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Coach announces the launch of Coach x Michael B. Jordan, the first-of-its-kind creative collaboration with actor, producer and first global face of Coach menswear, Michael B. Jordan. Inspired by his cultural influences and community, his love of Naruto, and his passion for bringing unique voices to the forefront, this unisex ready-to-wear, footwear and bag collection is Jordan’s first foray into fashion design, guided by the expertise of Coach Creative Director Stuart Vevers.

Created in partnership with VIZ Media, the collection combines Coach craftsmanship with Jordan’s affinity for functional fashion and graphic codes from the world of Naruto, a popular Japanese anime and manga. Product ranges from parkas, jean jackets, and pullovers to backpacks, utility packs and hybrid sneaker boots.

It features imagery of characters from Naruto, as well as the series’ trademark “eye” motifs reimagined with Coach’s Retro C graphic. The Naruto backstory speaks closely to Jordan’s narrative as an outlier building bridges inside and outside of the Hollywood establishment and echoes Coach’s commitment to community and courage.

To launch the collection, Coach releases a campaign that fuses its values and craftsmanship with Jordan’s cinematic skill and Naruto’s mystic iconography. 

The hero film, conceived by Jordan and directed by Rachel Morrison, who collaborated with Jordan previously as the director of photography on Black Panther, takes place in a neon-drenched Tokyo street, and moves between moments of modern-day grit and magical realism, placing an emphasis on the power of connection.

“With my name on this collection, it was important to design pieces that represent my cultural influences and my community; pieces that I could see my friends, family, and fans wearing with pride,” said Jordan. 

“As with all aspects of my work, this collection is about bringing fresh perspectives and unique voices to the forefront. Expanding into the fashion design space was rewarding beyond my expectations. I’m grateful to Stuart and Coach for providing me with the opportunity and expertise to execute a collection I’m extremely proud of.”

Coach will also celebrate the collection with global pop-ups in Japan, Malaysia and the United States, a dedicated Coach experience in the VIZ Media booth at New York Comic Con on October 3-6, and a range of limited-edition T-shirts.

The Coach x Michael B. Jordan collection is now available online at Coach.com and in stores.

Images courtesy of Coach.

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Will Vogue survive without Anna?

Wintour is who she is and refuses to conform, earning respect from everyone who’s anyone.

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Francois Durand/Getty Images

For 45 years, Anna Wintour has held the world of fashion publishing in the palms of her well-manicured hands.

Since 1988, she’s served as the Editor-in-Chief of Condé Nast’s progressive, style-bible, Vogue US.

The British-born journalist, 70, notorious for wearing colorful ensembles paired with her ill-lighted, staple blinkers has garnered industry clout rivaled by none.

A nod of style approval from this heavyweight is considered to be the holy grail of fashion PR. If she says you’re in, then you’re in.

CREDIT: GETTY

A real-life “ice queen” typically slapped across copies of Page Six for her impenitent approach to governing the flagship. And from her inviolable position ––“You either know fashion or you don’t.”

In 2006, Oscar-winning actress Meryl Streep delivered a noteworthy performance starring as Wintour opposite veteran Anne Hathaway in David Frankel’s, “The Devil Wears Prada.” The film candidly diagrammed the nightmarish recollections detailed by Vogue’s happily-departed former employees.

CREDIT: 20TH CENTURY FOX

The classic comedy-drama was adapted from Wintour’s ex-minion Lauren Weisberger who courageously published the New York Times best-selling novel in 2013, epitomizing her dreadful experience while slaving as the right-hand to the cold-blooded editrix.

CREDIT: LAUREN WEISBERGER

Despite her chilling account, nothing could deter thousands of fashion hopefuls from applying to fill Weisberger’s off-brand pumps, and who could fault them, noting the bulk of Wintour’s previous sidekicks now helm top-notch media companies. Perhaps the chaos has its perks!

CREDIT: GETTY

But all era’s come to an end. As fashion reinvents itself, so do those who keep the high-powered machine running. Wintour is allegedly retiring from Vogue soon. Her departure will be a sad pill for the editorial conglomerate to swallow. But if and when she steps down, may her creative direction remain within the One World Trade Center headquarters.

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Can you guess where Kanye West will debut Yeezy Season 8 ?

