlin.)
Watch the Diesel x Mustafa Gemüse Kebap teaser video, below, and be sure to cop the collection online and in select stores, starting September 3.
Brooklyn born Nigerian artist/musician Laolu Senbanjo is known for using skin as a medium – amongst other things. But his latest surface was a Belvedere vodka bottle, for which he delved deep into his own heritage and personal mysticism to conceive.
Known for his work on Beyonce’s Lemonade, as well as collaborations with Alicia Keys, Swizz Beatz and Tony Allen, he applied his “Everything is my canvas” credo in creating an aesthetic representation of the Belvedere ethos. And the result is an image that seems intriguingly abstract, yet is steeped in mythology and folklore – something both wild and sacred.
We caught up with Laolu to chat about the process and the final design itself.
How did the partnership with Belvedere come about?
They wanted to partner with an artist who shares the same values to design this year’s limited edition bottle. When I paint a subject, each design is unique to what I believe depicts their inner beauty. This message is seamlessly in line with Belvedere Vodka’s mission to reveal the unexpected beauty in life.
There’s also a human rights element?
As a social advocate and former human rights attorney, my philosophies align with Belvedere Vodka’s commitment to community and creating positive action in the world. In this case, the program supports the (RED) organization and the Global Fund to fight HIV/AIDS in Africa. As an artist, I get to share my soul with people around me, my environment and the world, and I’m able to channel my experiences – like my journey as a human rights attorney and as a Nigerian.
What was the artistic mission? Were you given freedom to conceive the work as per your inspiration?
Belvedere cleared off their iconic silver birch trees and let me work with a blank canvas. My inspiration came from my interpretation of the vodka as well as doing a lot of research about what Belvedere is at its core, like the rye and the pristine water.
Your medium is generally skin, you paint on people? Can you tell us a bit about why?
I have coined the performance art ritual called “Sacred Art of the Ori.” It is an intimate spiritual experience between me and my muses. The foundation of the Sacred Art of the Ori ritual is the Yoruba religious practice of becoming one with yourself or awakening the God in you (Ori). I not only work on skin, but work on murals, fashion garments, shoes, everything, hence my mantra: “Everything is my canvas”.
You call your style Afromysterics. Can you elaborate on that?
I was born and raised in Nigeria and I am of Yoruba ethnicity – so I take symbols from Yoruba mythology. If you tell me a story about something, I’m going to interpret it through that lens and the elements of Yoruba. The spirals on the bottle mean inner beauty. The heart means passion. You can see the flow of the water all throughout, and there’s balance with symbols of rye.
What is your take on the finished Belvedere project?
The bottle is an amazing blend of my art and bringing to life what Belvedere stands for – and I get to be a part of giving back to society, which means a lot to me. This is the first Belvedere bottle with the high-quality, full-wrap sleeve technology that features a flowing design with sharp edges that represent the water and rye working together to produce dimension and taste. Its subtle skin-sense texture, which reacts to UV lights, and is used to bring another sensory component to the bottle. The charcoal coloring and distinct shapes create complex, story-rich designs, which draw heavily from my Yoruba heritage.
Impossible though it may seem, the United States currently finds itself at political and ideological “war” with both of its neighbors, Canada and Mexico – obviously the result of the ongoing follies of the current administration.
Thankfully, fashion exists far above such absurdities – wanting only to help us spend our days feeling a little more fabulous via our stylistic choices. Nordstrom’s venerable VP of Creative Projects Olivia Kim, specifically, has made a mission of exactly that; and her latest undertaking, Pop-In@Nordstrom ¡Viva México!, crosses our unnecessarily controversial southern border to bring a bit of Latin heat and chic to select Nordstrom locations.
Launching this Friday, August 31, it will feature some of the hottest and most authentic Mexican apparel, accessories and home decor brands – Binge Knitting, Olmos Y Flores, Siempre Viva, Carla Fernandez – exhibited in a fittingly elegant and artistic manner.
“Cultural exploration is a guiding theme for Pop-In@Nordstrom,” enthuses Kim. “We have had partnerships inspired by different countries including France, Italy and Korea; and I’m so excited to bring the vibrant culture of Mexico to our customers through a unique curation of our favorite finds that have been created by Mexican designers and artisans.”
And putting the project decisively above the political fray, a partnership with the Mexican Consulate will celebrate Mexican Independence Day on September 16, featuring traditional chefs and street food vendors.
The venerable design icon Jonathan Adler said of Greg Natale, “His rooms are designed with such sureness that they look as if they were always meant to be.”
This is high praise, to be sure – but one look at the Australian interior designer’s new book The Patterned Interior (Rizzoli), and you get an idea of exactly what he means. Despite Natale’s signature ability to, as the title suggests, bring together patterns in an inimitable, thought-provoking way, the rooms featured on the book’s pages (from Sydney to Oklahoma to New York City) convey an insouciant naturalness – a sense that nothing is meant as a “show off” statement…despite the compelling final effect.
As the book was about to hit the shelves this week, we caught up with him to chat about inspiration, not following trends and the role of nature in contemporary interior design.
What were some of your earliest influences, and how have they changed over the years?
My sister studied fashion and some of my earliest memories are of her putting colored pencils in my hand and making me draw. It really unlocked my imagination and got the creative juices flowing.
As well, I grew up in a family home in Sydney that was built by Italian migrant parents, and was awash with pattern. In the book I talk about how this immersion, from the tiles in every room to the upholstery and so on, instilled in me a real love of pattern and the place for decoration in our living environments. I think there’s always a clue to where we came from in our work, whether it’s deliberate or subconscious.
Do you feel as if we’ve moved beyond overarching trends in interior design, to focus more on an individual sense of style?
