Over the past fifteen years, Neighbour has come to epitomize and even define the menswear concept store through its vision-driven, anti-trend curation, combining a consistent sense of personal taste with fearlessly adventurous picks. In the process, it has played a trailblazing role in turning good clothes into an exciting world all its own. 

In late March, Neighbour opened the doors to a new 3,000-square-foot space on Vancouver’s high street. It’s set in a two-story Edwardian masonry building dating back to 1906 that’s right next to Neighbour/Women, run by Dilawri’s wife, Karyne Schultz. “The space is beautiful and being here feels like a pipe dream that became a reality much sooner than I could have imagined,” he says. 

Raised in Ottawa, Dilawri started Neighbour upon his return from New York City, where he studied fashion merchandising at Parsons School of Design before joining Unis, Eunice Lee’s undersung hero of early 2010s menswear known for clean cuts and quality fabrics that quietly shuttered in 2022. “My parents have that immigrant mentality,” Dilawri says. “They’ve always pushed me to do more. When I was working in New York, they were like, ‘You can’t just stay in one place — you have to grow.’” 

And so he did. After visiting a couple of fashion trade shows across the U.S., Dilawri realized many of the brands he was into at the time weren’t available in Vancouver, or even in Canada. “I figured: I’m 26 right now. I can sign a five-year lease, and then at the end of that time, if it doesn’t work out, I’m not too old to move on and try something else,” he recalls. That first period was tough. Dilawri was on his own, with his sister helping out once a week, still figuring out what it meant to run a store beyond selling clothes. “Even in 2014 or 2015, I thought I’d stop at year five. But then, for some reason,” Dilawri continues, “we started picking up traction, both in Vancouver and internationally.” 

It had much to do with a change in Dilawri’s approach to buying, shifting from stocking what the market said would work to what worked for him personally. “Neighbour’s focus has always been on minimal-looking, fabric-first brands. We’ve stocked Lemaire ever since 2013. But it was only around that time we really started to find our own voice,” he says. Paradoxically, the thing that made Neighbour the most vital store in menswear was thinking less like a store. 

“Some buyers are able to put what they’re into to the side and prioritize what’s popular among their customers,” Dilawri explains. “It didn’t feel right for me anymore. I decided that if I’m going to carry a brand, I need to be able to get behind it fully.” Dilawri may not have been the first to think this way. Yet, his singular dedication to it captures what sets today’s best taste-making stores apart, from established names like Maidens in Japan to newcomers such as Oakland’s Understory and San Francisco’s Rising Star Laundry. For him, this process can be boiled down to a few closely related things. “Beyond my own taste, it’s about the personal relationship with the designer, their mentality and long-term vision, the possibility of growing with them, and the product being so good it can really age.”

Dilawri gives the example of MAN-TLE, the Australian label founded in 2016 by Larz Harry and Aida Kim, who met while working for COMME des GARÇONS. “We’ve become close friends over the years,” Dilawri says. “They’re extremely particular and passionate about what they do, which is contagious. At the same time, they always wear their own clothes and aren’t precious about them at all. Just seeing that makes me connect with their brand even more than I would by just seeing it on a rack in a Paris showroom.”

Though he calls it random, Dilawri’s way of working is emblematic of a broader shift in menswear in recent years — one he has helped make tangible. Consider the buzz new drops at Neighbour creates in menswear Discord groups. Or the excitement emerging designers feel when they know Dilawri might visit their Paris showroom. Or the growing number of small, slow-working labels that find a natural home at Neighbour and other like-minded stores that popped up in its wake. “What we’re doing is incredibly niche,” Dilawri says, “yet I do feel more and more people want to understand a designer’s choices — whether it’s the fabric, construction or finishing — and get behind their clothes without overtly showing them off.” That’s about as close as you can get to defining where menswear is right now: it’s not about buying clothes for how they look, but about getting to know and genuinely caring about what they are. 

Despite the store’s growing success, it wasn’t until early 2020 that Dilawri felt Neighbour was truly in full swing. Then COVID hit. With the world in lockdown, and labels and stores struggling, Neighbour flourished. Its website proved a lifesaver — not just because it looked good, but because it translated the store’s vision for its physical space into an online presence where you could almost feel the fit and fabric of the garments through the screen. “From the start, I knew e-commerce was necessary for running an independent store in a smaller market. And having always been into photography, I wanted it to be editorial — focused on conveying a mood rather than just selling a product,” he says. 

