Rabanne Resort 2027 treats the wardrobe as an open system, where each piece gains character through styling and personal instinct. For Party ’26 and Spring ’27, Julien Dossena studies how clothes come together in daily life, placing polished construction beside raw textures, practical forms and unexpected accessories.

RESORT 2027

Spring ’27 introduces utility shapes through fabrics associated with more formal or decorative clothing. A luminous jacquard three-hole dress includes an adjustable waist, allowing the wearer to control its proportions. A raw cotton ensemble takes the streamlined form of a jumpsuit, while oversized Bermuda shorts connect skater references with precise tailoring. A cropped faux fur jacket adds another shift in texture and scale, giving the look a compact, tactile finish.

Dossena draws from flea market finds and familiar wardrobe staples, then adjusts their proportions and purpose. A sandy suede jacket arrives in the generous shape of a varsity style. A lightweight trench takes cues from a clinical lab coat, turning a functional reference into a summer layer.

Masculine and feminine codes move freely across the collection. Denim shirts accompany delicate Liberty-style florals, knitted bonnets and oversized jewelry. The styling avoids fixed categories and lets each element change the reading of the next. A floral print can soften a tailored shape, while substantial jewelry gives a delicate garment greater weight. The clothes retain their individual identities while contributing to silhouettes that feel personal and slightly unresolved.

Italian suiting from the 1990s provides another reference point. Dossena breaks down its familiar structure and builds new arrangements through blouses, knitwear and overskirts. Trousers appear with additional garments layered around the waist and hips, disrupting the expected division between tops, skirts and tailoring.

The Party ’26 capsule continues this relaxed method with a quieter approach to evening dressing. Dossena focuses on intrigue, texture and controlled contradictions. The imagined wearer leans toward modernist clothing while collecting unusual pieces from Saint-Ouen, giving her wardrobe a polished base with traces of chance and eccentricity.

A deep brown crepe dress features a monochromatic assemblage that functions like a new form of fur. Its surface feels rich, technical and slightly futuristic. A fully fringed mesh skirt exposes the legs beneath its moving texture and appears with a knitted high-neck top. The contrast between open mesh and covered knitwear gives the outfit a measured tension. Elsewhere, a vivid green embroidered mesh dress sits over black trousers and pumps, turning an evening piece into part of a layered city look.

View Gallery 19 images

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After World War II, over 60,000 looted artworks were found in France. 45,000 were returned to their rightful owners in the next handful of years. Then, over three quarters of a century until September last year, only 200 more works were returned.

Since 2013, that pace has quickened, with 87 artworks given back to their owners or rightful heirs.

Azoulay And Her Work To Return The Artwork

Audrey Azoulay, France’s minister of culture 2016-17, helped drive the improvement. Under President François Hollande’s government, Azoulay and her predecessors helped shift the perception that works housed in public collections would be sold on the private market, as she told Ynet. The state and museums cannot generally match private sale prices, but Azoulay and her colleagues encouraged them to locate heirs “rather than waiting” for them to claim the artworks.

Furthermore, Azoulay also served as the director-general of UNESCO between 2017 and 2025. Upon her re-election in 2021, France 24 said the result seemed to “confirm the strategy of depoliticization” that Azoulay had sought.

The civil servant said it was her moral duty to do justice to the crimes of confiscation and greed. Nazi Germany had confiscated those thousands of artworks from Jewish collectors and donators, among them Jules Strauss. Strauss and his wife Marie-Louise had donated works to the Louvre Museum and privately owned others such as The Portrait of a Lady as Pomona, described as a “masterpiece” by Calvine Harvey, Sotheby’s vice president and Specialist of Old Master Paintings.

Museum of Jewish Art and History, Jewish art’s influence, and rightful heirs

Paris’s Museum of Jewish Art and History houses a small exhibition, curated by Pascale Samuel, dedicated to Diane Esmond and Fédor Löwenstein. The latter’s paintings were confiscated in Bordeaux and although the artist tried to send them to the US, they arrived at the Musée Jeu de Paume; some were marked with a red cross, recalls Azoulay, indicating they were “slated for destruction”.

