Loro Piana, arguably the world’s fanciest fabricmaker, creates Italian merino wools using the finest of ultra-fine fleeces that the world’s best tailors then use to create some of the world’s most expensive bespoke suits. Gramicci, meanwhile, is the pants-obsessed brainchild of a Californian climber who was at the forefront of the sport’s “dirtbag" subculture. These aren’t brands that’d ever normally interact. And just to make things even more random, a Japanese military-infused menswear label is the connective tissue.

Following the success of their most recent Loro Piana climbing shorts, nonnative and Gramicci are back with a new round of rugged pants cut from Loro Piana cloth. And this time, that cloth is a little thicker than before, weighing in at 260 GSM, which the brands say helps create a more well-defined silhouette with a “a richer, more substantial appearance.” 

But this isn’t a Loro Piana collaboration. Since the company operates as a fabric mill, anyone from Savile Row tailors to the streetwear titan Stüssy can (and regularly do) purchase rolls of Loro Piana’s famously sumptuous suiting fabric for their own clothing designs, and nonnative has done just that.

Although Loro Piana has a largely overlooked and surprisingly high-tech hiking category capable of producing some properly hardy climbing gear, nonnative opted for one of its shiny suiting materials with an almost silk-like lustre. Naturally, it looks delightfully out of place on Gramicci’s “easy” pants and shorts that drop on June 20, clashing against the functional doodads like draw-cord hems, articulated knee darts, and key loops. But that tension is the point. 

Gramicci pants are easygoing, near-indestructible, and above all, affordable. Making them from Loro Piana cloth is the best kind of juxtaposition, where it shouldn’t make sense and yet it just looks so good.

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Guidi, the god-tier Italian avant shoemaker, has been object-dying BIOTOP-exclusive shoes for years, while old-school shoemaker Paraboot makes work shoes to BIOTOP’s specifications in its French workshop, and century-old American bootmaker Red Wing gives its most classic designs the BIOTOP treatment. Now it’s time for Germany’s heritage sandalmaker to get involved.

Making BIOTOP-approved Birkenstocks means changing surprisingly little about the sandals. But the results are unsurprisingly slick.

BIOTOP’s bespoke Kyoto is essentially a Birkenstock Zurick, except fitted with one single velcro strap as opposed to two. This technically makes them slides, although these are far less sporty than a pair of adilettes. 

This special-edition pair turns the Kyoto all-black and then garnishes it with a shiny black strap for contrast. And as simple as that, the elderly slider is both more minimal and more luxurious. As I’ve recently argued, sometimes all a simple product needs is a small touch of leather.

Pre-orders for the elegant sandals, priced at ¥34,100 (around $213), open on June 5, but the shoes don’t hit BIOTOP’s shelves until later this month, on June 27. And since this is just the duo’s debut collection, you can probably expect more blacked-out and beautiful Birks where these came from.

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The World Cup organizer has a “clean stadium” policy that it takes very seriously, even taping over Heinz branding on ketchup bottles at in-stadium restaurants, forcing players to cover the Beats logo on their headphones, and, biggest of all, taking the Levi’s out of the Levi’s Stadium. Or at least trying to. 

You don’t need to see the Levi’s name spelled out to know you’re looking at a Levi’s logo, so when the over-150-year-old denim giant covered its stadium’s logo in a white sheet, everyone still knew what they were looking at.

And Levi’s knows it.

The brand swiftly uploaded a video of the covered-up branding around the stadium to the trending “nobody’s gonna know” audio clip, which sits at 70 million views at the time of writing and has almost two million likes. Levi’s even swapped out its social-media profile photos for good measure, capitalizing on the accidental free advertising.

Then Beats by Dre played a similar trick. The audio company sent footballers a mysterious new pair of unreleased headphones to wear pre-game at the World Cup but FIFA ordered Jamal Musiala to cover the Beats by Dre logo on his headphones with a strip of tape before Germany’s 7-1 win against Curaçao. Undeterred, the Apple-owned brand immediately  swapped its Instagram profile photo with a piece of white tape covering the logo to match the headphones worn Musiala’s latest campaign shoot. 

Clearly, FIFA’s plan hasn’t worked, at least not as intended. 

