Fashion, Art, Design, Lifestyle

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Ksubi

Women's Slouch Hoodie Tan

https://sneakerjunkiesusa.com/collections/ksubi/products/womens-ksubi-slouch-hoodie-tan

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Ksubi

Token Kash SS Tee Tru White

https://sneakerjunkiesusa.com/collections/ksubi/products/ksubi-token-kash-ss-tee-jet-white

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Ksubi

Juice World Kash 999 SS Tee Vintage White

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Mauna-kea

SHIBORI V JOGGER Pink Ice Sand

https://sneakerjunkiesusa.com/collections/mauna-kea/products/mauna-kea-shibori-v-jogger-pink-ice-sand

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Timex x seconde/seconde/ M79 Automatic Watch

Silver & Black

https://www.endclothing.com/gb/timex-x-secondeseconde-m79-automatic-watch-tw2w22900qy.html

 

Burger 'o' clock? Timex teams up with French creative brand seconde/seconde to add a dash of whimsy to its iconic M79 Automatic Watch. This silver and black edition is as timeless as it is witty. It features a robust stainless-steel case and bracelet, rotating bezel, date window, luminous dial markings, and domed acrylic crystal. But take a closer look, and you'll find a playful second hand that features a cartoon burger that will have your mouth watering all day long.

• Stainless Steel
• Acrylic Lens
• Clasp Buckle

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Marble-top side table

Colour - Beige/Dark brown

https://www2.hm.com/en_gb/productpage.1206454001.html

 

 

Asymmetrical, sturdy side table in waxed mango wood with a solid marble tabletop. Since marble is a natural material the colour and texture of each tabletop may vary. Supplied flat-packed, ready to assemble. Height 46 cm. Width 35 cm. Length 45.5 cm.

Art. No.:1206454001

 

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Short cotton blend trench jacket

https://www.massimodutti.com/gb/short-cotton-blend-trench-jacket-l03434516?colorId=731

Jacket made of cotton fabric with lining. Shirt collar. Cuffs with buttoned tab. Front button fastening concealed by a placket. Two side pockets.

Golden Brown|Ref. 3434/516

 

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Panga®75L Waterproof Duffel

https://uk.yeti.com/products/panga-75-waterproof-duffel-tan

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The Best Trend of Fashion Month. And the Worst.

Louis Vuitton, Chanel and Miu Miu bring Paris Fashion Week to a close with some important takeaways.

https://www.nytimes.com/2024/10/02/style/paris-fashion-week-trends.html

Miu Miu, spring 2025Credit...Simbarashe Cha/The New York Times

 

The Miu Miu show on the last day of fashion month opened with an art installation — Art Basel Paris starts in about two weeks — featuring a piece by Goshka Macuga, the Polish-born, London-based artist.

Titled “Salt Looks Like Sugar,” it transformed the runway space into a newspaper printing plant, with issues of a tabloid called the Truthless Times hanging from conveyor belts that ran across the ceiling as videos of two employees played on the walls. All to illustrate the ambiguity of what a precis called a “post-truth era” and issues like: What is fact? What is fiction? What is fashion?

OK, not the latter. That wasn’t part of the piece. But it could have been.

The question of what style is going to look like next is always the underlying theme of collections, as is a certain breast-beating about the bubblelike point of it all, but rarely have there been as few answers as there have been over the past few weeks. Instead there’s been a lot of spinning in place, archive-diving (when in doubt, look to the past!) and breath-holding. A lot of big shows and big celebrities, signifying … not much.

You can understand it, in the case of a brand like Chanel, which is between artistic directors and currently being created by the design team. The brand is literally in limbo, so defaulting to the known — jolie madame bouclé skirt suits in black and white, flowing floral chiffons — makes sense.

Chanel, spring 2025Credit...Simbarashe Cha/The New York Times

 

Especially when dressed up by a command performance from Riley Keough, a house ambassador, who serenaded the crowd with a rendition of “When Doves Cry” while swinging in a giant bird cage, a nod to Vanessa Paradis’ famous 1991 Chanel ad. But even more broadly speaking, when no one knows what is going to happen next, it’s hard to predict how to dress next.

Which is why it was so interesting to see both Miuccia Prada at Miu Miu and Nicolas Ghesquière of Louis Vuitton come up with the same solution, just at the closing bell: Don’t worry about it. Instead, embrace it. Turn the confusion and the mess to your own advantage.

