Maison Margiela’s RIMOWA partnership consists of just two pieces, each a perfect representation of Margiela doing RIMOWA, and RIMOWA doing Margiela. Both Margiela’s 5AC XL and RIMOWA’s Cabin suitcase are blasted with white paint (the campaign film shows as much), and informed by each other’s design language. The 5AC wears RIMOWA's ridge detailing on its leather, while the Cabin gets a four-stitch logo. 

Margiela and RIMOWA meet on common ground regarding an obsessive attention to detail, though they both approach it from different vantages; Margiela deconstructs things, RIMOWA is all about the impeccable construction of one thing, a good piece of luggage. 

If there’s one takeaway from this collab – apart from the fact that I wish I had $10k to make it happen for myself – it’s that RIMOWA is more conceptually “Margiela” than people think. As in, RIMOWA luggage is designed to be pristine, sure, but the way the aluminum wears and tears after years of travelling reminds me of the desired effect of Bianchetto.

Your scars make you beautiful, or whatever that one song says, whether it be your RIMOWA suitcase or your painted GATs. Or, now, your RIMOWA suitcase, which can get dinged up and sport that Margiela deteriorated paint look. 

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The event, hosted with Google Pixel, marked the end of PIFT’s inaugural academic year. Photographer and filmmaker Campbell Addy hosted the evening, welcoming guests to an exhibition of the work developed throughout the program. There was plenty to take in, from unexpected visual experiments to new approaches to product development. More importantly, the projects offered a glimpse into the creative decisions that had taken place behind the scenes over the preceding months.

In his opening address, Addy was keen to establish that the initiative wasn’t about technology for technology's sake. “It’s about people, curiosity, experimentation, and what can happen when you bring different creative minds together and give them the space to explore something new,” he said. It was a sentiment reflected in the work on display. Rather than imposing a particular method or aesthetic, PIFT allowed each participant to decide where these tools could fit into their practice.

That freedom made for an interesting mix. Ottolinger’s experiments with Gemini took the label’s familiar mesh T-shirt into new visual territory, with Christa Bösch and Cosima Gadient discovering that prompting could become an unexpectedly collaborative process. Their experience was a reminder that working with AI is not necessarily about getting an instant result. Sometimes, the most interesting outcomes come from letting an idea develop in unanticipated directions.

Lou de Bètoly investigated the possibilities of digital fashion imagery, finding ways to give traditionally static product visuals a more surreal and animated quality. Lukas Krobos explored new garment silhouettes through digital visualization, using a flower as the reference for a dress. His approach also highlighted an important distinction between using technology to generate ideas and allowing it to take over the design process. Matthias Schweizer of OBS took a more material-focused route, developing the brand's first heavy cotton canvas bag after previously working exclusively with leather. Chet Lo used Gemini’s Deep Research capabilities to investigate the visual references behind his forthcoming collection, moving from seemingly incidental observations toward a more developed creative direction.

Each project retained the character of the person or label behind it, with the tools adapting to their needs rather than the other way around. As Addy explained during his speech, “The intention was never to make everyone work in the same way or arrive at the same result.” It was a particularly relevant point in a moment when conversations around AI often seemed to suggest that creative work is heading towards a single, increasingly automated future.

Instead, the showcase presented a more considered picture. Technology helped designers research more efficiently, test an idea before committing to a physical sample, or find an entirely new way to communicate a collection. But none of those possibilities meant much without the instinct and judgement of the person behind them. “Technology is most exciting when it doesn't replace the creative mind but gives it another way to think, explore, and express itself,” Addy told guests.

With the first edition complete, a new cohort is on the horizon. They’ll bring their own references, working methods, and questions to the program. If the inaugural showcase demonstrated anything, it was that the most interesting developments in fashion technology are unlikely to come from the tools themselves. Instead, they will come from the people who find unexpected ways to use them.

The collaborative 600 skate shoe comes decked out in black leather uppers, teal Tiffany-coded blue accents, and, yes, jellyfish, all nodding to Atlantic Drift's signature aesthetic. The jellyfish, in particular, has been with Atlantic Drift since the very beginning and later showed up on its clothes and skateboard decks.

Now, the famous mascot's swimming all over its New Balance skate shoes.

Like other New Balance Numeric models, Knox's 600 often gets some killer in-line color options and collaborations (recall those trippy 600s by Krooked Skateboards). The latest release is extra special, though.

It's a full-circle moment, honestly. Tom Knox was one of the many memorable faces to star in Atlantic Drift. Now, Knox's signature pro model is at the center of the Atlantic Drift x New Balance Numeric collab.

