The adidas Jabbar Lo is all 70s basketball DNA, remixed for the street and now dialed up with a full run of cheetah print down the middle, no less. It’s Kareem meets wild style, and it works.

First dropped in 1971 as a signature for a hardwood icon, the Jabbar Lo has since moved from the court to the city, and the new print turns a classic into a statement sneaker. 

Premium leather keeps things sleek and durable, while that textured animal print panel brings a flash of attitude to the regular-fit silhouette. Lace closure keeps it locked in, rubber outsole handles the traction. You know the drill.

Looking remarkably similar to adidas' Willy Chavarria Jabbar Low, just without the designer’s flashy name stitched across the tongue.

It wouldn't be an adidas sneaker without the ever-reliable finishing touches. 3-Stripes, Trefoil branding, and a soft lining for that all-day, no-distraction feel. It’s adidas Originals heritage, but with a twist, just enough to get noticed without roaring for attention.

Jabbar Lo proves some icons don’t just endure, they evolve, especially when they’re wearing cheetah.

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But in any case, the textured tennis sneaker is serving in every sense of the word.

Dubbed the Tennis Classic CS PRM WTCH BND, the sneaker’s textured print is a play on the many exotic leathers used to jazz up watch bands, which adds another layer of delight to the simple sneaker.

The textured leather crocodile-patterned upper, which looks like it came straight from the Everglades, paired with the sneaker’s low-top silhouette, makes the CS tennis sneaker the perfect elevated basic. See, it's not as simple as your classic all-white AF1 but it's not quite as luxe as the $600 Birkin bag of sneakers, either.

The Nike Tennis Classic CS PRM WTCH BND essentially exists one step below the quiet luxury benchmark for Nike sneakers. It's more of a hushed luxury if you will.

Now gnarly prints don't really signify tennis court-chic, per se, but the gold accents at the heel add a layer of charm that's very country club couture.

Like many stunners from The Swoosh, Nike's Tennis Classic CS PRM WTCH BND sneaker, is heavily inspired by retro runners from the 70s. In particular, the Classic CS sneaker draws inspo from some of the GOATed tennis shoes of the past, like Nike's Wimbledon sneaker or the Nike All Court, both of which have rightfully earned their spots in the Nike tennis shoe hall of fame. 

And with all of its crocodile goodness, Nike's Tennis Classic CS, available on the Nike website for $140, is ready to join the Swoosh's all-star tennis sneaker lineup.

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Combining the best parts of a deck shoe and an adidas sneaker, the Climacool Boat shoe is a luxe leather moccasin that looks totally shipwrecked in the best way possible.

A collab with Japanese sneaker retailer Mita Sneakers, adidas' Climacool Boat shoe features a full-leather moccasin-style upper accented with white contrast stitching. This delicate stitching offsets the aquatic aura of the shoe, giving the boat sneaker a bit more stylistic oomph.

If that wasn't enough, adidas continues the aesthetic juxtaposition with a sneaker-style outer and a ventilated midfoot.

Available on the Mita website for $130, the Climacool Boat also features adidas' signature "adiPRENE" technology in the heel that gives the marine-minded sneaker added impact absorption, which basically means it's certified comfy.

Where hybrid shoes are concerned, adidas is quite comfortable doing just about whatever it wants, as seen by any number of mixed-up Mary Janes and sweet vanilla loafers. But boat shoes are low-key uncharted waters when it comes to adidas’ hybrid sneakers. In fact, the Climacool Boat kinda exists as the anti-sneaker loafer.

Ok, so adidas has dabbled in aquatic-adjacent shoes before, like its Clarks-coded Punstock SPZL, which comes in a few flavors. Whereas these previous shoes were based on existing adidas sneaker models, the Climacool Boat shoe's sneaker leanings aren't based on anything in the Three Stripes' current arsenal — at least not explicitly. 

In that sense, the Climacool Boat is a stylish fish out of water.

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Labels like barbell object are invisible by choice. Its Instagram page is barren, there is no website to speak of, and if you aren't scraping Japanese sites like I am, you'll never find it. But I found it. I even spoke with the designer — who insists on anonymity, of course — because the only discernible aspect of barbell object is its clothing, which is exactly its point. And the clothes are really good.

This is the time to know barbell object. It's entering a new stage in its micro-existence, finally selling its exquisite product to international stores: HAVEN in Canada will start selling barbell object's summer collection while FAVRICS, formerly known as Base Store, is picking it up from the Fall/Winter 2026 season.