If you’ve ever spent time scrolling through the content cesspit that is LinkedIn, you’ll know this to be a familiar story. As LinkedIn’s sharpest advertising minds like to remind everyone every Olympics, Nike has run a series of similar guerrilla marketing campaigns where its competitors spend hundreds of millions on being the event's title sponsor but Nike’s nifty ideas mean it garners the most attention, even inadvertently. At the 2012 London Olympics, for instance, the brand couldn’t mention the host city in its advertising as Nike wasn’t an Olympics sponsor, so it filmed promos in other cities called London around the world, from Ohio to Jamaica, and earned plenty of incidental attention anyways. 

Levi’s and Beats today are acting just as Nike did back then. Sure, they might not have splashed out on being an officially licensed FIFA partner, but that’s not the be-all and end-all. They have something other brands don’t: A truly creative idea. 

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You won’t find any obvious diaper bags (or worse, backpacks) here. Instead, what unites these dad bags is a versatility that spans life stages. Turns out, that bag you’ve had forever might not have been designed with your toddler’s snack/sunscreen needs in mind, but you might be surprised at how well it rises to the challenge.

“Instead of buying something new, I was able to give new meaning to something I already loved,” painter JB explains of the bag he helped design himself. “There’s something special about carrying the same bag that once held paint supplies and now holds diapers and bottles. It feels like two parts of my life coming together.” 

Justin Boone, stylist

Go-to dad bag: My L.L.Bean x Tibi Tote, which I’ve had for about two years.

What makes it good: Its canvas material. Aside from leather, a heavy canvas is one of the most durable materials. It’s big and stylish, and it’s only going to get better over time. I’m not afraid of it getting dirty or beat up too much because I can just take the belt off and throw it in the wash.

What goes in it: What I carry really depends on the day, but I can guarantee I will always have some Coterie wipes, a few diapers, a small bag of snacks, and some toys. I also keep a pair of sunglasses, my camera, and a small traveler’s notebook with a pen. 

How you found it: This bag really happened by coincidence. I’d been eyeing it for a long time, but it was never intended to be a dad bag. Naturally, as a dad, most things I own have to be convenient and easy to transition between my personal time and family time. The more I used it, the more I realized it was perfect. 

Favorite place to take it: To the park, on our daily walks around the neighborhood, or on trips to the coffee shop. I can go anywhere and be confident that this bag can hold everything I need. 

JB, painter

Go-to dad bag: I actually designed this bag with my good friend Jordan Rossi who has experience creating his own line of bags. We originally made it for my work as an artist. I needed something durable, functional, and good-looking that could handle paint supplies, tools, and life in the studio. When my wife and I welcomed our son, Rain Miró, I realized the same qualities that made it a great work bag also made it a great dad bag. Now it carries diapers, wipes, and all the essentials of parenthood while still serving as my everyday work bag. I love that it reflects where I am in life right now: balancing art, work, and fatherhood in one well-worn item that keeps getting better with age.

What makes it good: It was designed around function first. Every pocket and compartment was created to carry tools, supplies, and the things I use every day as an artist. As it turns out, those same features work perfectly for parenting. The organization, durability, and flexibility make it easy to carry everything Rain needs. I like that it feels authentic to me. It wasn’t designed to be a baby bag; it was designed to be useful. It just happens to be equally good at both jobs.

What goes in it: More than most people would expect. On a typical day, I can carry diapers, wipes, a changing pad, an extra outfit, a blanket, and toys, and still have room for my own sketchbook, laptop, wallet, and keys. The best part is that everything stays organized. I can keep baby gear in one area and work materials in another so it easily transitions between family outings, studio days, and installation jobs.

How you found it: As my wife and I prepared for Rain’s arrival, I kept comparing other bags to the one Jordan and I had designed. Instead of buying something new, I was able to give new meaning to something I already loved. 

Favorite place to take it: One of my favorite things is taking Rain anywhere we can explore together: on walks around the neighborhood, to the park, to the farmers market, or just spending time outdoors. I also love bringing him to the studio. He’s still young, but it feels meaningful to have him around a space that’s been such an important part of my life.

Nick Dierl, founder, co-founder of Orienteer

Go-to dad bag: Montbell’s Pocketable Tote, size medium. I picked it up a little over two years ago at the Shibuya Montbell store.