I’m always a little wary about trend-talk. I avoid what I call “cookie cutter” design, but I do also believe in the zeitgeist and the commonalities that can come through in the work people produce. I would definitely say that I enjoy seeing what’s going on around me, but there is so much inspiration in looking at what’s been, and I love pushing new boundaries by referencing the past, looking at other creative spaces like fashion, art and seeing how that can all be brought together to put a new twist on something.
Was there a particular impetus for doing The Patterned Interior?
I often joke that there is a pattern molecule hidden away somewhere in my DNA makeup. I love it and I wouldn’t be able to create a space without it. The new book is an exploration of how pattern doesn’t have to be one note, it’s about how it contributes to a space, visually and on an experiential level. It also addresses the breadth and versatility of pattern, by showcasing twelve vastly different homes that we have designed, from Australia to the US.
What are you trying to convey with the title?
My first book, The Tailored Interior, was a bit of a manifesto. I wanted to demystify the interior design process for those who wanted to understand how and why things worked – not just to look at the book and see beautiful spaces. When it came time to start this book with Rizzoli, I felt like pattern was something that I had touched on but really felt that it offered so much more to explore. For The Patterned Interior we really pick up on the pattern story, but we do it in a different way this time around. It’s a monograph that explores twelve of my projects and draws out the place and function of pattern. The title for me was a neat way to pick up where we left off, but it gives clue to the new focus.
You talk in the book about nature as a muse. Do you think environmental worries are inspiring us to reconnect with nature in design?
In Australia, I think to a certain extent we are always aware of how nature impacts on our lifestyle. We are lucky enough to live in a very beautiful part of the world and the outdoors plays a huge part in how we design our homes and how we interact with them. Our climate means that a lot of the time we design for seamless indoor/outdoor living. The chapter in my book that explores nature as muse is the one that takes us to an incredible private villa on The Great Barrier Reef – to a magical, tropical place called Hamilton Island. I think that here more than any other place you are aware of your environment; the raw beauty of the place was something that couldn’t be ignored in this design.
Do you particularly enjoy updating historic styles, as you did with Victoriana in Geelong, Australia?
The process of restoration is an important one. As well as interior design, I also studied architecture, so I have a great appreciation for a home as a whole. The idea of context, site and designing sympathetically to the era of that place but investing a place with a new character or giving it a new lease on life is thrilling.
What were some of your most challenging assignments?
Some of our most challenging works have beendelivering some pretty huge projects in very-very tight time frames. While it’s not my preference, it is always remarkable to look back and see what can be achieved when the pressure is on and the constraints are really imposed. Beyond that, I think designing for yourself will always be challenging. In the past three years I’ve redesigned my own home as well as built and fitted out my company’s headquarters in Sydney. To the annoyance of my partner and my staff the places are never done – I can’t help but keep tweaking and adding to them.
How would you ultimately describe your style?
I consider my style to be layered, and I strive to create tailored, tightly edited spaces that meet at the intersection of design and decoration.
What do you hope people will take away from The Patterned Interior?
I talk in the book about how powerful pattern can be in eliciting a reaction in people – it can actually be very polarizing. It has the capacity to really draw a range of emotions, and in this book, by demonstrating the diversity of uses and the range of styles, I hope to start a conversation about its place in not only performing a decorative function, but also the impact it has on how we feel and how we relate to our interiors.
CGI’s not a completely new tool in the fashion industry – after all, cyber It-Girl Lil Miquela has collaborated with brands like Prada and NYC-based AREA. But Olivier Rousteing took the trend to a whole new level when he decided to cast three CGI models for his latest Balmain campaign. That’s right – as if women didn’t have enough to stress over in looking at real life models, we now have to compare ourselves to digital perfection.
For the brand’s Pre-Fall 2018 campaign, Rousteing reached out to digital artist Cameron-James Wilson to “construct a new, alternative and virtual Balmain Army.” Wilson became popular earlier this year with his virtual model Shudu, who has almost 150K Instagram followers, and has graced the pages of The Cut and The New Yorker.
For the Balmain campaign, however, Wilson created two more models, Margot and Zhi, so the trio could model digital versions of the brand’s Pre-Fall collection created by CLO, a company that creates “true to life 3D garment simulation” to help designers throughout their development process.
The campaign definitely looks cool, but also, kind of like a Sims version of a fashion ad. Yet is Balmain just the first brand to reject IRL models to dive head first into CGI? We’ll have to wait and see. In the meantime, I guess we should all follow Shudu on Instagram. I mean, she’s already stealing our jobs. So, best to keep an eye on our man’s DMs.
And you know what that means? All of our favorite brands will be hitting the runway, with everything kicking off in New York in just a few short weeks. This season, Rihanna will be joining the NYFW lineup, with her new lingerie brand, Savage x Fenty making its runway debut.
Of course, Rih is no stranger to the fashion fanfare. Before launching Fenty x Puma, which she presented during NYFW and PFW ahead of the brand’s current hiatus, she sat front row at shows for everyone from Yeezy to Alexander Wang. But the inclusive lingerie label she announced last spring hit stores earlier this summer, following a series of viral Instagram ads featuring influencers of all sizes and colors. Hopefully Rihanna will maintain the brand’s focus on diversity and ethos of empowerment for their first runway show.
As of now, not much is known about the presentation, other than that it will take place on September 12 in New York City, and that it won’t be just like any other fashion show. Rih described the event as an “immersive experience.”
There’s one thing we do know, though: Rihanna definitely doesn’t like to follow convention. When she released the Savage x Fenty line in May, she even included a set of handcuffs as part of the collection. So, whatever she does on the runway this Fall, we know it’ll be lit AF.