It's a welcome change. barbell object's clothing is too beautiful to remain a secret for long.

While some small makers are small because that's all their resources allow them to be, barbell object is small by choice. It's a one-man brand, fueled by love of craft. Each collection, or "case," presents a compelling wardrobe of distinct garments that evolve age-old shapes.

Classic silhouettes, work jackets and tank tops and cargo pants, are reconsidered from bespoke and surprising fabrics — a trim zippered driver's sweater is cut from a fluffy twisted wool typically utilized for scarves, giving it a rumpled, ridged look. A knitted sweater is fitted with an extra-wide unfinished neckline and extra-long cuffs, the rawness of the former jarring against the baroque elegance of the latter.

Dark neutral tones jar against soft jewel tones. Full cuts face off with narrow tapers. Sumptuous organic fibers go toe to toe with specially selected nylons and polyamides that bequeath stretch, weather-resistance, durability.

Contrasts and convention at the same time. These clothes are exciting in a way that recalls Margiela's Hermès, a reference point for many designers seeking the sublime. It's supremely wearable and singular, unique despite the reference built into each garment. In fact, familiarity with those references only amplifies their weirdness, their wildness.

If all stuff was merely out-there, it'd be shock without awe. But barbell object's designer is acutely angled towards the real world. Clothes don't have purpose without a body to inhabit them.

barbell object knows this. All good brands do. And though I am loathe to compare disparate makers, especially just because they all happen to be from the same region — admittedly one with a strong manufacturing and consumer base — but there is something to how barbell object is helping shape the latest wave of sublime Japanese clothing labels that're following on-the-rise makers already visible in the international scene, like Comoli, AURALEE, and ssstein.

If you're curious about what's next — you're looking at it.

Givenchy, the label that broke the rules of old-school Parisian glam and from its shards built its house of new-school cool, is all too familiar with the unruly tendencies of youth. When it introduced one of its youngest handbags, the Voyou, to its family in 2023, it could’ve easily been described as the black sheep. Not quite as polished as Antigona with its mirror-like patent leather and clean-cut angles. Nowhere near as structured as Pandora with its oblique, cubed shape. Voyou was different from the very beginning. Ditching geometry for languorous folds of high-shine leather, it slouched—but ever rakishly so! It made posture seem, as far as it-bags are concerned, more classic than cutting-edge. But now that the bag is growing into its own, it couldn’t resist breaking a few more rules. And so, the next generation finds this bad boy a cinch more suggestive with a new silhouette so defined and so daring it revs up the rush threefold. Enter the Voyou Bucket. 

Tightened with a supple leather drawstring, the biker-inspired bucket bag flirts with volume as sumptuous leather overlaps between its straps. Composed of smooth calfskin with a fine grain and an oh-so-glossy finish, Givenchy’s enfant terrible makes living on the wild side feel just as sexy as it sounds. Doubtful? Simply run your hand across its sleek surface, and gasps of tactile pleasure are sure to follow soon after. Whether in ivory, light pink, chocolate, or black, punctuated with gold hardware, or in cobalt blue leather with silver-tone hardware, the Voyou Bucket is nothing short of an exhilarating joyride. Quel frisson!

Change is inevitable with maturity. And though the silhouette has evolved, two things can be true at once. Hence, the purse provocateur is holding fast to that caution-to-the-wind attitude that built its reputation in the first place. Designed with the wild at heart in mind, the latest spin on Voyou still gives its wearers the freedom to express—without conforming to fit any mold. Dress it up and grab it by the top handle, or dress it down and rock on the shoulder. Even if you just drag it across the body, the Voyou bucket, with its adjustable straps, is simply built for the free-spirited. 

No doubt, on the surface, this bag lives for the thrill and won’t err on the side of caution. Deep within, however, it’s another story altogether. A total softie, Voyou’s interior features a plush suede lining and a generous flat pocket. Rest assured, your prized possessions will stay nice and snug—never mind how wild things may get on the road ahead. 

This season, don’t play it safe. The new Voyou bucket bag will be available at Givenchy stores and online on May 7th. Click here to discover more.

“A watch is really the finishing touch to an outfit,” Bonaccio says. “As you grow and mature, so should your style. It’s really crazy how much a watch adds to your wardrobe.” 