Turn it into a look.

Not that their actual looks were the same; it was the underlying principles. As Mrs. Prada said after her show, the point is to take all these different realities (or surrealities) and smash them together. The tension inherent in women’s lives — the push-pull between substance and frivolity, responsibility and dreams, sex and maternity and strength, and so on — has become the creative happy place of her Miu Miu.

Miu Miu, spring 2025Credit...Monic

 

This time around that meant juxtaposing elements of athletic wear, like cutout maillots and nylon track jackets, with delicate white cotton pieces, almost like nightgowns from a midcentury Provençal town that, in turn, came sprinkled with sparkling ’70s graphics and floral bouquets. It meant multiple bejeweled and Western belts draped over what looked like antiseptic nurse uniforms.

Also bras with the straps hanging down to create a little bit of a ruffle spilling over the top of a knit sweater wrapped tightly around the torso like a bustier (a styling trick that should take off), and tight polo shirts with full skirts. The backs of some dresses were left gaping open and undone, because if there’s no one there to button you up — who cares? Why not turn it into a virtue. (“Why not?” could be Mrs. Prada’s mantra.) Hilary Swank in a brown leather skirt suit and Willem Dafoe in a blue overcoat popped up on the runway. Surprise!

Her point wasn’t to resolve dichotomies, but to exploit them. Just as Mr. Ghesquière’s combination of structure and softness, Renaissance volumes and references and modern athleisure, was meant as both a continuation of the time-traveling aesthetic he has made his signature at Louis Vuitton and a celebration of the oxymoron. Terrible beauty and all that. He went so far, he said in a preview, as to ask his tailoring atelier to work on the more flowing pieces, and his flou atelier to work on tailoring. “It was a game of diplomacy, you can imagine,” he said, semi-rolling his eyes.

Louis Vuitton, spring 2025Credit...From left, Mohammed Badra/EPA, via Shutterstock, Bertrand Guay/Agence France-Presse — Getty Images, Mohammed Badra/EPA, via Shutterstock

The result, set on an LV-trunk brick road/runway, was initially jarring, and then weirdly compelling, like most of Mr. Ghesquière’s work. Pouffy 16th-century jackets with courtier sleeves and silver embroideries were worn with striped biker shorts. Little silk dresses in graphic prints came layered under even smaller sheer strapless numbers crusted with cabochon gems. There were a lot of breeches and bloomers in velvet and pleated chiffon beneath ornate ’80s power shirting, and ropes of necklaces were draped over almost everything. The vibe was teeth-clenchingly rich meets mall casual. Some shoes were covered in fabric petals, so they resembled big floral mops.

Louis Vuitton, spring 2025Credit...Simbarashe Cha/The New York Times

 

Along with the bloomers, fuzzy, life-raft shoes have turned into one of the weirder trends of the season — also present in Chitose Abe’s masterful deconstruction of French archetypes at Sacai, where they took the form of shaggy, feathery slippers. Though when it comes to inexplicable fashion phenomena, nothing tops the one-leg pant, which first appeared in Milan just over a week ago. Mr. Ghesquière made some of those too, paired with funnel-shape flying saucer tunics on top. They looked sort of like trousers that had gotten snagged on a hook on the way out the door, and in the rush to get going, one half had ripped right off.

The embrace of the seemingly nonsensical combination, worn with aplomb, is the best idea of the month; a takeaway you can actually replicate at home, whether you ever end up wearing any of these clothes or not. But the one-leg pant is just, well, a step too far.

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Stella McCartney, Hermès and Victoria Beckham, spring 2025.Credit...From left, Indigital, Filippo Fior, Isidore Montag/Gorunway.com

Balenciaga, spring 2025.Credit...Balenciaga

Valentino, spring 2025Credit...Stephane Cardinale/Corbis, via Getty Images

Valentino, spring 2025

Alexander McQueen, spring 2025Credit...Alexander McQueen

Junya Watanabe, spring 2025Credit...Simbarashe Cha/The New York Times

Balmain, spring 2025Credit...Stephane Cardinale/Corbis, via Getty Images

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A Surprise Season of Stranger Things

Standout shows from Bally and Bottega Veneta bring Milan Fashion Week to a close. Gucci, Versace and Moschino do some recycling.

https://www.nytimes.com/2024/09/22/style/bottega-veneta-gucci-versace-milan-fashion-week.html

Bottega Veneta, spring 2025Credit...Simbarashe Cha/The New York Times

 

And thus began the season of the weird. After decades in which clothes that telegraphed sex or stealth wealth dominated the Milanese runways, it’s the stranger things that seem the most on target now.