France is leading the way in righting these wrongs in other ways, too. David Zivie says it is the only country today that compensates victims of the looting “without a time limit” when the artworks can’t be returned.

The museum in Paris is also showing paintings by Diane Esmond, whose granddaughter and artist Adrianna Wallis says her grandparents only received 12 of their 46 confiscated works. These ongoing exhibitions, as well as contemporary artists and collections such as Nadav Art Judaica and jewelry, showcase the influence of Jewish culture’s influence on art as a whole. The representative of Jewish sculptor Chana Orloff has said that money is not the issue – it is justice. Orloff was known in the Art Deco scene and was friendly with other Jewish artists including Marc Chagall and Jules Pascin. Chagall, for one, has been called one of the greatest artists of the 20th century.

Woman in Gold and Case of Maria Altmann’s Klimt

The case of Maria Altmann is perhaps the most publicly known example of looted art restitution, brought to wide audiences through the 2015 film Woman in Gold, in which Helen Mirren portrayed her. Altmann, the niece of Adele Bloch-Bauer, spent years fighting the Austrian government for the return of five Gustav Klimt paintings confiscated by the Nazis after Austria’s annexation in 1938. The centerpiece was Portrait of Adele Bloch-Bauer I, a gilded 1907 masterpiece that had hung in Vienna’s Belvedere museum for decades, presented to the public as a national treasure. The legal battle reached the US Supreme Court before an arbitration panel in Vienna finally ruled in Altmann’s favor in 2006.

The painting sold shortly after to Ronald Lauder’s Neue Galerie in New York for $135 million, then a record price for any artwork. Altmann, who died in 2011, was not motivated by the money. She said repeatedly that what she wanted was acknowledgment, the recognition that the works had been stolen and that her family had a right to them. Klimt himself was not Jewish, but his greatest patrons were, and it was their collections, their taste, and their support that shaped much of his career. The theft was not only of canvas and paint, but of a relationship between artist and collector that the Nazis deliberately severed.

Pauline Baer de Perignon, a great granddaughter of a Jewish art collector, has advised other families to conduct research close to home. She said that often people keep papers and letters that reveal details that can help recover artworks. As recently reported by Forward, it is notoriously difficult to get looted artwork back, but with determination, more pieces are being returned to their rightful heirs.

The Scope of The Looting

The looting was indiscriminate in one sense, sweeping up works by non-Jewish artists alongside those created within Jewish artistic traditions. Among the tens of thousands of confiscated pieces were canvases by Renoir, Degas, and Cézanne, stripped from Jewish collectors who had built their holdings over generations. The Portrait of a Lady as Pomona, taken from Jules Strauss, and the paintings of Fédor Löwenstein, some marked for destruction, are not simply individual tragedies. They represent a systematic erasure of ownership, memory, and authorship. Whether the brush belonged to a Jewish hand or not, the theft was the same. And as Diane Esmond’s family,

Chana Orloff’s estate, and descendants like Pauline Baer de Perignon continue to demonstrate, the pursuit of justice does not expire. The artworks still missing, wherever they hang today, carry names, histories, and moral weight that no museum label can obscure.

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Mierle Laderman Ukeles, an 86-year-old artist, is the subject of a new documentary entitled “Maintenance Artist”. The title refers to Ukeles’ 1969 manifesto, in which she labelled everyday chores – cleaning, changing diapers, and so on (usually taken care of by women) – “maintenance art”.

Seven years after that manifesto, Ukeles’ conceptual work inspired critic David Bourdon to suggest municipal work (trash collection, parks and recreation, etc.) could be conceptual art. Perhaps it could get funded by grants, rather than New York City, in the midst of the 1970s financial crisis. For Mierle, New York serves as a continuous source of inspiration.

That might not have exactly panned out, but Ukeles’ influence is the worthy subject of the film, which debuted at the IFC Theatre in late April.

Ukeles’ influence

Some of Ukeles’ famous works include Maintenance Art Tasks, a collection of photographs of household activities performed by her and her husband; The Work Ballets, which took place over thirty years in several cities; and Birthing Tikkun Olam, an interactive piece of glass mirrors.