More than just conjecture, the social media star teamed up with Highsnobiety and the iconic American watchmaker and lifestyle brand Fossil to show just how essential accessories are to the overall fit. Donning the USA-inspired design from Fossil’s new World Flags Big Tic series, Bonaccio cycles through a series of looks that nod to his deep understanding of personal style and appreciation for quality wristwear. 

Raised in the Hell’s Kitchen neighborhood of Manhattan, the burgeoning trendsetter grew up surrounded by influences that would shape his outlook on fashion, most notably his family. From childhood, Bonaccio recalls watching his father pursue his passion for collecting and selling heritage timepieces, instilling in him that same appreciation for craftsmanship. 

“My dad always had a love for classic watches,” he remembers. “When I was about eight, that's when he got his own booth on 47th Street in the Diamond District, just hustling and flipping different timepieces. Now he owns the store LUX-O in Soho. Seeing him was a big inspiration and definitely started my love for watches.” 

Similarly, Bonaccio’s older sister had a large impact on how he thinks about fashion, encouraging him to wear pieces that stretched his sartorial taste beyond a wardrobe that, at the time, largely consisted of athletic wear and basketball sneakers, he admits. From there, he would begin experimenting with different cuts and silhouettes, discovering a newfound confidence to further explore the art of dressing in his own way. 

Now, having developed a recognizable image, Bonaccio has become a reference point in his own right, amassing a large social following that looks to him for guidance on fashion taste. First creating light-hearted outfit videos as a high school senior during his work breaks, the social media star has carved out a distinctive niche for himself focused on highlighting menswear for the next generation. Blending classic aesthetics with contemporary streetwear sensibilities, Bonaccio has curated a style that feels timeless and adaptable; fresh yet still familiar. 

“Personal style to me just means feeling comfortable and wearing something that you think you can swag,” he notes. “I feel like I’m really versatile in my dress. I love switching it up because, at the end of the day, I’m just having fun with everything.” 

Translating fun into fashionable flair, Bonaccio effortlessly assembles a few patriotic-inspired looks centered around Fossil’s World Flags Big Tic USA watch, a piece that feels less like an accessory and more like a focal point. Playing around with layering and fit, the fashion-forward creator brings a bold energy to a watch that’s already engineered to draw attention. 

As the sporting world’s focus shifts to North America this summer, the limited-edition watch collection combines a sporty analog-digital design with fan-forward colorways that instantly signal where allegiances lie. Designed with a 40mm stainless steel case, a silicone wrist strap, and custom country-themed motifs, these watches make an immediate statement in any time zone — a quality that Bonaccio considers essential in the best timepieces. 

“I love a watch that stands out, and that you can shape your whole look around,” he says. “I’ve known about the Fossil watches since I was young and have always felt like that’s something they’re good at making.” 

Adding another piece to his growing watch collection — one that he concedes is nowhere near as extensive as his dad’s — Bonaccio is already matchday fresh, merging his signature aura with the brand’s heritage appeal. Flexing Fossil’s latest release, inspired by global game-day spirit, the young style artbiter is prepped and ready to show out as the whole world turns to watch.  

Shop Fossil’s World Flag collection at fossil.com.

While the original 1PM successfully hides its skating performance credentials, this dapper new iteration takes things one step further. This still looks like an asymmetrically laced approach shoe, but features the soft-grained black leather of a dress shoe. Basically, it looks even less like a skater.

In fact, the black leather 1PM borders on being dressy, but as Village PM states in its press release, “Sometimes, you just want to wear a black leather shoe.” And you can’t deny that the small French skate label has cooked up an especially handsome one. 

That shouldn’t come as a surprise. This all-black creation, releasing on May 6 as the brand’s first “limited edition online exclusive” was too good to fail. 

The 1PM brings all the innovative doodads from high-tech climbing shoes onto a high-tech shreader, which means recreating the streamlined shape of an approach shoe, having laces wrap around the natural shape of the foot, and inventing its patented “rubber glove” outsole that’s stuck-on without sewing and easy for a cobbler to replace.

The result is a certified sneaker hit, but it’s getting praise for more than just its performance. 

The shoe made Highsnobiety’s “best shoes of 2025” list because, as our editor-in-chief Noah Johnson wrote, “the fellas at Village PM really cracked the code... For me it’s the clean lines and choice materials.” And the 1PM featured as one of the Lyst Index’s hottest products of Q1 2026, one of the first times — if not the first time — that an indie skate sneaker cracked the top 10.