“There’s a feeling that anything could happen, no matter how fantastical,” Matthieu Blazy wrote in his Bottega Veneta show notes, before seating his audience on low-slung leather bean bags in animal shapes — Jacob Elordi plopped down onto a bunny, Michelle Yeoh onto a lady bug. It turned a cavernous warehouse into a fun house and forced every guest to adopt an alternate perspective.

“Well, it’s kind of an irrational time,” Simone Bellotti said in something of an understatement backstage after his brilliant Bally show, inspired by the German Dadaist Hugo Ball.

Indeed, the most eye-catching appearance of the week was not, as it turned out, Mr. Elordi, or Jin of BTS taking a post-military service front row seat at Gucci, but Cheryl Hines, the actress-wife of Robert F. Kennedy Jr. She showed up at Bally just after the news broke about her husband’s sexting relationship with a political reporter. (Apparently Ms. Hines is friends with the brand’s new owner, Michael Reinstein of the global private equity firm Regent.) And the best casting was not Cavalli’s supermodel reunion but Sunnei’s embrace of 70- and 80-something models in its 10th anniversary meditation on time. As opposed to that old fashion shibboleth, timelessness.

Sunnei, spring 2025Credit...Sunnei

 

You can either retreat into the safety of the elegant chocolate suit (for that, go to MaxMara), the always-appropriate leather trench (at Tod’s, Matteo Tamburini did it best) or you can take the confounding, bizarro nature of this global moment and turn it into a look. The best shows in Milan did.

A Breakthrough and a Blast

Mr. Bellotti, for example, did it in his third Bally show, the rare Milan collection to really explore the allure of a new silhouette, one that both evoked the looming fear of the unknown and offered a carapace to match.

Bally, spring 2025

 

Inspired by a sloping iron cape he found in a photo of Mr. Ball in his Dada heyday, Mr. Bellotti raised necklines and sloped shoulders. Rounded blouson jackets mimicked mountainous boulders and skirts were shaped à la cowbell, so they curved out at the hips and in at the thigh. Some peplums were so aggressively structured, they jutted out like horns from floral frocks or from under neat jackets. Or like the metal spikes on the Mary Jane shoes beneath, which referenced both Alpine climbers and punks and were based on a shoe Bally first made in 1945, in the shadow of World War II. Coincidence? Nah. More like a uniquely trenchant remix.

Just as Mr. Blazy’s through-the-looking-glass games at Bottega Veneta, in a show that evoked childhood’s reality distortion field, offered an unexpectedly uplifting outlet. Imagine pleated or pinstripe pantaskirts. (Wait — pantaskirts? What even is that? I’ll tell you: wrap or asymmetric skirts with one pant leg emerging from beneath.) As if someone got stuck in the midst of trying on two different pieces and decided to just go with both. The style offers one way to put your foot in it, anyway.

Bottega Veneta, spring 2025Credit...Gabriel Bouys/Agence France-Presse — Getty Images

 

With them came jackets so oversize they looked as if they had been filched from a parent’s closet, and more skirts with swishing tassels at the knee. Shimmering metallic evening slip dresses under porcupine quill headdresses that resembled both sea anemones and squishy toys, like an incredibly glamorous dunce’s cap or the most cathartic party hat (or a supersize D.I.Y. Rod Stewart wig).

It’s the extremes that now stand out: clothes that dare go there, wherever there happens to be. Maybe the living rooms captured by Greg Girard’s photographs and superimposed on sheaths and patent leather at Jil Sander, where Luke and Lucie Meier took power tailoring to an entirely different place, literally. Or the parachute suede coats and silks at Ferragamo, where Maximilian Davis transformed the whole idea of leaping into the void. The trapeze shirting and soignée culottes at Sunnei, where Loris Messina and Simone Rizzo dared to imagine a future that wasn’t sci-fi, but rather sophisticated utilitarianism.

And the shredded denim at Diesel, where the designer Glenn Martens continues to work his brand of fashion alchemy, transforming the most basic of fabrics into a vehicle of apocalyptic elegance with mind-blowing technique.