New York-born, Tokyo-based photographer Ian Lanterman played a key role in shaping Neighbour’s visual identity through editorials and product imagery, highlighting texture, drape and detail in soft, natural light. “I found Ian randomly on Tumblr when we had just opened, and we’ve been very lucky to work with him ever since,” Dilawri says, noting that he’s brought on new talent since Lanterman moved to Tokyo last year. 

The importance of long-term personal relationships extends to Neighbour’s latest venture. Its new Vancouver space was redesigned by Olivia Bull and Daniel Garrod, who together run ODDO. Garrod has worked with Dilawri for over a decade on several projects, including his high-end workwear label James Coward, which is stocked at Neighbour. “It’s easy for us to collaborate,” Garrod says, “because I feel there’s a lot of mutual trust and a natural flow of ideas.” 

Though typically taciturn, Dilawri immediately voiced his dislike for the space at 81 West Cordova Street prior to the redesign. “I said, ‘No way!’ It was a dated labyrinth, and I couldn’t envision it being a store at all.” Now that the renovations are behind him, and having spent some time in the space, Dilawri feels very pleased. The floor plan, with many discrete and interconnected rooms stacked vertically, is still a bit unusual. Yet, with the layers peeled back, partition walls removed and natural materials added, it’s now a space where, in Dilawri’s words, “the clothes can breathe.” 

“March in Vancouver is usually super rainy,” he adds, “but since the first day here it’s been really sunny.” 

Nike has always been brilliant at spectacle, but the headlines that followed were just as much about the products themselves, like the US Olympic team’s inflatable jackets and custom $1,000 compression boots. The whole activation was less a flashy relaunch and more a statement of intent: Nike isn’t just revisiting ACG, it’s redefining what it stands for in the outdoors.

ACG’s origins go back to 1978, when two climbers scaled K2 in Nike Long Distance Vectors. Seeing them ditch their clunky hiking boots for a lightweight, more agile runner to tackle the world’s second-highest mountain planted a seed in the Swoosh’s mind. By the late ‘80s, one-off outdoor projects had evolved into a legitimate design philosophy, and All Conditions Gear was born.

Since then, ACG has morphed into different forms. Depending on when you grew up, ACG will likely mean something different to you. A hiking brand to some, a streetwear label to others, or, for a brief period in the late 2010s, an experimental predecessor of Gorp as NikeLab ACG under the guidance of ACRONYM’s Errolson Hugh. (More on that here.)

The new era of ACG draws on decades of expertise, giving it a foundation few can match. But the real challenge it faces is making headway in a busy, arguably saturated, field. As participation in outdoor activities soared post-pandemic, so too has the number of brands and gear. Legacy outdoor brands have doubled down, securing their positions in the markets. Meanwhile, fashion-forward brands like ROA and And Wander have picked up pace, serving a new fanbase looking for something different in how they dress for outdoor activities.

Does it bother ACG? “We have an athlete mindset here, so we love competition. It's fun to compete,” shares Bret Schoolmeester, VP ACG Footwear, when I speak to him at the ACG summit at the Nike campus in Portland. “The answer is always: be better[...] That helps create a point of distinction and improvement versus anyone else in the outdoor space who isn't in nearly as many facets of serving athletes.”

How do they plan to be better? According to Margaret Mussman, Senior Director, ACG apparel and accessories design, “The difference is the power of Nike. The difference is the power of a science brand. Being able to shine a light on the outdoor athlete, so we can power up even more – jump higher, run faster, and be outside longer. It's been a while since AGC got to shine that light.”

Nike’s HQ in Portland is home to the LeBron Innovation Center, the core of its science-driven approach to sport. Inside the towering building is 84,000 square feet of remarkable tech. The highlight is a Cathedral-esque sports hall with the world's largest motion-capture installation, running tracks with underlying force-measurement plates, and environmental chambers that mimic global atmospheric conditions. There’s also a host of various sports machinery with wires and screens hooked up. Walking through it reminds you of the knowledge and access the Swoosh has, and the power that comes with it.