She has been referred to as New York’s “trash artist”, having collaborated with Sanitation Department commissioner Anthony T. Vaccarello, who commissioned Ukeles to create art for 10,000 workers. Her role with the department has been unpaid for almost 50 years.

In those decades, Ukeles’ work has earned her several major awards and honorary doctorates from schools such as Maine College of Art and the School of Art Institute of Chicago. She was recognized by the Jewish Cultural Achievement Awards in 2003: many of her pieces, as reported by Jewish Telegraphic Agency’s Jackie Hajdenberg, have been inspired by Jewish values. Ukeles is the daughter of a rabbi and advises students of Bezalel Academy of Art and Design in Israel.

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Though she prefers not to be labeled a Jewish artist for fear of categorization, Ukeles has said she has “many deep beliefs in great Jewish ideas”. Her works show a great reading of Jewish texts and philosophy, according to Jewish director Toby Perl Freilech. The filmmaker said her art emphasized concepts such as everyone being created in God’s image and everyone being deserving respect.

Some of Ukeles’ pieces that may be considered Jewish paintings or artworks emphasize these universal concepts; Freilech told Unpacked last year that Ukeles’ focus on environmental issues was important to her story and the film. He said one of the main takeaways of the documentary was the harm of today’s hyper-consumerism.

Where to watch the film

As reported by Hajdenberg, “Maintenance Art” debuted in Greenwich Village. It will be shown across many theatres in the US, Canada, and Europe. A full list of screenings is available at the documentary’s dedicated website: “Maintenance Artist” will be shown at several festivals including Seattle International Film Festival and Pioneer Valley Jewish Film Festival.

It is the first film about Mierle Laderman Ukeles, who was the Department of Sanitation’s first artist-in-residence, and is described as “funny” and “provocative” by the website. Filmmaker Magazine called the documentary “riveting” and one of the most anticipated films of last year’s Tribeca Festival. NBC New York said it was “visually explosive”.

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Filarri approaches Od krvi i mesa as a complete work, built to be experienced in its entirety. In conversation with Zarko Davinic, Editor in Chief of DSCENE Magazine, he frames the album as a conceptual body rather than a collection of standalone tracks. The record captures a period shaped by emotional intensity, where personal experiences unfold through sound. He treats the album as a contained moment, one that holds collisions, shifts, and emotional extremes that no longer define his present, but remain preserved within the work.

At the center of the project stands a clear decision to push toward full emotional exposure. “I wanted to be honest to the core, to fully strip myself down emotionally, and to allow the audience to truly get to know me by listening to the album from beginning to end.” That intention shapes both the structure and the pacing of the record. The album moves through eight songs and an interlude, building gradually toward a closing sequence where that openness becomes difficult to avoid. He describes the process as an act of expansion, not reduction, where creative control required him to embrace everything rather than hold anything back.

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“Riski” introduces that world. Positioned as the lead single, it operates as an entry point into the album’s emotional logic. “We chose it because it carries a cross-section of the entire album through its vibe, emotion, genre, and energy.” The track reflects a time when instability and intensity defined his daily life. Those conditions no longer shape his present, which he describes as more stable and calm, yet they remain embedded in the material. The album functions as a record of that earlier state, where each track holds fragments of those collisions.

As the narrative unfolds, different versions of the artist emerge. Some remain close to what his audience already recognizes, while others move into more exposed territory. The final stretch of the album concentrates that shift. He points to the closing songs as the most difficult to release, describing them as moments where emotional control disappears. “Every time I listen to the album from beginning to end I completely break down at the end.” The closing tracks strip away distance and present a direct acknowledgment of vulnerability, framed through a simple but deliberate statement of being human.

Beyond the album itself, the conversation moves toward pressure, a condition that extends across both his creative process and public presence. His relationship to pressure has shifted over time. Earlier in his career, he associated it with performance and productivity. Now, he recognizes a need for distance when working on material that carries personal weight. “I increasingly feel the need for my own comfort zone, especially when I am working on something artistically important.” That need translates into a controlled environment, defined by trust and a sense of safety, where creative work can develop without external interference.