That makes it the world’s hottest skate shoe by default.

Village PM can do no wrong. In all-black, too? Impossible to be more right.

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District Vision describes its first LA outpost as a “hybrid retail and research environment,” which essentially entails it acting partly as a shop and partly as a yoga gym. 

This kind of multi-purpose approach is central to many of fashion’s most vital stores. Countless tasteful boutiques now include an equally tasty in-house cafe or double up as an art gallery, hosting installations and product pop-ups in equal measure. But a clothing store with a wellness studio? That’s a new one. And District Vision’s shop is part of a new breed of retailers with surprising side hustles.

When District Vision’s LA flagship shuts up shop in the evenings, it metamorphoses into everything from a meditation studio to a venue to a classroom. Thanks to the modular interior developed with SR Studio, this is all quite smooth.

Early plans are for regular running and breathwork sessions to be part of the brand's programming, with the goal of becoming a space for “meditation, movement, and learning.” This is a bit more involved than just popping in for some running gear but we’re in a time when Valentino stores also function as intimate listening spaces.

It’s quite normal that boutiques might offer far more than fashion. Shopping IRL is as much about the experience as the end result. At New York’s FAVRICS, formerly known as BASE STORE, a pottery studio and a tiny Japanese restaurant rub shoulders with artisanal workwear. Saint Laurent Rive Droit’s Parisian store hosts a co-branded Sushi Park restaurant (the only one outside of America) and Glass Cypress’ Houston store is also an upscale sushi restaurant. Kith’s first London location, opened last year, includes a dessert bar, an American diner, and a space for listening to a bespoke soundsystem provided by high-end audio company McIntosh.

Retail experiences are becoming culinary experiences which are also becoming audio experiences. Now, District Vision is going a step further by infusing a wellness experience into its shopping outlet. It's a golden age of experiential shopping.

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While Judd’s legacy as an artist and designer continues to have major cultural impact — most notably, perhaps, as the mastermind behind the development of Marfa, Texas, where he started the sprawling Chinati Foundation for large-scale artworks and his own architectural fantasies — what’s most interesting about visiting 101 Spring Street is the close encounter one gets to have with his personal things, which still remain in the places he left them. Don’s stuff.

According to his son, Flavin, Judd thought domestic objects were “important because that’s what you look at everyday. You handle them; you’re familiar with your coffee cup. If it’s something you’ve not considered, then you’ve lost an opportunity to pay attention to the world around you.” 

Earlier this year, I visited to see what I could learn about how Judd considered the world.

The first floor is a gallery space with high ceilings, white walls, and scarred wood floors. When Judd bought the building, a former factory, he stripped it to its bare elements. His technique has been taken up by present-day designers, evident in the preference for exposed beams. It might be an exaggeration to credit Judd with inventing the fetish for original hardwood floors, but he was certainly an influence.

Upstairs, the living quarters have a similar white-cube quality, but with signs of habitation: a low daybed, a simple kitchen, and an enormous wooden dining table. Judd left the floor-to-ceiling windows uncovered, preferring unmediated light. The brightness and calm give the room a sacred feel. One becomes acutely aware of the air, the proportions, the sound of one’s own footsteps. 

To Judd, “bad design was like a jackhammer you couldn’t shut off — it had to be isolated,” Flavin says. Standing in the Spring Street kitchen, nothing clamors. Nothing distracts. 

Judd’s bed rests on a low platform surrounded by works from his friends and peers — John Chamberlain, Dan Flavin, and Claes Oldenburg — alongside one of Judd’s own pieces: a wall-mounted square painted in his signature cadmium red, bifurcated by a single asphalt tube. Judd wanted to make art that was straightforward and real — not symbolic, not pretending to be something else. Instead of creating compositions full of hidden meaning, he focused on items that simply exist in space, made from honest materials with clear proportions. This philosophy extends to his home. Judd was not interested in isolated things so much as in a complete system: art, design, and domestic life in deliberate alignment. 

Even mundane objects played a role. Spring Street features Shaker-inspired shelving, Italian splatterware ceramics, and Japanese tableware displayed alongside modernist designs by Alvar Aalto, Gerrit Rietveld, and Thonet. Judd’s own furniture — tables, chairs, daybeds — is severe and unornamented like his art, though he did not consider furniture art. “The art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness, and scale as a chair,” he wrote in his essay “It’s Hard to Find a Good Lamp.” 