We continue to discuss the evolution of the outdoors in recent years: “[The outdoors] is no longer a crunchy, slow-paced thing. It's high aerobic, high performance,” explains Mussman. “It's serendipitous that ACG gave us the opportunity to fully be Nike and be itself proudly, when maybe it didn't have that opportunity before or that confidence.”

Despite veering into lifestyle territory over the years, the “new” ACG is focused fully on performance. Ultra running, in particular. Their roster of athletes, aka The ACG Racing Dept. counts 30 of the best trail runners, including Caleb Olson and Yao Miao. They’re also sponsoring serious trail events such as Chongli 168 Ultra Trail and the Oregon-based Gorge Waterfalls trail race, for which they built a dedicated campsite experience to bring in media partners to watch the race.

“The extremity of these ultra races, with that level of extreme climate conditions, challenging terrain, and such long distances, feels like a perfect example of athletes pushing both themselves and their gear so far. It created a really high bar for us,” shares Schoolmeester. “The other thing is we are also a great running brand with a strong history of solving runner problems. So it felt like a natural adjacency, yet a new extreme for us to push into.”

In its former years, under designers like Tinker Hatfield and Peter Fogg, ACG did exactly that. It gave Nike designers the space to experiment with wild designs. The Air Mowabb and Deschutz Sandal, both released in the early ‘90s, were unlike anything out there at the time. In this new era, ACG’s track record of innovating continues with pieces like the Radical AirFlow running shirt, the Vista Vert shades, and the Gaiadome.

Beyond products, the new ACG is also bringing back its beloved tongue-in-cheek tone. Back in the day, ACG sought to differentiate itself from other brands in the industry and even from other lines within Nike through its messaging. Tanner Gimbel, owner of Portland retailer The Culture PDX, told Highsnobiety that ACG’s ad work helped build the sub-brand’s cult following. “The creativity, edgy slogans, and somewhat rebellious attitude of it all is really what we connected with.”

Take this early ACG ad presenting the "Top Ten Reasons to Start Outdoor Cross-Training." The reasons offered include “Less likely to bump into people you owe MONEY to,” and “No BAUHAUS architecture in nature.” It was risky, memorable, and full of personality.

For its relaunch, the team has brought back that rebellious voice, Mussmann says. “This is a unique moment that you're kind of resurrecting a spirit that already has sort of a flavor, personality, a personification.”

The best example is the launch campaign, produced with Jeff Tremaine, the co-creator of Jackass. The first film opens with an Attenborough-style narrator speaking over a grainy image of Earth slowly rotating. “If you’re looking at the world from the horizontal comforts of your couch, bag of chips in one hand, doomscroll machine in the other, of course, the Earth is just dirt and sticks and moss and bugs and stuff,” the narrator says.

This was followed by the ACG Racing Dept. clip, which undeniably references Jackass: The Movie’s opening sequence, only this time it's runners. It’s grainy, dirty, and chaotic–a true reflection of what it’s actually like to run 100 kilometers through rain, mud, and pain.

This subversive spirit is deeply entrenched within ACG, Schoolmeester explains, right down to the athletes it's working with. “When you meet these people (the Racing Dept.), they're not typical, like, straight up the fairway, straight-laced athletes. That vibe should also show up in the product, because it should reflect them and who they are. Oftentimes, that is very fun and truly irreverent.”

In just a matter of months, ACG has excelled at worldbuilding. Ultimately, though, the true question of ACG’s success will lie with its product. The imprint has kicked Nike’s gear up a notch, but only time will tell. “The way I've sort of communicated with my team is: If you think of time as a train moving down a track, our job is to jump it, break the timeline. Sometimes that's material. Sometimes that's digging something out of the dirt. It's distinguishable. It's clear. That's the high, if you will, we're chasing constantly.”

This shift feels not just like reinvention, but as a confident return to the brand’s former cutting-edge form. “It feels like it (ACG) can take risks," confirms Mussmann. "This feels like the old Nike, but actually, this is new Nike. This is just how we get to be proudly ourselves again. I still fully believe in Nike. I wanted to be an athlete because of Nike. Nike taught me that confidence, and now I want to give that to other people as it relates to the outdoors, especially.”