This distinction becomes sharper when he describes the difference between music and social media. Music remains a stable point of return, a space where he feels aligned with himself. Social media operates under a different set of expectations. “There, you often have to be smiling, in a good mood, interesting, and engaging enough to keep people’s attention.” The gap between those expectations and internal states introduces tension. Over time, that tension has led him to protect parts of himself that he previously shared more freely. Visibility remains part of his work, yet he approaches it with increasing distance and control.

I wanted to be honest to the core, to fully strip myself down emotionally, and to allow the audience to truly get to know me by listening to the album from beginning to end.

Despite the expectations that usually accompany a debut album, he describes the creation of the album as largely free from external pressure. The process followed an internal logic, guided by instinct and collaboration rather than anticipation of reception. “We worked only according to what we felt and how we saw that entire world without compromise.” That approach extended across the entire project, from songwriting to visual direction. The album reflects a closed system, where each element developed from the same source without adjustment for outside expectations.

Maintaining that autonomy requires constant negotiation, particularly in relation to public perception. He describes a deliberate effort to preserve his connection to music as the central point of focus. “I try to remind myself why I wanted to do music in the first place.” That reminder functions as a form of protection, allowing him to separate the act of creation from the responses it generates. Social media remains unavoidable, yet he establishes distance where possible to prevent it from reshaping his relationship to the work.

Social pressure enters the conversation through questions of identity and expression. He points to rigid expectations surrounding masculinity as a persistent source of tension. “The pressure I have felt most strongly is connected to stereotypes about how a man should or must look and behave.” His response does not involve avoidance. Instead, those pressures become material within the album itself. The songs and visuals translate that experience into a direct message centered on self-acceptance and visibility, without adjustment to fit external norms.

His collaboration with Ljubba forms a central axis within that process. He describes the relationship as instinctive and unforced, built on a shared understanding that shaped the direction of the album. “It felt as if I had something he needed… and he had something I needed.” That exchange operates across both creative and personal levels, allowing the project to develop without formal negotiation. The result reflects a unified perspective, expressed through two distinct voices that align around the same core themes.

When he describes the album as a space, he frames it as immersive and continuous. “From beginning to end, the listener goes through a rollercoaster of emotions.” The structure does not offer resolution in a conventional sense. Instead, it presents a sequence of experiences that move between intensity and release, without smoothing over the shifts between them. The closing track brings that process to a direct conclusion, where the listener encounters the same statement that defines the project as a whole. A recognition of vulnerability, framed through the body, the voice, and the shared condition of being human.

The album remains grounded in that idea. It does not attempt to distance itself from emotion or reorganize it into something easier to navigate. Instead, it holds those experiences in place, allowing them to exist without revision. Through that approach, Od Krvi I Mesa establishes itself as a fixed record of a specific time, shaped by pressure, exposure, and the decision to move through both without compromise.

Photographer LUKA STEPANOVIC
Photographer Assistant UROS PAJOVIC
Styling MANDA JAVORINA
Grooming and Makeup ARTHUR KHATT
Production BORISLAV UTJESINOVIC
Talent FILARRI

Filarri is wearing total looks from HUGO Spring Summer 2026 collection, available now.

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There is a particular kind of exhaustion that accumulates in the lower back after a full day of desk work. It is quiet at first, a dull pressure that builds across hours until it begins to dictate posture, distort focus, and follow you home. Most office chairs treat this as an inevitability, offering static support that holds you in place rather than moving with you. The LiberNovo Omni proposes something different, and after spending more than a month with it at the office, it is clear that the proposal holds up.

The Omni arrived with considerable momentum behind it. The chair’s Kickstarter campaign raised over $9.9 million, a figure that speaks less to hype and more to a genuine gap in the market that the brand identified and filled. Since its launch, the chair has accumulated a growing collection of design awards. The most recent, announced this year, is the iF DESIGN AWARD 2026 in the Product Design, Beauty/Wellness category. The iF DESIGN AWARD is among the most recognized honors in international design, celebrating products that balance innovation, function, and user-centered thinking. That the LiberNovo Omni won in the Beauty/Wellness category rather than a traditional furniture or office category says something about how the company positions its work: not as furniture, but as a wellness object.