What makes it good: It’s a straightforward but versatile tote. It’s super lightweight, the ripstop nylon stands up to the wear and tear of everyday use, and, crucially, it’s easy to clean with a wet wipe for the inevitable mess that you navigate running around with a baby.

What goes in it: It fits a lot, but it also limits how much I can carry at once, which has been valuable. When you first have a kid, it’s easy to fall into the trap of packing every imaginable thing any time you step out the door, but I’ve found it useful to have a bag that only fits the essentials. That being said, there’s a changing pad, wet wipes, a second outfit, an extra hat, sunscreen, some kind of blanket, and a water bottle in that bag at all times.

How you found it: I bought it before having a kid and used it as an everyday tote for a year and change before it became a dad bag. I found that a lot of the bags made for babies were either a little on the nose in that they screamed “new parent” or too big to be practical for everyday use. A regular tote doesn’t offer quite enough to carry all the essentials for a kid, but this one struck a nice middle ground between the simplicity of a tote with a few added features that come in handy.

Favorite place to take it: I typically go for a run with my daughter once or twice a week around the Hollywood Reservoir. When we do that, the bag goes into the running stroller in case we need to stop for some water or a quick change along the way.

Devin Johnson, artist

Go-to dad bag: I honestly don’t remember where I got this bag. I’ve had it since I was in college, and now it’s my go-to for strolls with our son, Simeon.

What makes it good: It’s funny how items can take on many lives. My connection over time with this bag has changed from young adult to full-formed dad mode. This bag went through a pilgrimage, kind of like me.

What goes in it: The usual culprits are a few milk bottles, snacks, baby wipes, multiple diapers, and plant-based formula for when mom is not around.

How you found it: Like I said, I’ve had it for a long time. I use it as an everyday bag, so when I take our son out, it’s what I’m most likely to grab. It’s kind of tattered and some seams are tearing, but I love the history and the character more than the brand itself.

Favorite place to take it: Simeon and I usually go for daily walks around the neighborhood and take a few laps around Irving Square Park in Brooklyn. I love taking a morning walk to get coffee at September. We sit outside and people watch.

The impetus for this particular pairing was, admittedly, very interesting — creative director Nicolas Ghesquière was inspired by an LV trunk that Haring doodled over in 1984 — and I appreciate that the collab also included a multi-year sponsorship of The Frick Collection through 2028. But, really? Keith Haring? Again?

In just the last five years, Haring’s signature squiggly lines have been absorbed into collections by the likes of Primark, Pandora, Polaroid, Lacoste, Swatch, Tommy Jeans, and Reebok. The late artist has become the Rita Ora of fashion partnerships, appearing everywhere and losing nearly all relevance as a result.

This overexposure extends to a handful of other artists the industry can’t seem to quit, resulting in a rinse-and-repeat conveyor belt of stale collections featuring works by similarly overextended artists like Jean-Michel Basquiat, Andy Warhol, Takashi Murakami, and KAWS. If I had to knock back a shot every time a luxury brand released a new capsule with one of these superstar artists, I’d be blacked out in a ditch.

It doesn’t have to be this way. The lineage of fashion designers finding inspiration in the work of young, fresh artists goes back a century, beginning with Paul Poiret’s collaboration with French painter Raoul Dufy on a swirling floral pattern for an evening coat in 1911 and carrying through to Elsa Schiaparelli’s creative collaboration with Salvador Dalí in the 1930s and Yves Saint Laurent’s translation of Piet Mondrian’s colorblocked works into a Haute Couture collection in 1965. 

These early examples provided a blueprint: designers worked with artists they admired, whose careers were just beginning to blow up. Marc Jacobs seemed to have gotten the memo when, in 2001, he tasked graffiti artist Stephen Sprouse with reinterpreting the classic Louis Vuitton monogram. The concept of an artist remixing a brand logo might now seem as status quo as shorts for summer, but at the time it was a shock.

If the 20th century’s dabblings by the likes of Laurent and Schiaparelli provided the foundation, Jacobs was the hinge, updating the artist collab for the modern era and, importantly, bringing Louis Vuitton billions of dollars and tons of cultural cache in the process.

But somewhere, we’ve gone astray. The formula for success has turned stale, with fashion houses now happy to just recycle familiar art by overexposed artists who, in many cases, died decades ago.