The latest collaboration between New York-based designer Willy Chavarria and adidas Originals takes one of sportswear's most iconic silhouettes and adds a single, considered detail that changes the entire conversation. 

A three-dimensional rose, rendered in relief on the toe cap, turns the shell toe into something altogether more poetic. It's a small move with a lot behind it.

It sounds simple. It isn't. The rose has carried weight across cultures and centuries, love, loss, resistance, beauty. On a black and cream Superstar with a hit of gold metallic, it reads less like decoration and more like a statement. Quiet, but loaded. 

The kind of thing you clock immediately but can't quite explain why it works as well as it does.

That's very much Chavarria's thing, and one he’s achieving in an abundance of recent collaborations. His work consistently finds the tension between toughness and tenderness, between the streets and the runway, and this collab sits right in that sweet spot. 

The Superstar was already a shoe with history. Now it's got something to say. And it's saying it beautifully.

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For most, tailoring has long carried the weight of something reserved only for big occasions; rigid silhouettes for rigid events. But more recently, the narrative has shifted, the fits have loosened up, and fabrics appear and feel as though they can breathe at last — as can their wearer. In other words, tailoring has finally learned to relax.

No longer dormant between black tie-optionals, what we’re after now are pieces that live with you. A blazer you can hang over any random t-shirt, pants that belong at at a wedding as much as they do a regular Tuesday, a vest you can stuff into a bag without worrying about it crinkling because it actually gets better with wear. Some materials, like linen, thrive on these imperfections, with a few wrinkles only adding to their charm.

All this to say, it's no longer about locking into fully formal sets. In fact, it’s better to not. A buttoned sports coat with denim? Tailored trousers with a tee? These slight mismatches are exactly what make it feel current.

Relaxed Tailoring Is A Man's 2026 Uniform

Lightweight

The assignment? Tailoring minus the stuffiness. Think airy cottons, shapes that move and crease. These are the blazers you throw on without thinking, the ones that don’t require an entire ensemble built around them. Easy but never careless.

Leg Room

This is where the shift really shows, in pants that are wider, draped, with just enough volume to alter a silhouette towards something more elegant, yet no less appropriate for mere casual day-to-days. These hold their own with a fitting top portion, but read just as right with something simpler. A quiet centerpiece, hard at work.

"Suitility"

Somewhere between tailoring and workwear. More texture, more function, less fragility, these are clothes you wear, re-wear, and don’t overprotect. They're structured enough to feel sharp, and utiliatrian enough to lean on for... everything.

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This time, it comes in the form of the Vans Loafer Mid, exclusive to Japanese retailer Billy’s, which puts a new, even weirder spin on Vans’ leather loafer.

As if the moc-toed, tassel-accented Vans loafer wasn’t enough of a deviation from usual programming for the California skate brand, the minds behind some of the world’s most understated kicks have lengthened the ankle.

Now available in two mid constructions, the Vans Loafer somehow succeeds in feeling even more alien than it did before.

Built atop Vans’ signature vulcanized rubber sole unit, the silhouette is delivered with hard-wearing matter leather uppers in black and brown.

Classic loafer features like leather tassel detailing to the vamp and a pinched moc toe contrast with a familiar Vans silhouette which is made even more analogous with a now ankle-height collar.

The Vans Loafer Mid comes not just as a head-turning new silhouette for the brand, but also as a statement of intent. In a saturated sneaker market, Vans is willing to one-up itself and its competitors, and we have to say, as weird as it is, the outcome is surprisingly wearable. 

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Vans' Authentic Ease ditches traditional sneaker hallmarks like a structured eyestay and pronounced collar in favor of 2-eye laces and a raw-edged opening.

So to say the Authentic Ease is pared back would be quite the understatement. Instead of the typical thick cotton laces that are all but synonymous with skate shoes, the Authentic Ease wears thin, flat laces that bolster the sneaker's unassuming disposition. 

The leather upper’s crepey wrinkles add a layer of delicateness to the already delicate design.

In fact, the only real structure comes at the outsole, where Vans' signature rubber platform affirms the shoe's position as a true skate sneaker. 