That framing holds the moment you place the chair in a room. The design is restrained in the best sense. The silhouette reads as architectural, with a backrest that reads more like a structural exoskeleton than a padded panel. The Moss Green colorway, added to the original Space Grey and Midnight Black options, carries an earthy confidence. It is an unusual choice for an office chair, and that is precisely what makes it interesting from an editorial standpoint. It sits comfortably in a considered workspace, beside a clean desk or in front of a floor-to-ceiling window, without demanding attention or disappearing into the background. The premium blended fabric, which combines linen, short-pile velvet, and wool, gives the surface a texture that reads as thoughtful rather than utilitarian. The suede-like surface is warm to the touch, with a refined, skin-friendly quality that immediately distinguishes the Omni from the synthetic-heavy competition.

The engineering that sits beneath that exterior is where LiberNovo makes its most ambitious claims, and where the month of daily use proved most instructive. The chair’s central innovation is what the brand calls Dynamic Ergonomics, a system in which the chair adapts in real time to shifts in posture rather than requiring the user to manually adjust settings throughout the day. The SyncroLink Mechanism System, which powers this dynamic support, provides motorized assistance that tracks how the body moves. Sitting in a fixed position for extended periods is a known contributor to spinal compression and muscular fatigue. A chair that responds to movement rather than enforcing stillness addresses that problem at the source.

The Bionic FlexFit Backrest is the most visually distinctive component of the design. Engineered with 16 precision joints and 8 adaptive panels, the backrest follows the natural curvature of the spine through a range of positions. In practice, this means that leaning forward to review a document and then shifting back into a relaxed posture does not require manual recalibration. The backrest moves with the body, maintaining contact and support throughout. For anyone spending four, six, or eight hours a day at a desk, that continuity matters more than any single adjustment feature.

The Omni offers four defined recline modes, each calibrated for a different kind of engagement. Deep Focus, set at 105 degrees, keeps the body alert and camera-ready for video calls. Solo-Work at 120 degrees offers a balanced posture suited for extended concentration. Soft Recline at 135 degrees supports downtime and casual reading without fully disengaging from the workspace. Spine Flow at 160 degrees allows a full recline for decompression at the end of a session. In over a month of use, the ability to move between these modes without disrupting workflow became a rhythm of its own. A long afternoon of focused writing calls for different support than a late-afternoon review session, and the Omni accommodates both without requiring a mental adjustment.

The OmniStretch feature deserves particular mention. Designed as a guided decompression tool rather than a passive massage function, it applies targeted pressure to relieve lower spine compression that builds during prolonged sitting. The sensation is more structural than spa-like, which is the right note for a chair marketed to professionals. It is the kind of feature that reads as a marketing addition until you use it after a six-hour working day and understand immediately why it exists.

On the accessory side, LiberNovo has expanded the Omni ecosystem with two complementary products. The StepSync footrest is engineered for zero-gravity alignment, offering calf support that improves circulation and reduces lower-body fatigue. It pairs logically with the chair for anyone whose desk setup leaves their feet unsupported. The Cooling Cushion, which uses high-thermal-conductive materials to absorb body heat, addresses a practical discomfort that rarely gets named directly but is familiar to anyone who has sat in a fabric chair through a warm afternoon. Neither accessory is essential, but both extend the coherence of the system.

Discover the chair details in our gallery:

View Gallery 9 images

From a design publication’s perspective, what the LiberNovo Omni achieves is not a minor ergonomic upgrade on a conventional form. It represents a genuine rethinking of what a chair is asked to do. The iF DESIGN AWARD win, in a wellness category rather than a furniture one, reflects an accurate reading of the product’s intent. It is a wellness tool that happens to look the part, designed with enough formal clarity to sit in any considered space without apology. For more design-forward furniture picks, explore our furniture edit on DSCENE.

The pricing reflects the category the chair occupies. The Basic Bundle is available at $848, down from $1,099 during promotional periods. The Standard Bundle, which includes the StepSync footrest, is priced at $922. The Pro Bundle, adding the Cooling Cushion and an additional battery, comes in at $976. These are not impulse purchases. They are considered acquisitions, the kind a design-literate professional makes once and expects to live with for years.

