Can the little red dot stand shoulder to shoulder with the little black dress? A native islander and friends look at fashion (and such) in Singapore, and, occasionally, among her neighbours, and a little further afield
You may not think you are wearing a piece of athletic garment
It is sometines easy to forget that Nike’s Jordan Brand is really tethered to basketball. Or that it bears the name of former athlete Michael Jordan of the Chicago Bulls. It began as a label dedicated to producing shoes the star player would put on to play and to compete, but somewhere along the brand’s 36-year history, “style clothing” for both men and women were introduced. Aesthetically, the products often do not quite leave the boundaries of basketball courts, although some of the shoes might appear to be better suited to fancier stomping grounds.Yet, occasionally, they will issue an item that would not stick out in a fashion-strong wardrobe, such as this colour-blocked bodysuit.
The composition of graphic shapes is fetching enough, so too the colour combination of dove grey, baby blue, and white, but it is the long sleeves—themselves rather unusual for the cousin of the leotard—that stand out and make this bodysuit a fashion contender. The bishop sleeve, to be more specific, is set raglan style on the shoulder and meets the neckline where the band collar sits. Its volume contrasts with the close fit of the body. We like the front opening with the zip that stretches to the belly button, allowing a larger opening that would make the wearing and removing of the garment easier and quicker.
Those concerned with the impact fashion has on the environment would be happy to know that the fabric used in this bodysuit “is made from at least 75% recycled polyester fibres”, according to Nike. Presumably the elastane added to the fabric composition to make it comfortably stretchy is not part of the percentage. In any case, the appealing design may reign supreme. It is not hard to see how well this one-piece would go with the recent Nike X Sacai pleated skirt—the one with the buttoned side-tape (like those on retro-style track pants), which can be unfastened to reveal shorts underneath. And, yes, in a matching grey too.
Jordan Cosy Girl bodysuit, SGD119, is available at select Nike stores.Photos: Nike
Following their success with Nike, Sacai and Undercover remain in bed without the footwear giant
After the very recent launch of the Nike X Sacai X Undercover LDWaffle, which, as with others before the present release, is unattainable, the two Japanese brands reveal that they are collaborating on their own. Yes, without Nike. The two are on their own, in their very hometown. This time, they have come together to create a tiny capsule of clothing, specifically hoodie/track top and matching pants, very much a product category Nike covers, and, under the Nikelab sub-label, does so very well. It is not clear why Sacai and Undercover have chosen athletic wear to express their combined aesthetic sense. Undercover has an existing line with Nike since 2010, dedicated to running: Gyakusou. We can only guess that Sacai and Undercover are catering to demand for luxury sports fashion.
But what’s truly unusual is that the items—in one style for the top and jogger, and three colours for each set—are not only exclusive to Japan (available, in fact, to the rest of the world via Undercover’s web store.), but are available to order only. According to Japanese media, they are “made-to-order”, but not bespoke. It is likely that the clothes are made when they have received the order. Both brands consider this retail exercise as “limited sale”. This is unusual as sportswear rarely, if ever, is sold in such a way. Local reports also stated that, “sales will end as soon as the maximum number of reservations is reached”. Thankfully, no raffle!
This is not the first time the two Japanese brands have collaborated. More recently, both worked on a “two-phase” collab that saw both brands spice up the Sacai MA-1 bomber jacket and a leather rider’s jacket. Now, the tracksuits, inspired, according to the brands, by the LDWaffle that was released two days ago, is issued as the two-piece item (sold separately) by the brands. It also sports a new logo that features Underground designer Jun Takahashi’s love for retro space crafts, such as flying saucers. Colour-blocking and a touchy of cartoon-y whimsy are perhaps just the stuff to lure those who can’t get their hands on those shoes. However hard they tried.