Despite its lightweight presentation, the Authentic Ease sneaker, available on the Vans website for $80, should still be able to hold its own at any skate park. It’s just that the Authentic Ease's upper is so simple, it transcends time. It looks like it should exist in a age before skate sneakers, more like the concept of a sneaker than an actual functional shoe. 

Maybe it's what you'd get if you asked someone to draw a sneaker from memory with no reference material. There are no frills to speak of, and in an era where overdoing it is the norm, the simplest Vans sneaker still stands out.

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Up until now, though, the Karintha has just looked like an adidas shoe. It’s been made distinct for its wavy thin sole and Wales Bonner’s signature high-texture fabrics, but it’s always recognizable for its sportswear influences.

The Spring/Summer 2026 Karintha, however, is unrecognizable. 

The all-new Karintha isn’t a three-striped sneaker but more of a sandal informed by leather hand-woven in Brazil. But the wavy and sporty sneaker sole remains, creating a point of contemporary contrast against the handmade upper. 

That tension has always permeated throughout Wales Bonner’s excellent adidas sneakers, where rustic handstitched details and crochet stripes jar against mass-market adidas sneaker classics. And you see more of that across the SS26 selection that releases on April 27, from Wales Bonner’s pony hair Gazelles to Adios runners with a handwoven tongue. 

But the clash between contemporary adidas sneaker and old-fangled handwrought embellishments peaks on the woven Karintha. Which is to say, the most Wales Bonner sneaker of them all got the most Wales Bonner treatment. 

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Kapital's Century Denim is perhaps the Japanese brand's single most prized material, a bespoke sashiko-stitched cotton denim often dyed with traditional persimmon or ink treatments that leaves it rigid, ready to be broken in. The process of making Century Denim is so intensive that, legend has it, Kapital has to enlist four separate factories just to produce it.

It looks unlike any other raw denim on the market because it is unlike any other raw denim on the market. Though sometimes still offered in indigo, Kapital's Century Denim is more frequently earthy and brown, its countless little stitches creating three-dimensional texture exaggerated through wear. Even as Kapital's tastes have evolved — although, folks, let's be clear! The LVMH deal changed nothing in the brand's day to day — Century Denim has been a constant (as has its prices. That extra processing costs a pretty penny).

Even its application has hardly changed. Until now, Kapital almost exclusively deployed Century Denim in conventional trucker jackets and jeans, never anything weirder than an overall. These giant jorts represent a radical departure for a radical textile.

About time, really. Kapital has evolved to centralize the goofy, fun — but always well-made — stuff that used to be a blip in its huge collections. But enough smiley-face camo and bandana tees! It's about time that Kapital's signature material followed suit.

These shorts are part of Kapital's typically gigantic Spring/Summer 2026, which includes everything from XXXL rugby shirts to palm tree-printed chore coats. The overarching theme is beachside livin' (mind you, the collection's title, "Isla Bonita" is probably not a Madonna reference) and the shorts are a direct homage to the cropped pants worn by rice farmers who toil on Japanese islands.

And they're good, too! Kapital gets a lot of hype for a lot of reasons but it really is great at making clothes.

These shorts could've just been oversized jean-shorts made of Century Denim and still been a big deal. But they're instead thoughtful cropped trousers fitted with pleats on their front and rear that reign in the volume, while deep angled pockets keep necessaries from tumbling out. The shape, combined with the fabric, really makes it clear that these are the final boss of jorts — these things simply do not get cooler or wilder (or wider).

Available at stores like Blue In Green for around $500 in both kakishibu and sumi variations, the Century Denim jorts are just plain good. They don't really need to be justified. What a beautiful way to flip the script on a well-established Kapital klassic.

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To mark a century of rugged tool watches and horology that punches above its weight, Tudor is reviving a forgotten wristpiece. The Monarch, a sports watch line central to Tudor’s offering in the early 2000s but overshadowed by the Black Bay launched in 2012, is finally back.

The 2026 Monarch boasts the new calibre MT5662-2U movement, which is Master Chronometer certified by METAS and helps justify its price ($5,875) at the top-end of Tudor’s range. And the newness continues onto the outside, featuring a steel bracelet and 39mm case with sharp angles unlike the Monarchs that came before, yet the 2026 Monarch still carries the vibe of an early-2000s sports watch. Much of this retro feel comes from the yellow champagne dial with its textured, vertically brushed finish Tudor created to evoke old papyrus paper.