The collaboration is slated to release on New Balance's website on November 15 for $110. What a steal for a piece of wearable skate history.

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Hellstar's ongoing partnership with adidas is one of the most exciting forces in footwear right now. Building on earlier milestones like the Hellstar x adidas Megaride S2 and the vibrant Hellstar x adidas Superstar Hazy Orange, Sean Holland's imprint consistently proves the power of bridging archival silhouettes with new energy.

The adidas Megaride is already a tried-and-tested canvas for Hellstar, but this Black/Solar Lemon colorway seems to fit the silhouette the best yet. It perfectly embodies Hellstar’s dark, gothic aesthetic merges with the technical angle of the Megaride S2. 

The shoe’s futuristic tunnel cushioning offers an aggressive structural base that melds so well with the 3D flame motifs that typify Hellstar’s signature.

Eye-catching Solar Lemon open-cell mesh lays the bold foundations for this pair, with contrasting Black overlays to demarcate the 3D flame design running the full length of the shoe.

At the heel, the iconic hollowed-out Megaride foam tunnels deliver a comfortable, weightless ride, resting on a durable rubber outsole delivered in a transparent Ice rubber.

Custom Hellstar branding graphics adorn the tongue and insoles, cementing the collaboration’s identity. It’s a nice touch that rounds out a collaboration that really goes the whole way. No corners are cut; if something can be changed, Hellstar changes it.

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It's a new low-soled sneaker inspired by the brand's archival indoor shoes. It's honestly a "spezial" remake of the adidas Barrington Smash, dressed in a more luxe, fall-worthy outfit.

For its debut, adidas' Halewood lands in rust-orange suede with dark navy blue leather accents, plus a classic rubber outsole for sporty grip.

We already knew adidas made good flat sneakers, as evident with other bangers like the Tokyo, Samba, and even the Handball Spezial. With the Halewood, the brand clearly hasn't missed a beat. Translation: it's another goodie for the collection.

The Fall/Winter 2026 SPZL collection also includes another stylish flat shoe called the Hawaii alongside the dressy Albrecht II and hiking-style Wetherlam boot. See, I told you there's something for nearly every shoe enthusiast.

adidas' Halewood SPZL sneaker is now available on its website for $130, along with the rest of the collection.

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If the 2006 family comedy Night at the Museum taught me anything, it’s that the hallowed halls of great institutions make for one helluva backdrop. Done right, setting your project inside a museum all but promises to elevate whatever you’re selling, whether it's a Ben Stiller-led cinematic masterpiece or a fashion campaign. Cultural institutions signal taste, and few things feel hotter in the clothing industry right now than tapping into taste. 

But a museum on its own can only do so much. Merely placing expensive clothing next to historical artifacts and fine art may feel like a shortcut to elevating your product, but if you do it wrong, it risks feeling like set dressing. Your product could end up looking as much like a prop as the art on the walls (and far less valuable). See, succeeding in this business of culturemogging means putting your wares in real dialogue with your surroundings so that the setting drives the narrative instead of just decorating it. 

Judging by a pair of museum-set Cruise 2027 campaigns, it's easy to miss the memo. 

Louis Vuitton’s latest campaign has the luxury house’s womenswear division taking over New York’s Frick Collection for the latest chapter in its multi-year sponsorship deal. (The funding announcement coincided with the May Keith Haring-inspired runway show, which was very squiggly but unfortunately very stale.)

Here, the Cruise collection is juxtaposed against the museum’s Gilded Age interiors and 19th-century masterworks, but it’s a low-effort approach that just doesn’t gel: One shot shows actress Amiah Miller posed as the central figure in a James McNeill Whistler painting, which is hung just behind her. Very “go girl, give us nothing.” 

Out west, in Dior’s campaign inside the Los Angeles County Museum of Art, the vibe is at least true to Jonathan Anderson. That is, it's very brainy and lore-heavy, to a fault. Jennifer Lawrence, Greta Lee, Taylor Russell and Drew Starkey are all there, attempting to look casual and fake laughing, but weirdly, the stars feel secondary to the Easter eggs only true Anderson fans will catch (and then, inevitably, disseminate on social media): Claude Monet’s Water Lilies references the water lilies from Fall/Winter 2026, while Adriaen Coorte’s Strawberries in a Chinese Porcelain Bowl is a nod to Jean Siméon Chardin’s Basket of Wild Strawberries, which Anderson borrowed from the Louvre for his Dior debut show.