When Junya Watanabe teamed with global licensing agency Artestar for his Spring/Summert 2023 menswear show — a tribute to American Pop that featured everything from Warhol’s Marilyn and Campbell's Soup Cans to the distinctive Basquiat scrawl and, of course, Haring’s scribbles (plus some Honda and Coca-Cola branding) — it was visual overload. It was as if Watanabe got lost in a museum gift shop and had to design his way out. 

It’s logical for fashion houses to go the risk-averse route, opting for big-name artists with instantly recognizable work (not to mention the eager, deep-pocketed artist estates backing the collaborations), but there’s a way to balance the familiar with the fresh. Kim Jones, for example, may have begun his seven-year run as Dior’s menswear designer with a massive 22-foot KAWS statue, paired with a reimagining of the house’s iconic bee by the pop artist, but he followed that up with a steady drip of surprising collabs with other underground artists, an approach he traced back to Christian Dior’s own interest in the arts. 

Jones’ collaborators included LA punk fixture Raymond Pettibon, Ghanaian painter Amoako Boafo, and Japanese artist Hajime Sorayama, whose silver Mylar “fembot” (and a $30,000 saddlebag) became the centerpiece of the FW19 show. The mix of major art stars and more niche names also carries over to Supreme, which has released products with Damien Hirst and Jeff Koons, as well as the lowkey art and fashion collective Bernadette Corporation.  

More recently, Rei Kawakubo’s COMME des GARÇONS Wallet sub-label released a collection with acclaimed painter Henry Taylor, featuring his iconic depictions of Black life in America, and coinciding with his first survey exhibition at Paris’ Picasso Museum. The brand’s founder, Rei Kawakubo, is already known for designing avant-garde clothing that’s essentially wearable art, but she’s also adept at spotlighting lesser-known artists; Wallet has previously released capsules with Diana Ejaita and Oscar Tuazon (and, sure, KAWS, too).

Some of my favorite fashion collections of the past five years have stood out because the designers not only found interesting artists to work with but also actively blended their creative vision for the clothing with the spirit of their artwork.

Jonathan Anderson has been at the forefront of interweaving art into fashion; his run at LOEWE was elevated by collections that tied in the weavings of Anni Albers and the ceramics of Takuro Kuwata, but also by a particularly enduring spotlight on queer artists like Richard Hawkins and Joe Brainard — not to mention his fantastic David Wojnarowicz-inspired collection for his own namesake label. 

Each of his collaborations has felt fresh in a way another Haring-slathered runway show just won’t, because there was a sense of discovery. One of the first moments of wonder I felt over an artist collab was the Raf Simons’ FW14 collection with Sterling Ruby, when I was only just beginning to explore the realms of fashion and art. And there’s a freshness to be found more recently with shows like Dior FW21, which saw Kim Jones partner with surrealist painter Peter Doig to translate his buoyant color palette into the clothes, or Lemaire SS23, which featured prints by Noviadi Angkasapura and included a temporary exhibition of works by the Indonesian artist in its Paris flagship. 

When Anderson teased his first Dior collection with Warhol polaroids of Basquiat and Lee Radziwill, I squirmed, but when his runway recreated the parquet-lined floor of Berlin’s Gemäldegalerie museum and was hung with two understated paintings by the 18th-century artist Jean Baptiste Siméon Chardin, I cheered the art-history twist (though I would’ve loved to see Chardin’s romantic still-lifes integrated into a dress shirt).

There are plenty of artists, both very much alive and long-dead, who have been overshadowed by titans like Haring and KAWS, yet have their own deep archives of works that would look great on a pair of pants or some knitwear. It’s well past time for the fashion industry to step out of its comfort zone, set aside the recycled reprints, and give some fresh talent the chance to make their mark.

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Short-shorts are cute and a bit promiscuous, but there’s a time and a place, and, let’s be honest, it almost always leaves your top doing the heavy lifting. Linen pants are breezy (in every sense), but don’t always deliver on the personality front. That’s where Purple Brand denim comes in.

Denim is often overlooked for obvious reasons this time of year, but it really shouldn’t be. As far as we're concerned, a baggy denim or a weather-appropriate jort is a summer no-brainer.