The dial matches that of Tudor’s first-ever moonphase watch, released last year, and its unveiling has been met with equal levels of surprise at this year’s Watches & Wonders. 

The Rolex-owned watchmaker was expected to bring out limited-edition takes on fan favorites for its centennial. And Tudor did just that at the watchmaking convention, presenting several Black Bay designs like the first fully blacked-out ceramic and a sapphire blue Black Bay 54. 

But those were expected, somewhat, whereas the Monarch’s revival was a left-field choice. This isn’t a widely-known watch nor one that’s been building a buzz among vintage collectors, yet its few small tweaks made it arguably the standout from Tudor’s big 100th-anniversary moment. 

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The lookbook leans into layering with field jackets, light down gilets, and washed nylon shells and parkas made to slip in and out of, rain or shine. And as we deserve, the campaign is fronted by actor Jamie Dornan — a man both meltingly hot (he was Christian Grey in the 50 Shades films, after all) and notably Irish, coming from a land of all manner of weather conditions.

With Moncler’s spin on summer staples comes a more seasonal color palette: the women’s selection is flush with pastel pink and Creamsicle orange, florals, and gingham, while the menswear is rife with grass greens, sky blues, and sunset-ready deep reds. 

As we’ve come to expect from a brand as famed for its outerwear as its lavish events, Moncler’s Summer collection isn’t dropping without a few stunts up its puffy sleeves.

The brand’s new collection is bringing an entire zoo of larger-than-life animals to boutique locales around the world. 

Milanese shoppers hungry for grilled polpo may be compelled to scale 10 Corso Como to reach a massive inflatable octopus wrapped around the boutique’s inimitable facade for Milan Design Week, while whales, seahorses, crab, lobsters, and flamingos can be found everywhere from Dover Street Market Ginza through to Miami’s Design District. 

Call us crazy, but these lighter layers and pleasantly puffed-up animals have us convinced that we actually do need to pair our favorite summer shorts (or shin-sheathing pants) with a flash of Moncler. 

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Since this collaboration-crazed farm-affiliated fashion brand started in 2022, it’s done it all from workwear to sportswear to streetwear. One category has remained elusive, though, and an upcoming Sky High Farm Goods x The North Face collaboration will plug that gap. 

“This is our first foray into truly functional outdoor apparel,” Daphne Seybold, co-founder and CEO of Sky High Farm Goods, tells Highsnobiety. “Our ultimate goal has always been to produce performance-driven garments that meet the demanding utility needs of farmers and other tradespeople, while straddling fashion and culture. This capsule is a direct reflection of our identity as an impact-led brand committed to generating net positives for both people and the planet.”

We got Sky High Farm Goods double-breasted suits (in collaboration with Denim Tears) before we got Sky High Farm waterproof outdoor gear. Which is kinda wild because the latter is the kind of stuff you actually need in the great outdoors — like, on a farm, for instance.

On April 23, the duo launches a range of what Seybold calls The North Face's "time-tested icons," like weatherproof mountain pants and a shell jacket (“an essential layer for wet-weather farming,” according to TNF’s press release). Sky High Farm Goods’ interventions are ensuring the materials are 100% recycled and decorating the all-black outdoor gear through fuzzy appliqués and all-over prints of the brand’s moon and strawberry logo. 

“We were deliberate in how these graphic elements showed up across the collection, creating a system of dress appropriate for the outdoors,” says David Whetstone, The North Face's director of global collaborations and energy. “While Sky High brought a lightheartedness, when [the logo is] applied on black, the intensity of The North Face is present.” Ensuring this branding is legible is vital because it carries Sky High Farm Goods’ vital message. 

Seybold, a former marketing executive at COMME des GARÇONS and Dover Street Market, started the brand to both raise money for Sky High Farm, a New York agroecological farm, and to spread the word about food equity. After all, as she previously told Highsnobiety, “If you look at the media impressions between fashion, food, and beauty — the categories we've decided to enter into — those media impressions dwarf [the ones for] climate talk.”

The hope isn't just that you wear these outdoor clothes embellished with a fun strawberry and moon, but that they inspire you to dig into Sky High Farm Goods' greater calling.

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