Are all these subtleties clever? Sure, but winking only does so much when the models (and the clothes they’re meant to be selling) feel Airdropped into the shot. It doesn’t have to be this way. Some brands actually understand the assignment, making the setting just as much a character as the cast.

Take Noah and PUMA’s literally cheeky 2023 ads, where sportswear-fitted modelsare dropped into a fictitious museum, while everyone else, from other patrons to the security staff, is stripped bare. 

It's fun in a way that these more recent ads aren’t, poking fun at the highbrow pretension that cultural institutions can often carry. Though hey, sometimes pretentious works — should you be ballsy enough to lean into that route.

When Raf Simons’ first campaign for Calvin Klein debuted in 2017, the “American Classics” ads posed models in staple pieces from the brand in front of works from some of the country’s most important artists, like Andy Warhol and Richard Prince. The point was that a pair of CK briefs has the same cultural cache as a Warhol. Each ad even came captioned with notes on the artwork and artist, like a museum placard. Agree or not, the ads work because the clothes are actually in dialogue with the art, not just placed in front of it. 

It’s been nearly a decade since the campaign, and the spheres of art and fashion have never felt more overlapped. That doesn’t just mean brands should set up shop inside more museums; it means the industry has never been better positioned to argue the same point Simons made years ago: A good campaign can elevate clothing to pop culture, if only you know how to frame it. 

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A good sneaker should keep up with whatever the day has planned, terrain and to-do list be damned. The days of sneakers being specific to one purpose are long gone, and my strictly carry-on-only flights are all the happier for it.

Over the past week, I put the FILA x Highsnobiety Sneaker Weathervane to the test on a fairly varied itinerary. First (and most surprisingly), I found myself wearing them on clay tennis courts in Lake Como. There’s something about playing tennis on clay that makes you feel considerably more sophisticated than your actual level of play probably warrants. I certainly am no Rafa Nadal, but the sneakers held up nicely for someone at my I-used-to-play-in-high-school level. Comfortable, easy to move around in — and, more importantly, easy to clean afterward! — and more than capable of handling a few rallies. I, for one, am glad we stayed away from the pristine white Wimbledon style and went for a nylon-and-suede grey staple with brown soles.

Next (and less strenuously), I put them to the test off the court while sipping espresso martinis in an all-grey tracksuit at one of the most luxurious villas I’ve ever been to. Chat, tell me it’s chic to wear athleisure in a decadent baroque setting. Even back home in Berlin, they’ve become my go-to for strolling around while there’s still a little warmth in the air — before the cold properly arrives and I’m forced to look for a good pair of winter boots. From tennis classes to lakeside aperitivos to running through airport security, they’ve covered quite a few different settings in the space of a week.

Not every sneaker in a tennis collection needs to belong on the baseline. This one may take inspiration from FILA’s tennis archive from the 1970s and 1980s, but its relaxed silhouette makes it a serve anywhere. The slouchy construction makes it casual, too, and its lightweight feel reminds me of the latest Balenciaga sneakers. 

Look closer, and there’s plenty more to appreciate: a curved eyestay, wraparound sole panel, twin curved heel counters, and a lace loop at the toe box. It’s a far cry from the classic tennis shoe, and that’s precisely the point. I’d never wear a traditional tennis shoe as casual footwear (no offense to any athletes skimming this), but I would be much more inclined to add these to my rotation than I initially expected. I like a skinny, light sneaker that works with everything, from athleisure wear to jeans and skirts.

I originally brought these shoes along for my Lake Como work trip because I wanted to feel as though I were stepping back into the golden age of tennis and the Mediterranean lifestyle of the late 1980s. But as it turns out, they weren’t quite ready to come home and retire to the shoe rack.

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Enter Brain Dead's adidas Zuperklimb. It keeps much of the original foundation, but with Brain Dead twists. Off the bat, I noticed the brand dressed the sneakers in the same colorful fuzzy suede as seen on its Forest Hills and Japan Lo collabs. There are also some more luxe hiking-style details, leather Three Stripes, and smooth matte guards on the toe and heel.

Oh, and the Brain Dead pairs come with an updated sole cushioned with adidas' Adiprene technology. It's a classic, remastered and refreshed.

Brain Dead's Zuperklimb shoes land in three colorways: brown, green, and black. What's more, the fuzzed-up climbers are joined by outdoor-focused clothes including cozy pullovers and techy baggy pants. The newest collaboration is slated to release on November 20 on adidas' website.

It's safe to say anything Brain Dead touches turns cool, from bowling shoes to early-2000s climbers. This brand's just got the magic touch.