Kanye West is partial to strange, bulky, indefinable shapes for his Yeezy line of footwear. To me, they often look like they are conceived to be worn by animals or, in the case of their weird Foam RNNR, some alien being. His latest, a pair of winter boots, is no exception. Padded, looking almost like a tree stump, with the stitches visible to create parallel curves, they appear to be more at home in elephantidae family than his group of ardent supporters, who considers Mr West a design god of sort. Called the YZY NSLTD BT (again, clearly a vowel-averse moniker. Yes, Yeezy Insulated Boot), it sports a mid-sole that looks like it was nicked from the Foam RNNR’s wavy, three-holes-to-the-side exo-skeleton support. Forgive the cliché: Kindred soles?
This BT is part of Yeezy Season 8, which was shown in Paris last March, if you still remember that. My memory is hazy, but I do recall now that the collection was not memorable. But, somehow, I am reminded of the perforamce of the designer’s daughter North West at the end of the show. Frankly, I don’t even know if Yeezy 8 was ever released (I checked with a New York contact, and he, too, has no idea). Still, here we are with a boot from that very season. The padded foot covering, likely in nylon, is itself not rewriting the aesthetic for those you pull on to trudge through snow. Margiela’s Puffer Snow Boots, for example, is Hulk-like, but is more discernible as footwear for human feet. But if Mr West’s current predilection for covering up and obscuring his body is any indication, he could also be keen on wearing boots that, from afar, might be mistaken for those of Yeti. Cool or crazy, I can’t say.
The YZY NSLTD BT “Khaki” is expected drop next month for USD250.Photo: Yeezy Mafia
Valentino hacked Cloney who had “cloned” Valentino. So who is Depression duplicating?
Valentino’s hoodie (left) and Depression’s T-shirt (right). Photos: Valentino and Depression/Instagram respectively
Yes, COVID-19 has made our world more confusing than it has ever been. In the fashion world, no one would be surprised if you see double: one design like another, or two names as one. Fendace! Designers are now hacking, cloning, and swapping. What is real, what is not? Who came first, who came after? To further boggle the mind, our very own Depression has joined the race to declare one’s vaccination status across a T-shirt, shortly after Valentino’s made theirs on a hoodie. Coincidence? Or is there something in the air, apart from virulent viruses, that makes people want to do the same things? Perhaps one of the side effects of vaccination is the afflicting of individuals to have the same idea, at the same time?
How about about identical fonts? Depression’s ‘VACCINATED’ shares an extremely similar type to Valentino’s, a serif style. Is the occurrence more than a case of mere chance? Sure, it is possible that the Depression designers, still depressed, was jelak of Helvetica and its ilk. Or, 腻烦 (ni fan—sick and tired of), to use a phrase that is more 武林大会 (wu lin da hui—general assembly of the martial arts world), as the Depression flagship considers itself to be. But the similarity does not end there. The word is spelled in full-caps too, and stretched from arm hole to arm hole as well. Okay, Depression fans would say that the T-shirt is slightly different since the 10-letter word is emblazoned in white and appears in the back. Yes, same difference or, as they say in Thailand, same same.
We truly live in a world when one person sells bubble tea, another has too; when one TV star hawks home-baked goods, another must too. As in much of the food world, which now dominates the (still) pandemic-stricken world, just because my ang ku kueh looks like yours does not mean I copied you!
The second item from the Gap YZY collection is launched. Excited about a hoodie?
By Lester Fang
Wow, Gap YZY has a second item to show! After what seems like an eternity! And after the collaborator Kanye West wore the first—a puffer jacket—to death! Okay, maybe just twice, but it was seen everywhere, so might as well have been really worn. I should add, in the middle of summer, which, in so many cities this year, was seeing record-breaking temperatures. Mr West must like his clothes to trap heat. Now, his follow-up to that puffer jacket is the less warm hoodie, but nonetheless warm (made of “beefy double-layer cotton”, according to GQ), although probably not warm enough for the approaching winter. How this product release schedule makes sense is beyond me. But, at least we get to see something. I was beginning to think the brand may be discontinued.