With that in mind, we dove into a denim-dedicated corner of the internet, Purple Brand, and pulled together their strongest jeans and jorts for the season ahead. Hey, more time for tanning.

Leg Day Legend

Jorts have been a hot topic for the past couple of summers. People either love them or despise them; there’s barely any middle ground. Once Gen Z decided long denim shorts were the move, the rest was history. People got so committed they booted every other short out of their summer closet. And honestly, once you’re used to the exaggerated length, going back above the knee feels like a betrayal. Add a touch of workwear, like these contrasting stitch black pair, and even the skeptics have to admit, these aren’t your average denim cut-offs.

Long Story Short

If you're not a shins on display kinda' guy. Wide-leg or a solid barrel fit denim as easy on the eye as this indigo pair, is still the easiest way to look like you made an effort, even more so when we’re talking washed indigo with lined pockets and a button fly – now that’s summer denim done right. Plus, no chance of the unfortunate tan lines that come with a cut-off alternative. Purple Brand knows the right pair of baggy jeans can truly take you from day plans to night out without missing a beat. Try rocking up to a fancy restaurant in a pair of Adam Sandler-esque jorts and see what happens.

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Enter the Made in UK 991 “Summer Brights.” 

This isn’t just a sequel; it’s what happens when an icon gets handed the aux cord and plays nothing but summer bangers. Blue and punchy brights make this pair ready for beach days, rooftop nights, and every “I’m just running errands” moment in between.

The details? Premium suede, mesh for days, and that visible ABZORB cushioning that’s been making comfort cool for two decades. 

The 991 doesn’t need to scream for attention, it just knows it’s the blueprint. It’s a sneaker that can survive any trend cycle and still come out looking relevant, fresh, and more essential than ever.

In a world obsessed with the next big thing, this is New Balance reminding everyone that a real classic only gets better with time, and a little color never hurts.

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For such a quake to occur, however, the environment requires a certain mix of atmospheric conditions, say, fatigue, an inclination for rebellion, and, naturally, a generation yearning to establish its identity via its style. So when, on an undisclosed afternoon, on an undisclosed intersection of Dimes Square, the concrete foundation of the city began to rumble, its passersby, clad in flannel and irony-laden tees, froze as if in a tableau. With a formidable force that shook the Big Apple to its core, all came to a pause—all but the city’s youth that crawled from its faults and into focus. Captured by the exacting lens of Tyler Kohlhoff, the latest coming of the youthquake is here—and taking NYC by storm. The catalyst? None other than Coach, the New York-based leather house with a knack for fashioning Gen Z’s it-bags, and Brain Dead, the LA-based countercultural connoisseur. Expect nothing short of seismic waves henceforth!

Featuring ready-to-wear, leather goods, footwear, and accessories, the collection (along with its multitude of references) is an eclectic’s paradise. Looking East to Tokyo and its street style that pulses with a vibrance so phosphorescent it rivals the city's signs of neon, the collection borrows that everything-but-the-kitchen-sink Harajuku philosophy. Glancing back to the West to New York City, it toys with collectible souvenir culture and sportswear. “What excited me about this collaboration was the idea of creating an entire imagined world around it,” reflects Coach Creative Director Stuart Vevers. In their world, Vevers and Brain Dead co-founder Kyle Ng became, as Vevers puts it, “obsessed with the merchandise from a fictional amusement park,” and “the idea of stylish super-fans collecting and personalizing pieces over time.” Whereas the shared consensus in other realms might decree that there’ll be no nonsense, in that of Coach and Brain Dead’s, nothing is off the table.

References run wild. Juxtapositions, even wilder. From graphics that teem with keepsake quirks to checks that offer a downtown bite to garments otherwise uptown-preened, bold is the name of the game. Bold hats, bolder embellishments, and, perhaps, boldest are its bags. Animalia with a stuffed-sentimentality and Brain Dead’s Logohead cast the mold for the season’s sweetest arm candy, while Tabbys wild out with 3-D pins of mascots from their imaginary amusement park. Charmed so heavily even Jane Birkin would gasp, these bags are for the lion-hearted. And though it may sound rather chaotic, it’s precisely that off-kilter energy that lends the collection its chameleonic aura, in which garments defy labels and bounce between subcultures. 