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Between childhood traditions (cringey then, comforting now), gifts you couldn’t wait to unwrap, and the feeling that it could all last forever, even the “Scrooge” in your life would get a little sentimental.

Adulthood, with all its highs, lows, and unknowns, has a habit of taking the fun out of the season, but Gap has long understood how to bring the magic back. The California-based brand is as much a harbinger of the holidays as Christmas’ unofficial crooner Mariah Carey. 

Just think back to its classic, cozy knits your mom would wrangle you into for family portraits, the mad dash to its stores to scratch a few things off a wishlist, or its seasonal star-studded ads that somehow never left our screens. Suffice it to say, Gap’s got the holidays in a chokehold, and this year, New York City’s feeling it first. 

While rain fell over Williamsburg last night, the brand brought cozy vibes indoors with a holiday bash celebrating its beloved CashSoft collection. Soft knit sweaters lined the walls and racks of the scarlet space, with guests sifting through the selection, gifts top of mind and cheeky concoctions in hand. Playful seasonal doodles were scattered across the cherry-red interior while footsteps padded across the matching red floor, as chatter filled the room. It was opening night at Gap’s CashSoft Lounge, and it sure felt like it, with the who’s who of NYC’s style scene, from Olivia Joan to Ian Jeffrey, showing up in their holiday best. 

They grooved to bouncy house beats by DJs Rae Sada and ANASTAZJA, posed for moody Polaroid portraits shot by Happy Beginnings Studio, and personalized their Gap picks—from cozy striped socks and knit triangle scarves to cashmere-soft totes—with custom embroidery before having them wrapped up in a neat bow by the night’s end.  

So, guests left with a few gifts to put under the tree and bellies satisfied by sweet treats and spirited cocktails from Loser’s Eating House, a decidedly adult version of the nights we’d stay up to leave cookies and a glass of milk out for good ol’ Saint Nick. But Gap’s festive fun was only getting started, with the CashSoft Lounge set to take over Williamsburg for the entire weekend. 

From Friday, November 13, to Sunday, November 15, 11 a.m.- 6 p.m., New Yorkers can get the gift of Gap with its immersive pop-up and a head start on the holiday season, all in one. Head to 106 N 6th St, Brooklyn, New York 11211 to check it out!

Well, more like 2027, really.

Official images of the brand's Air Max 90 Tech sneaker have landed, revealing a modern tech-style spin on the 36-year-old Nike sneaker.

Think of it in the same vein as those cool Air Max 95 Big Bubble Tech sneakers. Clean lines and streamlined uppers, while also maintaining some of those classic touches. With the Air Max 90, it keeps its signature layered upper but in a more futuristic way, with sleek, see-through layers and simplified laces.

The Air Max logo on the side is still there, along with the iconic Air cushioning boost underfoot. It's just outfitted in new saucy "tech" clothes.

Nike's starting us off with a clean "Grey/Volt" colorway for the Air Max 90 Tech's debut. Hopefully, it gets a rollout similar to the Air Max 95 Tech, with several nice color options.

As far as a release, the Air Max 90 Tech sneaker is expected to drop on Nike's website in 2027. Hey, maybe if we're lucky, we'll catch them around Air Max Day.

Then again, with official images already in view, we could see the techy Air Maxes sooner rather than later.

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The Air Jordan 1 Mid SE "Space Jam" sneaker features purple-ish blue textured leather overlays and matte black underlays that quite literally look like the night sky.

On the side, there's a large redesigned Swoosh that resembles the collection's main Space Jam Jumpman logo. It features the same orbital lines and planetary dots, but in the shape of the famous Nike motif. Very cool.

The Air Jordan 1 Mid SE "Space Jam" sneaker is now available on Nike's website for $140. There are also several other sneakers up for grabs, including the other Mids, plus clothes for the whole family. And the Jordan Brand ain't done yet.

There's more to come throughout the rest of the month, like "Lola Bunny" Jordan 3s and those "Green Screen" Jordan 11s. And we haven't even gotten to Beyond the Jam, the six-part docuseries which airs on YouTube on November 15.

What a time to be alive and be a Space Jam and Jordan fan.

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Its new collaborative Lugger Ballerina with Clarks, which Highsnobiety can exclusively reveal here, is exactly the kind of surprise silhouette that keeps things fresh. Though technically a loafer-ballerina hybrid, the shoe looks like the kind of thing you’d see a Westerosi innkeeper stomping around in on Game of Thrones — and given that it was inspired by the OG Clarks Lugger from the British heritage brand's deep archives, which just celebrated its 200th anniversary last year, a bit of medievalcore flair makes sense. 