Why a hoodie, and a plain one? I have no idea. Just as I am clueless as to why a puffer jacket is required in forest fire season. By the front-side product shot, I can’t tell if it is better than those that the Gap is already selling. Its website does not allow me to go beyond the initial group photo of the top. A message tells me unapologetically that I “don’t have permission to access “http://www.gap.com/yeezy on this server”. I take that to mean that Gap has no desire to interest me in the line that they paid Mr West heavens-know-how-many-millions to design. I say that with some certainty because the same thing happened when I took interest in that first puffer jacket. Frankly, the hoodie is not my thing, but I was curious. And curiosity, as I found out, is not what Gap wants to reward.
Gap YZY was announced last June, and the first collection was supposed to drop in the “first half of 2021”, according to media reports. Surely someone at the Gap know we’re now approaching the last quarter of the year. The puffer jacket, aka the ‘RoundJacket’, in one colour (blue), was launched in June for a not-small amount of USD200. It reportedly was all gone in a few hours. Online shoppers were met with a “sold out” message, which, to me, is a lot better than “don’t have permission to access”. But according to Forbes, “the ’sold out’ message customers were seeing was a glitch due to high demand”. And now this hoodie, ‘The Perfect Hoodie’, which is cheaper, at USD90. But it is for pre-order in the US only, with the waiting time for delivery two months if one chooses the black. After a year, just two products? And one that you may not receive after buying until closer to Christmas?
So why the hoodie? Who knows? The real question is, do you need Kanye West to come up with that?
Fashion do want to be counted when it comes to making a social/political stand. Valentino, for one, not only knows their position on the divisive issue of COVID-19 vaccination, they are willing to express it, and, concurrently do good. Taking advantage of the cool-after-summer season, they’ve released a black, made-in-Italy, cotton hoodie with the word “Vaccinated” stretched across the chess, above which the unmistakable V-logo is centred. There is nothing to the hoodie really, other than what it might literally say about the wearer. With the vaccinated more appreciated in social circles and welcomed in dine-in-allowed eateries, knowing that they have received the two doses of either the mRNA or viral vector vaccines without turning on their Trace Together app might be a boon to those who’d benefit from the knowledge or be able to complete a professional duty.
Launched on the Valentino website today, the hoodie is shown on the label’s creative director Pierpaolo Piccioli, who looks relaxed in a rattan chair, placed in a garden. According to Valentino’s corporate comms, the designer was “captivated” by an identical hoodie conceived by “the American pop culture sensation Cloney” (a multi-disciplinary collective based in LA, headed by one Duke Christian George III) that he ordered all that was available (five, it is said) and gave them to his friends, among them Lady Gaga, who dutifully wore the V-logoed version and posted a video on Instagram. Clearly Nicki Minaj of the “swollen balls anti-vaxx claim” wasn’t on the receiving end of this messaged top.
Valentino’s Pierpaolo Piccioli proudly promoting his vaccination status
But, apparently, Valentino only told part of the story. According to media reports, Cloney “cloned” Valentino in their hoodies by replacing the V in ‘Vaccinated’ with Valentino’s V and the rest of the letters in the brand’s serif font. Mr Piccioli spotted the item on IG and magnanimously bought them to gift his friends, seeing the potential good that could come out of this hoodie. So rather than sue Cloney, as big brands such as Adidas are wont and eager to, he chose to work with them, pairing the couture brand in his charge with another closer to street that stars such as Justin Beiber and wife Hailey already love so that both can benefit from the resultant social-media exposure and old media support.
Lest you think this is just a commercial, opportunistic exercise, the sale of the hoodie, in fact, benefits places where COVID-19 vaccines have yet made significant impact. “All net profits,” Valentino reveals, “will be donated to UNICEF in favor of the COVAX facility, which ensures equitable access to COVID-19 vaccines by supplying doses to countries in need.” Doing so is also “to highlight the values the Maison stands for”, we are also told. We are not sure how many pieces are allotted to our island, but as of now, they are still available. Those who are keen on a charitable purchase and be in the company of others who share Valentino’s mission, best be quick. They are sold out in Europe.