Diesel, spring 2025Credit...Simbarashe Cha/The New York Times

 

This time he did it by tufting dark denim into feathers at the collar of a jacket, lasering the faded blue of a cloudy sky into fringe and fantastical textures, and then filling the entire floor of his show space with an ocean of denim scraps, sculpted into undulating waves of detritus.

Recycling has never looked so unequivocally good.

The Scent of the Past

Certainly it was more interesting than the recycling of ideas going on at the biggest brands — Gucci, Moschino, Versace — all of whom seem to be in self-referential mode, turning inward and backward rather than outward.

That’s how it looked at Moschino, anyway, where Adrian Appiolaza in his second collection continued his tour of Moschino-isms past (pearls, slogans, bedsheets, bleach-bottle bags) with the aid of two collaborators — Terry Jones, formerly of i-D magazine, and the estate of the jewelry designer Judy Blame — but without the crucial undercurrent of social commentary that made the brand’s original double-entendres-in-a-garment so resonant.

And how it seemed at Gucci, where Sabato De Sarno took as his muse Jackie Onassis. In her head-scarves-and-big-glasses Capri years. Maybe every designer has to channel her at least once.

Gucci, spring 2025

 

Cue similar head scarves and big glasses, plus car coats and minidresses woven from a neat floral-embossed raffia material for a bit of structure, as well as lots of bamboo accessories — bag handles, jewelry — that popped up in Mr. De Sarno’s nod to the Tom Ford Gucci era, in the form of gold hardware on slinky jersey dresses.

A more original way forward was offered by the ultra-miniskirts with tiny crinolines built into the elastic waistband so they popped out just a bit over the hip, worn with ribbed undershirts and matching big bucket hats, and the evening trench coats so long they dragged on the floor like trains.

There’s comfort in the known, sure, but stasis also. It’s hard to take risks when you have so much (revenue) to lose, but at the same time, not taking risks is pretty much a guaranteed shrug.

Versace, spring 2025 Credit...Versace

Moschino, spring 2025 Credit...Moschino

The tension was summed up perfectly, if probably unintentionally, at the Versace show, where Donatella Versace was inspired by one of her own Versus collections from 1997, back when she was running that line. A time, she recalled in a preview, that was full of “optimism” and “joy.” (You might think of it differently, but such is memory.)

So she brought it back, reviving the floral prints and squiggly graphics of that post-grunge collection in shades of tan, butter yellow and baby blue, and then mixing and matching it all in cropped tops, low-slung skirts and frayed jeans cut to show the tops of sheer pantyhose. The same prints and colors popped up on chain mail, some of which had been 3-D printed. Because even nostalgia needs a semi-update.

The clothes, remakes of a fashion remake of an actual cultural phenomenon, were all balanced atop shoes that were themselves balanced on heels made to mimic perfume bottles. Was there ever a better metaphor for the state of fashion itself? Time to step into the surreal.

 

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https://www.paulsmith.com/uk

 

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Casio G SHOCK

"LOVE THE SEA AND THE EARTH" Frogman

GF-8250K

https://elite-timepiecehk.com/products/gf-8250k-4

 

G-SHOCK / BABY-G has been collaborating with various environmental groups since the early 90s and has been supporting them. Under the theme of “Love The Sea And The Earth” in 2014, we will support “ISearch Japan”, which is engaged in activities to convey the splendor of dolphins and whales and nature.

"Dolphin / whale model" is based on GF-8200 (FROGMAN / Frogman), the only ISO standard compliant 200m waterproof performance in G-SHOCK, and BGD-5000, a BABY-G radio solar model with 20 ATM water resistance. Adopted to. I imagined the pink dolphins that are said to carry happiness, and each adopted a pink color. In addition, the logo of the theme “LoveThe Sea And The Earth” is printed on each band. A symbol mark is engraved on the back cover.