Available in either suede or leather, the shoe has an upper that folds over and is stitched on one side only, with rivets around the collar. The allure here isn’t just in the strange, empanada-like shape, though that does help set it apart. Equally appealing is the bold move by Clarks to let a young brand like LAAGAM, which was founded less than a decade ago, trawl its archives and take the reins. 

Turns out that centuries-old brands can still have hot streaks when paired with the right collaborator. This is just the latest in a string of great shoes coming from the Clarks camp: Last year’s bicentennial saw it release collabs with everything from Korean clothing brands and Chinese bag-makers to English rockstars. That energy has carried over into 2026, as we saw from the Moncler-made Wallabee.

LAAGAM may feel like a left-field choice on paper — the brand launched from a crowdfunding campaign and is co-founded by Spanish fashion influencer Inés Arroyo — but that kind of risk is sometimes exactly what’s needed to zhuzh things up. With the Lugger Ballerina set set to drop on November 18, these innkeeper-ready shoes arrive just in time to make a “winter is coming” joke as you slip into the most interesting footwear to drop in months. 

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Loukeman’s story began almost by accident during COVID-19 lockdown, when Fenton uploaded a collection of bedroom-produced beats to streaming platforms under the title “Sd-1” without giving it much thought. The artwork showcased Stardog, a dog-like extraterrestrial character with a star-shaped tip on its tail. It was created by his friend and creative partner Dylan Hancock, aka @dyltwosix, to represent their friendship group, and it would end up being the cover of his next two albums as well. Fenton and Dyltwosix met through skating in Toronto when they were teenagers, and a decade later, they are touring the world together.

Fenton is also part of a wave of Toronto artists shaping the city’s new electronic sound — one rooted in collaboration, community, and a shared creative vision. At the heart of this movement is @sdmusicgroup416, a close-knit collective that includes Dyltwosix, Brat Star, and Ian Mills. 

Five years on, the final chapter of the Stardog trilogy has arrived with “Sd-3,” bringing the project full circle. What started as an informal mixtape has evolved into a cult phenomenon. Today, Fenton’s listening parties draw queues stretching several blocks in New York City. Along the way, he has collaborated with artists including Vegyn, A$AP Rocky, Fred again.., PinkPantheress, and Aminé.

With the Stardog chapter now complete, Fenton is already looking ahead: exploring film scoring, pursuing more solo work and collaborations, and deliberately stepping outside his comfort zone as both a producer and DJ. We caught up with Fenton amid his Europe and North America tour to discuss the making of Sd-3, the creative process behind his distinctive sound, his habit of making beats before the morning coffee is ready, and what comes next.

First of all, I want to talk Sd-3. It’s the latest chapter of this era. How did it feel to release an album now that your fan base has grown? 

Every time I make a new project, my main goal is to not overthink it, keep it really simple, and stay close to the essence of my music.

Is that your way to get over the pressure a little bit? To say, “Okay, let’s stay grounded?” 

Exactly. There were many times when I was trying to produce for others or trying to make music that I thought would give me a music career. And then when I gave up on it and just put out a mix tape of stuff that I didn’t care about, when I was like, “These are just my little funny beats,” that’s when it worked.

That’s what happened with Sd-1.

It was a blessing that the first thing that worked for me was truly something that felt natural. What I also sometimes think to take pressure off is: “Well, I’ll make one project and then I’ll make another and then I’ll make another and I’ll just keep making music.” It’s easy to get in your head, but you have to simplify it.

What’s the common thread for you between the three Stardog albums? 

I see Sd-1, Sd-2 and Sd-3 as the same thing, but at three very different stages of my life. Especially with Sd-1, I just think of my friends. That’s where all that stuff comes from: Toronto and being with my friends and trying to make music that feels like it comes from there. I’ll be playing something and my roommate, Dyl [Dyltwosix], will be like, “That’s hard.” And I’ll go, “Alright.” It’s simple brain: “Oh, it feels good? Okay, nice.” That’s my approach with all those projects. And when I think of them three, I think of a time in my life where I was just with the homies. You couldn’t have planned that consciously. You can’t force not trying or making it chill. 

Who besides Dyl belongs to your Toronto community? How else do those people influence you?

They’ve always had an influence on me. Specifically working with Dyl and ML [Brat Star], I was able to learn how to record them and learn how to make a song and arrange it with vocals. Working with my friends is the place where I have the most confidence other than when I’m alone. I feel like my friends like my music and they trust I can make something interesting. And if I don’t, they don’t care. They think it’s funny and we all laugh. It instills confidence in me. 