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While dozens of designers skipped out on Paris Fashion Week this year due to the coronavirus outbreak in France, Kanye West has revealed he will be debuting a Yeezy Season 8 runway presentation on Monday night (March 2 ). 

 The surprise invitation arrived via email to select editors along with a few who were invited during the innovative rapper’s most recent Sunday Service where he reincarnates chart-topping pop and hip-hop hits into gospel tunes.

West, 42, hasn’t hosted a runway show since Yeezy season 5 in 2017, but his most notable shows were hands down his album release/Yeezy Season 3 fashion show at Madison Square Garden, and his star-studded presentation on Roosevelt Island where he released a paparazzi-shot lookbook of the Kardashian/Jenner clan and friends. 

The ‘Jesus is King’ creator has set the bar high in terms of set design, marketing, and overall creative direction in the digital era. He’s made it clear his vision is far beyond this time. 

He will be joining fashion pros Stella McCartney, Giambattista Valli, Y/Project, and Alexander McQueen for PFW’s 2020 lineup.

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In the World of High Fashion, Streetwear will have the last Laugh

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Arieanne Evans for NDLYSS

In 2019, Virgil Abloh, proclaimed king of streetwear/ -fashion, claimed that street fashion will die in the 2020s. Through the 2010s, streetwear fashion designer Virgil Abloh convinced luxury fashion that streetwear was stylistically and culturally important. Before falling from grace, streetwear will develop away from global mass production and refocus with regional and local attention. Streetwear won’t die but it will look different.

Streetwear is the fashion of working and middle-class people. Therefore, streetwear’s death would proceed to deconstructing social class. Unless Abloh is hinting at staging a social revolution, streetwear will remain prevalent until the streets die. Streetwear is a cultural phenomenon that laced its way through America’s soul. This fashion developed through the 1990s New York hip-hop and California skate cultures then became nationally and now globally recognized. Streetwear grew from freedom to move and expresses individuality without stretching a budget.

“Just because you don’t see a celebrity wearing it, doesn’t mean it’s not high fashion,” Set by Skye founder Marina Skye said.

Arieanne Evans for NDLYSS

Affordable fashion brings streetwear its commercial acclaim. The sometimes higher quality fabrics and designer names of high fashion brands establish greater prices. Fortunately, fashion is cheap to replicate by mass-producing high street styles from runway to store. Fashion is produced fast for consumer demands and ever-fluctuating trends and It’s equally disposed of quickly once hot trends change. Unfortunately, fast fashion is unsustainable by wasting material and both exploiting and underpaying workers who produce the materials.

Fast fashion fades when people intentionally buy clothes, develop personal styles that transcend brand recognition, and advocate for international workers’ rights. Luckily, streetwear’s inexpensive nature exists outside of fast fashion. Streetwear integrates wardrobes with thrifted and old/ vintage pieces. It’s cheap by necessity and doesn’t rely on brands.

More so by its versatility and attention to comfort than its expense, streetwear is the working person’s fashion. The comfort aspect plays well to its reach. Streetwear rests on the ability to move, be dirty, and make mistakes. Oversized, distressed, and unsymmetrical streetwear styling speaks to its versatility by offering everyone unique a unique sense of style, unlike high fashion which has historically excluded the Black community and the full spectrum of body types.

The streets are immortal, therefore streetwear is eternal. Where trends change, the streets adapt, and adapting is local before its global. The “fall of streetwear” will likely be a fall of fast and high fashion. That will give rise to local fashion influenced by regional climate, lifestyle, and culture.

Arieanne Evans for NDLYSS

“As a community, we have to push young designers as much as possible,” Wish Creative Director Renaldo Nehemiah asserted. “We should showcase designers who deserve to represent fashion.”

It’s clear that Abloh has reservations about his capacity to push fashion culture. This should motivate young and aspiring designers to match his enterprising energy and carry the torch of contemporary design. Street fashion will continue elevating individuality and revolutionary approaches to style through the ’20s and beyond.

Everyone can join the movement of developing fashion by buying black-owned and newly enterprising art, fashion and designs from local producers. No one has more influence on the streets than the streets, so the people on the ground level are next-up as big names and mass production will be next-out.

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