Model Number : GF-8250K

• Mineral Glass
• Screw back
• Shock Resistant
• Tough solar (solar charging system)
• Moon data (age / month shape display)
• Tide graph (tide around: 3-level display)
• Diving function (diving time: measurement unit 1 second, 
• ISO200m diving waterproof
• Case / bezel material: Resin
• Resin Band
• Countdown timer
• EL:Blue Green

 

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Meet me at the Plaza — the grandest hotel in Paris

Jackie O stayed here, as did Marlene Dietrich and Christian Dior. But with its new refurb and hot young chef, the Plaza Athénée is as grandly fabulous as ever

https://www.thetimes.com/life-style/luxury/article/plaza-athenee-hotel-paris-times-luxury-rg83tw0lh

Hôtel Plaza Athénée is so swanky that Christian Dior opened his boutique across the road just to be close to it and named his famous Bar jacket after the hotel’s Le Relais Plaza bar.

In the 110 years since it opened, the hotel has remained the epitome of Parisian glamour. Now, with two floors of extravagantly renovated rooms and suites, it has upped its own already ludicrously high stakes.

Designed by celebrated French designers Moinard Bétaille, the 49 modernised rooms and suites have retained the hotel’s famously 18th-century atmosphere, with silk headboards, damask curtains, vast chandeliers, gold-leaf mouldings and restored period furniture.

The most eye-popping of these is the Royal Suite. At 450 square metres, it’s one of the largest in Paris, with four bedrooms and bathrooms, a living room, dining room, pantry and balcony, from which there are splendid views of Paris, as well as the hotel’s serene internal courtyard, La Cour Jardin, ablaze with Virginia creeper.

From the sixth floor, the six refurbished balcony rooms and suites, with uninterrupted views of the Eiffel Tower and Avenue Montaigne, are surrounded by red geraniums which have adorned the hotel’s façade for 50 years. Legend has it that Jean Gabin and Marlene Dietrich stayed at the hotel. After they broke up, Dietrich bought an apartment across the road and Gabin booked the same suite they had stayed in and asked the concierge to put a thousand red roses on the balcony for her to see. The red flowers were so striking that the hotel has stuck with the look.

The public spaces are equally dramatic. Outside, every winter for the past 20 years, the hotel has erected a little chalet with a big fondu table, an ice-rink and a skating teacher. Children who learned to skate here are now bringing their own children — perhaps the most glamorous place in the world to learn how to fall over.

Inside, its Dior spa is fittingly sumptuous, with seven treatment rooms, known as cabines, with curved pale wood walls, cream fabrics and accents of the famous Dior toile de jouy. It has a beauty room for hair and makeup, a sauna, hammam and an oak-panelled gym. There’s a tiny boutique selling jewellery, makeup, and even a €2,500 plug-in air freshener that can be loaded with Dior scents.

Although the hotels’ grandeur is firmly rooted in the past, it has embraced a sustainable future by insulating its façade, installing presence sensors to control the lighting and temperature settings, and providing recycling bins in the rooms.

The menu by Jean Imbert delves into centuries-old recipes

It also remains as buzzing as ever. There can be few better places to see and be seen during the Paris fashion shows. The super-chic art-deco restaurant Le Relais Plaza, which serves dishes including tarte fine aux tomates, steak tartare and rosy chicken, remains as hot a spot for business lunches as it was when Jackie O, Serge Gainsbourg and Yves Saint Laurent were regulars.

The super-chic art-deco restaurant Le Relais Plaza

All food and beverages are overseen by the Michelin-starred chef, Jean Imbert. He’s groovy, dynamic, very creative, used to work with Jay Z and Beyoncé and opened a restaurant with Pharrell Williams. Despite his youthful vibe his vision is to produce the best traditional French cuisine, delving into centuries-old recipes for staples such as turbot soufflé. His la brioche Marie-Antoinette au caviar is a best seller. It’s that kind of place.

Edited October 4, 2024 by Vesper

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Sutherland House
Rosebury Square, London IG8

Architect: Kruszelnicki Leetch Architects

https://www.themodernhouse.com/sales-list/sutherland-house

This impressive three-bedroom apartment is arranged over two floors of a Grade II-listed Victorian former hospital building in Woodford Green, East London. The exquisite space has been immaculately reimagined to an exceptionally high standard by its architect owner, who has introduced rich materials, high-quality fittings and a striking atrium. Located in a peaceful conservation area, Sutherland House is also close to the Central Line, which provides quick access into the City and central London.

Environmental Performance

Efforts have been made to improve the environmental performance of this apartment; as a result, it has been awarded a B-grade EPC despite its Grade II-listed status. This has included the fitting of a Valiant ecoTEC plus 630 boiler, double glazing the windows and added thermal insulation with impressive u-value scores.