Working with artists such as A$AP Rocky and PinkPantheress means entering very different musical worlds. Have you ever been in the studio with someone and been surprised about how it turned out? 

The A$AP Rocky one was pretty sick. He’s a super nice guy, and I love his music. I just played him beats, and he liked them. And it was kind of scary: You’re in a room full of people in silence. It’s like when someone hands you the aux cord and you press play and hope they like it. 

You work with your friends a lot, but you were also telling me that you like to be at home alone making beats.

I feel most at home and most creative when I’m at home, not thinking too much, and I got the whole day to just make beats. When I work with people, I struggle to keep that confidence up and maintain the same instinct that I have when I’m alone. When I’m at home, I don’t double-take anything I do. I can make the worst thing ever. Nobody will know. I can make the best thing ever. Nobody knows. It’s perfect.

Do you prefer that to performing live, too?

Live music is something I’m trying to figure out because it feels a little less natural. I don’t love going out. I don’t love late nights and clubs. I like to wake up early and have a coffee and make beats and then go outside and then…

You make beats early in the morning? It’s 8 a.m. and you’ll be like, “Okay, time to start?”

When I’m up at the lake, I’ll put the coffee pot on and try to make a beat before the coffee’s done. ’Cause then you did it — you made your first thing, and you’re done. Anything else is icing on the cake.” Creatively, that’s the best way for me. Just be swift. Don’t overthink. Bounce things down to audio and keep chugging along. The key is to make an idea, which for me is usually captured in a 10-second loop. The special thing you got lucky with.

What gear do you use right now?

The number-one piece of gear is the Octatrack. I love it, I use for everything. I’ll chop samples, use it for my guitars, plug synths in and use it as a compressor. I’m not obsessed with gear, but I like gear that looks cool and I look at it and I’m like, “Oh, I wanna mess with that.” I like a synthesizer to look cool. 

If you’re staring at the same things all day on your screen, your mind is stuck in the same paths. I always put the kick there on the computer so it’s hard to think of where else to put the kick. With gear, sometimes you get a little more lucky. And I like using software or hardware that I don’t really understand in a weird way. That’s usually my favorite thing.

Do you feel like you’ve found your sound and your way of doing things, or are you still experimenting?

Making music is like this: You get an initial idea that has that feeling that you like, and in producing a song and building it out, you’re trying to maintain that feeling. That’s why I love demos. I like demos more than a finished song. ’Cause it’s just more real. Sometimes production puts up a wall. It can ruin that original, crunchy, nice feeling that you got when you first heard it.

It sounds like your process involves a lot of leaving things behind — knowing what not to use. 

For sure. I don’t feel like I’m amazing at making music. I just know what I like when I hear it.

For Sd-3, was there something that you deliberately left behind?

Lots of songs. I’m gonna put out a mix tape next week. It’s a lot of music that I didn’t put on the project just because I make so much stuff. But these other ones, now I’m like, “Oh, these are cool too.” But it’s good to let them simmer. 

What’s on your rotation right now?

Quebec by Drake. French Montana. I really haven’t been listening to music that much. Sometimes music’s not hitting. You’re listening to it and you go, “I love silence.” If you drive up north with me to the cottage, there will be no music. Which sounds crazy, but I just wanna take a break, you know? I love YouTube. I love podcasts. I love audio books. I like reading. I make music all day. I just wanna listen to a Drake song or nothing. 

That’s so Canadian.

The most Canadian thing about me is that I love the outdoors. I love canoeing. My favorite things in the world are going camping with my friends and fishing. Genuinely. I feel like a little kid; I’m joyous like nothing else. No phone connection. I’m just out there, a little bonfire, doing little tasks, chopping wood. That’s perfect brain stimulation for me, perfect peacefulness. It’s beautiful. Smells good.

How do you approach your own style? 

I like a simple outfit. I’m not trying to put on a fit. I just want a nice pair of jeans, a nice T-shirt, a nice jacket, and a good pair of shoes that makes me feel kind of cool. I like what I like, and I want it to fit me well.

What’s your favorite clothing item right now? 

A brand-new pair of Nudie Jeans. I think a brand-new pair of jeans is life-changing. You’re good for like 10 years. Me and Dyl just went to the Nudie Jeans store in New York and we both got new jeans, and it’s just perfect.

Looking ahead, what are you interested in exploring next?