Once something met Judd’s standards, it tended to remain, Flavin says. The one camera he ever purchased — a Hasselblad Super Wide, bought on the advice of the artist Larry Bell — was the only one he ever needed. “He thought things should be treated carefully and preserved,” Flavin says. His aesthetic was informed by his visual preference, but it also had an ethical core.

Interestingly, this vigilance did not extend to clothing. Flavin recalls that his father was “pretty indifferent” to what he wore. He bought jeans in Marfa because that was what was available; in Switzerland, he wore hunting clothes. He had green tartan jackets made because he liked the fabric. His exactingness was reserved for spaces and objects. 

It is strange that this sensibility — rooted in thrift from Judd’s Depression-era childhood and the summers he spent on a farm in Missouri — has become one of the most widely imitated and commercially coveted aesthetics of our time. As art critic Jerry Saltz observed in New York Magazine: “Since the 1990s, endless streams of derivative decorators, designers, architects, less-is-more self-help gurus, Calvin Klein stores, landscape artists, furniture-makers, and corporate-office planners have owed many of their ideas to misunderstanding Judd’s notions of objects, space, material, and interior design, the built and lived-in environment.” 

This phenomenon reached its apex when Kim Kardashian commissioned a replica of Judd’s dining table. The ensuing legal spat with his foundation underscored how Judd has transcended from man to symbol. To say his name is to signal that one is “cultured” or “tasteful.” But in Judd’s universe, name-dropping holds no sway.

Flavin describes Judd’s New York home as “more still than when I lived there, but not much has changed.” (They did repair the heat, he noted, “which is a big improvement.”) It is emptier than it once was, especially toward the 1990s as Judd’s life shifted increasingly to Texas and Switzerland. Yet the integrity of Judd’s project remains.

Before his death, Judd established his foundation to preserve his work and the spaces that housed it. 101 Spring Street stands as a corrective to the decadence and theatrics of the art world — a place where the ideas and creations of one of the most important artists of the 20th century can be encountered as intended. To walk through the space is to be reminded that Judd was after something more demanding than a style. He sought a different relationship to the world of objects, and through them, to attention itself.

Anyone can book an appointment, climb the stairs, and step into that precise, sunlit space. Photographs aren’t allowed, and there are no gimmicks — just furniture built to last decades, transformative artworks, objects chosen with care, and floors softened by years of living. Judd’s legacy lands differently in person, not just an aesthetic to imitate, but as a reproach: rigorous, and still fully alive. 

Something not everybody thinks about in the heat of performance pressure though is that rest is just as important as even performing the exercise in the first place. As such, it's natural adidas would've designed a shoe to be worn to support with the latter, and it's time this "Purechill" model got the love its due.

From afar easily mistaken for a proper sneaker, this fittingly titled recovery clog does away with the stereotype that post-workout shoes look too much like, well... like post-workout shoes.

These aren't mere pool slides, nor are they just a pair of mules to do the gardening in. These are expertly conceived, carefully cushioned foam steppers that'll have your feet forget all about the wringer you put them through.

And not to worry: with strategically placed slits for breathability's sake, the rubbery and futuristic physique of these recovery kicks won't have anyone sweating bullets.

Coming in an array of colors, from casual and muted earth tones, to attention-grabbing shades of yellow, pink and orange, the $75 Purechill can be as chill or eccentric as you want it to be.

With a design so sleek and a fit so comfy, it's pretty hard to imagine folks only wanting to rock these after the gym.

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The A’Two “A’Pink Shoe” takes A’ja Wilson’s signature line to max-volume, flooding the upper in color-shifting iridescent hits that demand attention from just about every angle.

Nike’s not just making this shoe look the part either, it’s making sure it moves just as boldly. Thanks to its Cushlon 3.0 sole, every step feels springy, locked-in, and ready for whatever the game throws your way. 

Stability is your best friend when you’re switching from defense to offense, with support built in for every cut and pivot. Like we said, this is more than just a pretty pink sneaker.

Herringbone traction, too, so you can hit the brakes and shake defenders on command, no hesitation. Ventilation panels on one side nod to A’ja’s signature asymmetric style, keeping things cool when the action heats up.

It’s hard to look at the A’Two as just a sequel, it’s a pink-soaked encore with energy to spare. 

For anyone bold enough to keep pace, this is how you stand out and show up, whether you’re on the court or just making an entrance.

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