The Building

Sutherland House is hidden from view deep within Repton Park, a historic gated development set high on a ridge with views across to the London skyline. Repton Park takes its name from the renowned landscape architect Humprey Repton (1752-1818) who advised on the gardens of the estate surrounding Claybury House and Woods.

The Justices of Middlesex bought the 250-acre estate in 1887 to create a purpose-built asylum based on the principle of therapeutic optimism and the burgeoning understanding of the health benefits that fresh air and exercise provided. Designed by G.T. Hine of Victoria Street, Nottingham, the bright, well-ventilated hospital was built to an echelon plan, allowing a large number of patients to be housed in a staggered zig-zag effect with views of the surrounding countryside.

Constructed in the Victorian Gothic style, the muscular blocks are broken up with large canted windows, brick segmental window arches, brick and stone string courses and green-tiled gable roofs. The complex was awarded Grade II-listed status in 1990.

The Tour

Sutherland House is one of a series of original pavilion-style blocks arranged in a trapezium configuration. Double-glazed two-over-two sliding sash windows punctuate the red brickwork, with features including brick stacks, tall chimney stacks and spire-style roofing. There is a small, landscaped area in front of the block. The apartment is positioned on the second floor and is accessed via a communal stairwell.

The front door opens into a wide hallway. Here, a series of windows overlook the grounds and cast light across the deep blue-painted walls. Recently added, though in-keeping with the building’s period, are moments of moulded cornicing, decorative flower motifs on the internal doors and a combination of both cast-iron and steel column radiators fitted throughout.

A set of large double doors leads into an impressive south-facing living space. The room is beautifully lit by three sash windows and is grounded by the honey-coloured oak parquet that spreads through much of the apartment. A dramatic slant is added by a four-metre-high barrel-vaulted ceiling with encased steel beams, while ‘Glass Logico’ pendant lights by Artemide provide an ambient glow.

A run of cabinets separates the kitchen from the living space. An appliance corridor featuring two Neff ovens leads out to the hallway, which can be separated off by a sliding pocket door. There is a well-conceived utility room adjacent to the kitchen. Beyond is a cloakroom finished in Greek marble and with a circular basin and hardware by Lusso Stone.

The spacious main bedroom is at the end of the corridor, with dual-aspect windows that bring in a singular quality of light. Two recessed wardrobes provide plenty of hanging space. A door to one end opens into a large en suite with travertine stone flooring, a cast-iron slipper bath and a separate shower cubicle. Mirrored storage cupboards provide discreet adaptors for appliances.

In the entrance hallway, the current owner – an architect – has created an impressive circularity with a newly added atrium space; here, a dramatic cast iron French made spiral staircase winds up to the top floor with blue-painted steel hand rails and spindles. Stretching in two directions, the landing leads to two bedrooms set high in the eaves. There is a second bathroom upstairs finished with Carrara marble, Flos IC lighting, Lusso Stone brushed gold sanitaryware and a large cast-iron bath by Aston Matthews, as well as a separate shower.

Outdoor Space

Beautiful and meticulously well-maintained grounds surround the estate.  Much is left to luscious lawn, set against the backdrop of the mature trees of Claybury Woods. Many of the original quadripartite Victorian airing shelters made of timber and green slate roofs remain dotted throughout the grounds. A gate provides direct access out to the woods and parkland.

The apartment’s allocated car parking spaced is fitted with an electric vehicle charger.

The Area

Concierge services are based at the gates of Repton Park which operates 24 hours a day, 365 days a year.

Woodford Green offers a slice of village life on the outskirts of London. It has a variety of pubs and independent restaurants including the Three Jolly Wheelers. The town is also home to its own cricket club and ground.

Neighbouring Claybury Wood is thought to be one of the largest new public parks created in London for over a century. Managed for nature conservation and with a Green Flag Award, it spans over 70 hectares of meadows, scrubland and woodland which includes a variety of species including oak, hornbeam pollard, birch, hazel and sweet chestnut. The park has a host of walking, cycling and horse riding trails and the ancient woodland has also achieved Forest Stewardship Council certification.

There is a Virgin Active Gym on site; a magnificent swimming pool is placed inside the former church nave and the gym hall is inside the former recreational hall of the former hospital.