I have this ambient project that honestly is some of my favorite music I ever made. And then I’m gonna probably make another album. And try to work with good people and close friends.

If you could make any project with no expectations and limitless budget, what would you do?

I would work with a symphony as well as a bunch of like scratch DJs. I’d work with all my favorite rappers and singers. And just have everyone in the room. I’d love to work with a folk band, too. Or go to Ibiza and do a dance project.

It’s either folk in your cabin or Ibiza.

Whatever. Let me make music. I’m down, either-or. 

And what a lineup this is. There’s Evisu, the Osaka-born denim institution whose seagull pockets need no introduction after becoming a status symbol of both taste and money in 2000s hip-hop culture. There’s FAF, the underground Japanese streetwear label featuring member Kazuho Arai that has achieved cult status for its affiliations with streetwear collective YouthQuake. And then there’s BEAMS T, the graphic-minded streetwear arm of the larger BEAMS behemoth. It’s like a dream group project.

The collection is archive bait, yes, but it had the product to back up the nostalgia play. . FAF went digging into Evisu’s more influential ’90s designs and came back with five pieces that helped make the denim brand so famous in the first place: the iconic baggy jean, a denim bomber jacket, an “Ishigaki Camouflage” graphic hoodie, a graphic crewneck, and a messenger tote sporting a deliberately frayed seagull logo as a trompe l’oeil detail. So, it’s vintage Evisu, but not quite like we remember it. 

In 2026, when a brand announces it’s digging into its archives, nine times out of 10, something headass is about to happen. In this case, three Japanese streetwear heavyweights have made what essentially feels like the YMCMB of denim collaborations, by and for people who have reverence for the collective memory behind the lore. 

And this is what collectors want: jeans, hoodies, crewneck sweatshirts, denim jackets, a little tote. These are the perfect canvases for projection, but when a brand has become an icon rather than an embalmed ’90s corpse, it’s gonna look really fucking cool.

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Because while you can't control the guest list, the music, or your uncle's increasingly questionable political opinions, you can control what you turn up wearing. And a little sartorial confidence goes a long way. Get the outfit right and suddenly you're not just another face by the cheese board. You're the belle of the ball. Or at the very least, the best-dressed bloke in the vicinity.

First things first, figure out what you're dressing for. A black-tie soirée is a very different beast from a few quiet drinks with the office crowd, and nobody wants to be the guy who turns up in a tux when everyone else is wearing their best knits. We've called on our friends at MR PORTER to help put together a few fail-safe uniforms, whatever the festive calendar throws your way. Lucky you.

The Big Guns

If you are going to commit to the bit and are expected to rock up in some fancy-ass suiting, it's best to treat it less like a scene out of 007 and more like an invite-only fashion-industry soirée. That means looking beyond the standard black tux and having a little fun with color and texture. A jacket with some embroidery is all it takes, perhaps a tie that isn't entirely your dad's taste. The aim is to look like you know a thing or two about getting dressed, not like you're waiting for someone to hand you a (shaken, not stirred) martini.

Holiday Heavyweights

If it’s a more low-key event (a few quiet ones in the local, say), a knit will be your best bet. Admittedly, it might not sound like the most exciting thing to wear, but that's precisely the point. A good sweater, particularly one with a bit of texture or a gossip-worthy hue, has a funny way of making the rest of your outfit look considerably more considered. And it's practically guaranteed to get a few "Where'd you get that?"s across the evening.

The Big Steppers

Now, whichever camp you fall into, don't let the shoes ruin a perfectly good outfit. A decent pair of leather shoes or a timeless loafer will do the trick. Just please, whatever you do, don't rock up in a pair of beat-up Sambas. There's a time and a place, and the office Christmas party isn't it.

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In this iteration of our our weekly lineup of Nike releases, find proof that Nike offers great design week by week. From a Waffle Racer with a SKIMS makeover to the UNION LA take on a uniform Dunk: This week shows off the best that Nike has to offer, from archival classics to the next steps in sport.

Please note: Some sneakers may sell out at speed.

Shop this week's best Nike sneaker releases below

NikeSKIMS Waffle Racer

Release Date: Available Now

Editor's Notes: The Waffle Racer is one of the originals. It’s the 1970s running shoe that gave Nike its waffle sole, and NikeSKIMS has taken it out of the archive for the label’s retro sport push. This Baroque Brown version is the collaboration's fall favorite, sitting on the classic foam midsole and the rubber Waffle outsole. This is a vintage runner built for laps of Rodeo Drive.