Discover more of LiberNovo Omni in our gallery:

View Gallery 15 images

After a month of daily use, the LiberNovo Omni does what it promises. The back does not ache at the end of a long day the way it did before. The transition between postures is seamless. The design holds its own in a room where design matters. For anyone spending serious hours at a desk, and for whom the quality of those hours is not incidental, it makes a compelling case for itself.

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Billionaire Boys Club and ICECREAM introduce the Football Pack 2026, a capsule shaped by the energy, passion, and visual codes surrounding football. Arriving as attention turns toward the sport this summer, the release brings football references into a concise streetwear wardrobe designed for match days and regular wear.

SPORTSWEAR

The collection draws from classic sportswear and presents those references through the identities of both labels. Football shirts, graphic T-shirts, and a panelled tracksuit form the core of the release. Each piece connects familiar athletic forms with graphics and motifs associated with Billionaire Boys Club and ICECREAM.

The BBC EU Football Tee leads the Billionaire Boys Club side of the pack. Available exclusively in Europe, the T-shirt arrives in a blue colorway that gives the piece a direct connection to traditional football imagery. Clean graphics keep the design focused, while Billionaire Boys Club branding places it firmly within the label’s existing visual vocabulary. Its regional exclusivity gives the T-shirt a specific role within the capsule. The blue color and football-led graphics provide a clear seasonal reference without turning the piece into a replica jersey. It works as a straightforward entry point to the collection and offers a lighter option for summer dressing.

ICECREAM develops the football theme through its Running Dog Football Shirts. Offered in red and blue, the shirts reinterpret the familiar jersey format through one of the brand’s most recognizable graphics. The Running Dog motif shifts the shirts away from official teamwear and into contemporary streetwear, while the two colorways maintain a strong connection to football culture. The red and blue options allow the same design to take on two distinct visual directions.

The IC Running Dog Panelled Track Set completes the pack. Its construction draws from retro sports clothing through a coordinated tracksuit designed around movement and comfort. Panelled detailing gives the set its main visual structure, while the Running Dog reference connects it with the football shirts. As a complete look, the tracksuit brings a stronger athletic presence to the capsule. The separate pieces also allow for different combinations with the Football Tee or Running Dog shirts.

The capsule reflects the connection between football and everyday style through pieces intended for terraces, streets, and summer routines. Billionaire Boys Club and ICECREAM keep the collection grounded in their established graphics while drawing from shirts and tracksuits closely associated with the game. The Billionaire Boys Club and ICECREAM Football Pack 2026 is available exclusively through the brands’ online store.

View Gallery 13 images

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Ferrari Style is heading to New York. The brand confirmed Monday that its next collection, for Spring/Summer 2027, will be unveiled in the city this fall, timed to the opening of a new flagship boutique. As a consequence, Ferrari Style will step back from the Milan Fashion Week calendar this September, returning to the Italian runway schedule in February 2027.

The announcement marks a significant pivot for the luxury brand as it accelerates its global lifestyle ambitions. Under Creative Director Rocco Iannone, Ferrari Style has cultivated a genuine fashion identity, earning strong critical reception and turning heads on the official Milan Fashion Week calendar season after season. The brand’s runway presence has grown increasingly assured, with Iannone threading the needle between Ferrari’s performance legacy and a rigorous, design-led wardrobe that speaks to a new generation of luxury consumer. The Fall Winter 2026 collection offered perhaps the clearest proof yet that the brand has moved well past novelty, presenting a cohesive vision grounded in precision tailoring, material quality, and a quietly confident aesthetic that drew praise from critics and buyers alike.

A New York flagship, paired with a collection debut on American soil, frames this next chapter as both a commercial expansion and a statement of cultural intent. The United States represents one of the most strategically important markets for European luxury brands at this moment, and Ferrari’s decision to anchor its Spring/Summer 2027 presentation to a flagship opening in New York speaks to a deliberate long-term play. Rather than folding the event into an existing fashion week calendar, the brand appears to be creating its own moment, on its own terms, in one of the world’s most competitive retail environments.