There are two schools nearby that currently have “Outstanding” ratings from Ofsted: Ray Lodge Primary School and Woodbridge High School. Independent schools of note include Woodford Green Preparatory School, St. Aubyn’s School, Bancroft’s and Chigwell School. Pavilion Preparatory and Kindergarten is situated in the grounds of Repton Park.

Transport links are excellent. Woodford Station (approximately a 12-minute drive away) is on TfL’s Central Line, which runs trains to Stratford, Liverpool Street and to the west of the capital. The M11 and North Circular are also close by.

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Dingyun Zhang x adidas Samba

On-sale: 18 Oct 24

 

Style Code IF9703

 

Colorway White

 

 

Style Code IF9704

 

Colorway Brown

 

 

 

 

 

 

 

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Salehe Bembury X Crocs - Juniper

https://www.sneakerfreaker.com/features/behind-the-design-of-the-crocs-juniper-sneaker/

 

Treading New Ground: Behind the Design of the Crocs Juniper Sneaker

As one of the most hyped new-gen sneaker collaborators of the last decade, Salehe Bembury is no stranger to the art of breaking the internet with his co-branded footwear designs. Shapeshifting with ease from celebrated project to project, Bembury’s inventive approach and intuitive moves have ensured he stays one step ahead of the ultra-competitive game. Back in 2021, Bembury’s slip-on Crocs Pollex Clog injected unexpected hype into the Colorado-based brand. When he was announced as the creative director of the Pollex Pod line in early 2023, it became clear Bembury was looking even further afield and aiming straight for the sneakersphere.

In September 2023, Bembury – in his usual fashion – posted a close-up look at a never-seen-before sample. The teaser showcased a patterned upper and bubbly soles made up of his trademark fingerprint, along with what looked like a unique mesh material wrapping the collar.

Speculation that Bembury was working with Crocs – on a sneaker no less! – swept the industry and two months later, the rumour was confirmed when the eclectic designer posted a frosted plastic box housing a sneaker-like silhouette. Social media went wild at the thought. ‘Please take them out’ read one Instagram comment, ‘I only have 30 minutes to live!’. Bembury continued teasing slightly different angles until the Juniper concept was finally revealed in full.

While the all-new model isn’t Crocs’ debut sneaker, it does mark the brand’s first confident step into the more traditional footwear industry. Crocs had already experienced the rush of hyped drops and high fashion collaborations with Simone Rocha and Balenciaga among others; however, creating a product that would genuinely appeal to sneaker aficionados was an altogether more challenging brief. With Bembury as their cultural divining rod, the team set out to create a signature model that blended form and function with Crocs’ playful personality. Here’s how they did it.

 

The Great Outdoors

Take a hike through Bembury’s portfolio of colabs and it’s clear he is well and truly grounded in the spirit of the outdoors. Natural tactile materials like hairy suede, pebbled leather and cork complement colour palettes taken straight from grassy fields, vibrant deserts and rushing rivers. The Juniper is no exception, with a slew of design choices influenced by the beauty of nature, along with the project name itself, which references an evergreen shrub native to Bembury’s current home of LA, where he is often found trekking the local trails. Inspired by guavas, taro and sesame seeds in the form of the ‘Tahini’ edition, the Juniper colourways riff on the same fertile themes.

The Juniper also pays homage to Crocs’ practical origins as watersports shoes. Designed for ‘recreational’ outdoors use, the Juniper marketing is steeped in fresh air, with Bembury posting snippets from natural settings while the vibrant hiking community documented various wear-test trips. As a final touch, the ‘The Outdoors is Yours’ campaign tagline was an inclusive invitation to get involved.

 

Edited October 20, 2024 by Vesper

[Vesper 30,322]

Wales Bonner x adidas Collection

https://www.adidas.com/us/wales_bonne

[Vesper 30,322]

Unisex

Ice Studios x New Balance M10

https://www.newbalance.se/sv/pd/ice-studios-x-new-balance-m10/UM10LV1-49704.html

Description

A retro favorite for trail running, the MT10 combines a lightweight, layered mesh upper with a rugged outdoor outsole. This unique silhouette, equal parts elegant and aggressive, is presented in a whole new light in the debut collaboration project from Ice Studios and New Balance. A crisp white upper and saddle are complemented by blocks in the primary colors around the midsole, toe, heel and tongue. This interplay of vibrant colors, varied texture and distinct shapes creates a remarkably warm and inviting take on a modern, technical design.