Air Max 95 Big Bubble 'Cacao Wow and Black'

Release Date: Available Now

Editor's Notes: Nike’s tagline for the Big Bubble is “Big. Bold. Bounce.” and it’s accurate. It stays true to the original, with rippling layers of genuine leather and airy mesh, but comes with bigger Air units. It harkens back to when the Air Max 95 was a polarizing shoe, and this time Nike pushes it further.

Women's Air Jordan 11 'Magic Ball'

Release Date: Available Now

Editor's Notes: In the world of Space Jam, the Magic Ball was packed full of game-winning sorcery. Releasing as part of the 30th anniversary, this shoe's shifting color brings it “into another universe.” The original AJ11’s patent leather has always looked a bit otherworldly, so this black and metallic treatment suits it. Sadly, no physics defying feats are guaranteed.

Air Bakin High SP 'Varsity Royal and Black'

Release Date: November 12

Editor's Notes: Breaking out of the vault for only the second time, the Air Bakin High's motto is “Go big or go home.” It’s a chunky nineties basketball silhouette with a ribbed upper in Varsity Royal and black, and plenty of padding around the ankle. It’s a rarely seen '90s hoops shoe, and a distinctive pair that few people will own. It releases just in time to practice your crossover dribble.

Union Dunk Low "Fatigue"

Release Date: November 13

Editor's Notes: UNION has gone Dunk Low for years, and this edition turns it into a daily uniform. The deconstructed design removes the traditional lining and adds a collapsible heel, so you can wear it as a mule. The luxe suede upper features UNION’s signature zig-zag stitching, in Bamboo with University Gold. Built to work "from season to season,” it’s a quiet daily driver.

Air Max 90 'Medium Olive and Sequoia'

Release Date: November 13

Editor's Notes: True Air-Max-heads know the 90 is an all-weather warrior. True to Hatfield’s original design in 1990, Nike calls this version a “serene remastering.” It has the iconic Waffle sole and visible Max Air, stitched overlays and textured accents. The Medium Olive leather upper provides a plush re-imagining of the '90s technical design. Olive on an Air Max 90 is a safe, wearable choice; its lucky this one has the material to match.

Nike Zoom Vomero 5 CORDURA®

Release Date: Available Now

Editor's Notes: Nike has given this naughties runner a full tactical update. Part of the an Army of Two, this first Baroque Brown colorway is the more fall-coded release of the two. With an upper made of durable CORDURA and suede, with an abrasion-resistant fabric boasting it can “take whatever you throw at it.” Zoom Air cushioning gives a smooth ride, and the rubber tread adds traction. This is Nike's standout take on full utility Winter Footwear.

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Part of that comes down to how we’ve traditionally viewed men’s clothes. For the longest time, dressing well has meant a reliable suit and a decent pair of shoes. Men have always had their subcultures, of course, but stepping outside the usual parameters has often meant risking being seen as trying too hard rather than having a distinct point of view.

Slowly but surely, that’s changing. These days, we know men’s style is a lot less about sticking to one particular lane and a lot more about borrowing from wherever the hell you want. Tailoring can be oversized, minimalism can have a pop of personality, and there’s no reason a little embellishment should send your masculinity into a tailspin. The best wardrobes have always been the ones that mix things up, and thankfully, the newer designers know that.

Take Willy Chavarria, whose oversized silhouettes and streetwear sensibility make a pretty convincing case for taking up a little more space. Then there’s Simone Rocha, who brings romance and silhouettes you probably wouldn’t associate with traditional menswear to the table. Two very different approaches, sure, but both a reminder that there’s more than one way to get dressed in the morning.

Of course, not every outfit needs to make a song and dance about itself. Studio Nicholson makes a strong case for the quieter end of the spectrum, where considered proportions and good fabrics do most of the heavy lifting. Our Legacy operates in a similar space, albeit with a slightly scruffier, more lived-in sensibility. Because sometimes the best thing in your wardrobe is the one that looks even better after you’ve worn the hell out of it.

On the other end of the spectrum, Casablanca brings a much-needed vacation vibe to the everyday, with color and a distinctly more leisurely take on getting dressed. Amiri, meanwhile, pulls from the worlds of Los Angeles and music, proving that understated isn’t the only way to look the part. Different moods, different wardrobes, no need to pick a side.

And that’s really the beauty of menswear right now. You don’t have to build your entire identity around one aesthetic, or worry about whether every piece in your wardrobe makes sense next to the last. Sometimes a little contrast is exactly what an outfit needs. The old rules still exist, of course, but there’s a lot more fun to be had when you stop treating them as gospel.

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