It is a bold move, and one that reflects growing confidence in what Ferrari Style has become under Iannone’s direction. The creative foundation is clearly in place. What New York will reveal is how far the brand is prepared to take it. Further details on the event will be announced closer to the dates.

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Nike and V.A.A. revisit the Zoom M9 football boot with the Cryoshot Zoom M9 x USA x V.A.A., presented in White and University Red. The sneaker honours Mia Hamm and her tournament performance while translating a classic football design for street wear. V.A.A. (Virgil Abloh Archive) retains the boot’s clean synthetic leather construction and adds visual codes associated with Virgil Abloh, including prominent “AIR” lettering and distinct branding.

SNEAKERS

The Zoom M9 provides the foundation for this edition. V.A.A. applies a crisp white base with University Red details, linking the sneaker to Team USA. Large lettering gives the upper an immediate graphic identity, while the streamlined synthetic leather preserves the form of the original football boot. The design references Mia Hamm directly, connecting the release to one of the most recognised figures in American football.

Nike created the Cryoshot series by returning to classic football boots from its archive and adapting their construction for daily street use. The Zoom M9 keeps the studded sole associated with the original model, though Nike encloses those studs within a transparent outsole. This clear layer allows the shoe to retain the shape of a football boot while providing a base intended for pavement.

The sneaker forms part of the USA x V.A.A. X2 collection, which launches during the 2026 FIFA World Cup. V.A.A. draws from vintage Americana and the visual character of 1994, using Virgil Abloh’s graphic language throughout the range. The project connects Team USA with football history, archival references and a playful interpretation of nostalgic American style.

The wider collection includes short-sleeve football tops for men, women and children, a men’s long-sleeve rugby top, an Anthem jacket, a woven staff jacket, a women’s polo shirt, an Aysén backpack and an unstructured Dri-FIT Fly cap. V.A.A. uses large graphics, clean layouts and Team USA branding throughout these pieces, creating a consistent visual link between the apparel, accessories and Cryoshot sneaker.

Nike will release the Cryoshot Zoom M9 x USA x V.A.A. on June 16 for $245 under SKU IM3886-100.

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Nike and Patta return to the Mercurial Vapor R9 for the Cryoshot Mercurial Vapor R9 x Netherlands x Patta, a Hyper Crimson and Black release within the wider Oranje by Patta project. The release transforms the archived football boot into a street-ready design tied to Dutch football culture.

SNEAKERS

Patta chose the R9 immediately when Nike invited collaborators to contribute to the Cryoshot rollout. The Amsterdam label retained the original synthetic leather construction and revised its palette in tribute to the Netherlands. Hyper Crimson gives the upper its dominant orange tone, while black details sharpen the football-inspired design. Patta also supplied an extra detachable fold-over tongue, adding a direct reference to vintage boots.

Nike developed the Cryoshot by returning to a football model from its archive and adapting it for daily street use. The design keeps the visible stud structure that performance boots use, then seals those studs inside transparent outsoles. This treatment lets wearers take the visual language of a favourite football boot onto pavement while preserving the R9 identity that Patta selected for its edition.

The sneaker belongs to Nike X2 x Patta, a football and lifestyle project released ahead of the 2026 FIFA World Cup and shaped around Dutch identity, local communities, and the many cultural histories connected to the national game. Patta approaches the Netherlands through football, music, subculture, family, and younger generations. Orange links the footwear to the recognised colour of Dutch football and gives the release its strongest visual connection to the national team.

The Cryoshot belongs to the Oranje by Patta collection. The range also includes a pre-match jersey, a jersey, an Anthem jacket, a Nike Tech Fleece hoodie, matching joggers, and two pairs of crew socks.

The campaign connects the footwear and apparel with Dutch football figures from several generations. Virgil van Dijk wears the Dutch flag, Edgar Davids brings his long association with Patta and his Surinamese-Dutch background, and Luciano Valente represents younger talent. A local keepie-uppie record holder closes the film. Paul Geusebroek and Vincent van de Waal directed the campaign, while Amsterdam production company 100% handled production.