Reflecting on joining forces with Coach, Ng shares, “The customization that they've allowed us to collaborate on really speaks to the nature of our brand, as well as Coach. Brain Dead has always been a brand about self-expression.” Hence, the artifacts of personalization. Woven into the collection are the DIY tendencies of different subcultural scenes. Patches borrowed from the skaters; quaint crochets courtesy of the preps; buttons recycled from the punks—the list goes on! The unifying thread: self-expression in and of itself. 

“I think people are tired of things that feel too polished or identical,” Vevers notes. “What I love about this collection is that it celebrates individuality—the way people personalize things, collect things, and become emotionally attached to them over time. That spirit of optimism and self-expression runs through the entire collection.” Veritably so. With '70s silhouettes delivered through a '90s framework, bias-cut dresses and skirts, baby doll tops and dresses, and pleated skirts glow with the same glittering appeal as those passed down by a cool older sister. It’s a rite of passage: fashion as collection; collection as a curated development of identity. To collect is human instinct. To curate is a collective experience. Constructing a new image that reflects not just the self but also the shared moment is a deliberate act. But to accomplish that and to do so with style in spades, now that’s groundbreaking. Talk about a shake-up!

The Coach x Brain Dead collection is now available online and at Coach boutiques worldwide.

While its nylon utility pants are plenty functional, thanks to the quick-drying, wrinkle-resistant fabric and an adjustable elastic waistband, it’s the exact fit and feel of the legwear that’s really been poured over.

First, the custom fabric is woven in Hokuriku, a Japanese coastal region known for textile manufacturing to meet Aton’s desire for a “natural and delicate wavy texture,” before it’s hand-dyed by artisans trained in the over-400-year-old practice of narumi, which forms intricate tie-dye patterns through traditional folding and stitching techniques. 

The time spent on all this patient practice is impressive in and of itself, but it’d be wasted if it didn’t result in a more beautiful product. Fortunately, for all the fabric weavers and dyers who’ve dedicated their time to the utility pants, they are exceptional pants. The loose fit gives them an easygoing casualness and the delicate texture created by all that handiwork results in a softer look rare to find in weatherproof technical goods.

You could almost mistake these utilitarian pants for casual cotton slacks at first glance. And that’s the kind of fabric trickery Aton revels in.

The decade-old Japanese label’s range spans from slouchy tailoring to Vibram-soled leather flip-flops, but focus on its weatherproof gear and there are sporty windbreakers where the custom fabric’s nylon filament yarn is woven at the highest possible density creating a crispness foreign to regular nylon and airy nylon taffeta shorts designed to achieve the “luster and fullness of natural fibers,” according to the brand. 

And that’s the thing, these kinds of patient ancient techniques are typically used exclusively on natural fibers that take on subtle inconsistencies only possible through meticulous craft. But our most functional clothes should also be blessed with the beauty of handwrought inconsistencies, and Aton is making that happen.

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Quite naturally, actually.

Now, to be clear, Rocha has been designing menswear collections for years. It's just that the Spring/Summer 2027 catwalk provided the Irish designer her first opportunity to date for a presentation consisting entirely of men's looks.

Not that conventional norms surrounding gender matter much to Rocha.

"I design those [looks] with humans in mind," she said after the show. It's all about "putting emotion into clothing," regardless of the wearer's identity. Though she acknowledges that this was her vision of "a masculine wardrobe," she wasn't designing for men but for "characters."

Here is the dandy, elegant in his broderie anglaise shorts and ballet slippers. Here is the working man, clad in necktie, collared (and beaded) shirt, and a water-repellent track jacket with "turbo rosette" pockets. Here is the athlete, suited in a silk-blend jersey with silk organza feather boa to match.

The SS27 collection's press release notes that "codified nods to [Rocha's] world are reanimated, recontextualized and reconsidered for the male," hinting at the stylistic crossovers between her womenswear and menswear. But the mutability became terrifically apparent upon merely glimpsing the range.

Rather than crudely addressing convention, Rocha simply does her own thing. Frills and flounce for everyone!

More specifically, Rocha reinterprets ordinary garments as extraordinary separates, reconfiguring classic staples as exquisite everyday items. These embellished blazers, bags, slacks, shirts, and shorts may be baroquely detailed but their forms are ageless. Anyone could wear these items anywhere, assuming they have the swag necessary to be a true character.

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