Nike and Patta will release the Netherlands Cryoshot Mercurial Vapor R9 in Hyper Crimson on June 16, priced at $245 under SKU IM0589-001.

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Luxury homes in Colorado have evolved far beyond traditional paint and drywall. In places like Aspen, Breckenridge, Keystone, Vail, and throughout the Denver metro area, architects and homeowners increasingly view wall surfaces as part of the architectural identity of the home itself.

Over the years, high-end residential interiors in Colorado have developed a very distinct design language. Natural materials, layered textures, warm neutrals, dimensional finishes, and carefully selected wallcoverings now play a major role in defining modern mountain interiors.

The Evolution of Luxury Interior Design in Colorado

Professionals working in the luxury interior market understand that wall surfaces dramatically influence how a space feels. Lighting, ceiling height, natural stone, wood beams, and custom furnishings all interact with wall textures in subtle but important ways.

In mountain homes especially, where large windows and changing daylight conditions dominate interiors, flat painted walls often fail to create the warmth and visual depth clients expect from premium spaces.

According to Kris A., a design consultant associated with IDS and the Wallcovering Installers Association (WIA), luxury wallcoverings and decorative plaster finishes are becoming increasingly important because modern homeowners want interiors that feel curated, architectural, and highly personalized rather than mass-produced.

Why Wall Surfaces Matter in Mountain Architecture

This trend is especially visible throughout Colorado’s resort and mountain communities. Homes in Aspen, Breckenridge, Keystone, and other alpine regions rarely use inexpensive peel-and-stick products or low-grade decorative materials.

Instead, designers and contractors regularly work with premium brands and architectural finishes chosen specifically for durability, texture, and visual sophistication.

Many interior designers today prefer collaborating with experienced wallcovering installation contractors serving Denver neighborhoods because proper installation in Colorado homes often requires specialized preparation methods, especially in environments with changing humidity, elevation differences, radiant heating systems, textured drywall, and large natural-light exposure.

Premium Wallcoverings Used in Colorado Luxury Homes

In practice, premium wallcoverings in Colorado luxury homes often include:

• non-woven designer wallpapers,
• architectural vinyls,
• metallic finishes,
• wood veneer wallcoverings,
• textured grasscloth alternatives,
• commercial-grade Type II vinyl,
• and highly customized imported materials.

Brands frequently specified in luxury interiors include Thibaut, Phillip Jeffries, Schumacher, and other high-end manufacturers known for material quality and dimensional texture.

Decorative Plaster and Architectural Texture Systems

At the same time, decorative plaster systems continue gaining popularity across Colorado’s luxury market. Many homes now combine wallcoverings with hand-applied finishes such as:

• Venetian plaster,
• marble-effect surfaces,
• travertine textures,
• limewash systems,
• concrete-inspired finishes,
• and polished mineral coatings.

These finishes are particularly effective in mountain architecture because they complement natural materials like oak, walnut, steel, stone, and exposed timber. Rather than competing with the architecture, they help create quiet depth and visual softness inside large-scale spaces.

Luxury Rental Properties and Resort Interior Trends

Another important factor is the rise of luxury short-term rental properties throughout Colorado’s resort regions. High-end Airbnb homes, boutique lodges, private retreat properties, and hospitality-focused residences increasingly invest in sophisticated interiors to stand out visually in competitive rental markets.

In these environments, premium wall finishes often become part of the property’s branding and guest experience.

Craftsmanship Behind High-End Wall Finishes

Experienced installers understand that achieving these results involves far more than simply hanging wallpaper. Surface preparation, substrate evaluation, humidity considerations, corner alignment, seam visibility, lighting analysis, and adhesive selection all influence the final outcome.

This becomes even more critical in custom homes where architectural precision and material continuity are expected throughout the entire project.

The Future of Luxury Wall Design in Colorado

As Colorado’s luxury housing market continues evolving, wall finishes are becoming a defining component of modern interior architecture rather than a secondary decorative element.

For homeowners, architects, and designers working in Colorado’s premium residential market, investing in specialized wall finishes is no longer simply about appearance, it is about creating spaces with character, atmosphere, and lasting architectural presence

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