The Valentino ‘Vaccinated’ hoodie is available on the brand’s website for SGD 1,1901. Photos: Valentino
At the Opening Ceremony, did the finest male athletes of the world show the rest of the blokes watching on TV or their smart devices that skirts do not choose the gender of the wearer?
Tonga’s flag bearers Malia PasekaandPita Taufatofua in national costume, together with their skirted team mates. Photo: Getty Images
Tokyo 2020 in 2021 is strange enough; the Olympics opening ceremony unveiled in a quiet Tokyo Olympic Stadium without spectators (the few who there could not really be seen) is downright eerie. To make matters worse (is that an appropriate word?), the Parade of the Nations segment of an already watered-down Opening Ceremony—with its tradition-meets-contemporary, Harajuku-meets-Sensoji (understandably not-quite) mass display—was just that much yawn-inducing. And weird. Who were these participants waving to, many so enthusiastically? And what (or who) were they filming with their phones? Were they really that happy to walk (or dance) into the US$1.5 billion stadium (designed by Kengo Kuma, not Zaha Hadid, as originally planned) with unmistakably quiet, empty seats, some 68,000 of them? And why were some of the Parade of Nations participants allowed to go mask-less during what was feared to be a “super spreader event”? Were we too observant?
For an Olympics Opening Ceremony this low-key, attention naturally turned to the participants/athletes, or what they wore as part of their national costumes, or, for many, uniforms during the Parade. Sure, this is no Miss Universe pageant (although the Cook Islands did put their female flag bearer, the swimmer Kirsten Andrea Fisher-Marsters (in a floor-sweeping, fish-tailed gown that, according to local media, was valued at NZD1,500 or SGD1,422), but there were countries that still aimed to impress. But many of them probably knew this was not going to be a ramped-up Rio 2016, given the situation, and, up till four days before the grand event would open, the Tokyo organising committee’s chief Toshiro Muto announcement that the city did not rule out even an 11th-hour cancellation of the global sporting showpiece if more athletes tested positive for the virus. Could this be why many nations were not dress to impress? Even the delegates of China, outfitted by a team from the Beijing Institute of Fashion Technology, looked astonishingly bland, especially when their own sports megabrand Li-Ning is making waves in the fashion-sphere.
Vanuatu’s flag bearer Rillio Rii in coloured grass skirt. Screen grab: Mediacorp
Reportedly, thirteen countries sent only two athletes to the Games. The smallness of those contingent meant we did not register and remember what they wore, but for many other nations, their athletes came dressed with layered festive cheer. It is amazing that Tokyo’s summer heat did not seem to bother them. They didn’t look bothered to us. That evening, our Google Assistant told us that it was 27 degrees Celsius in Tokyo, but, we guessed that it probably felt like 30℃ and above. The Japanese capital is known for its unbearable summer temperatures and humidity (yes, worse than our July/August highs). Many journalists, too, had earlier wondered how the athletes would deal with the punishing heat. Yet, some participants, such as those from Puerto Rico wore three-piece suits! In fact, the blazer—now appropriately referred to as the ‘sport coat’—was an extremely popular garment, never mind the setting: a stadium. Two nations did stand out for their distinctly different outers: Costa Rica chose the safari jacket, interestingly in navy and belted too, designed by compatriot menswear tailor Fabrizzio Berrocal, while Columbia picked the very Japanese yukata, with prints of “national flora”, produced by the 34-year-old local bag and accessories brand Totto.
Some nations were just a lot more practical than others, attested by the omnipresence of shorts, especially bermudas, which where worn by the small contingent from, where else, Bermuda. In pink, no less. The Australians were in shorts too, so were the Austrians, and at least another two dozen countries. Our own team SG did not turn up in the national dress of T-shirts, shorts, and slippers. Predictably, they wore blazers in hongbao-worthy red and what appeared to be chinos of khaki from the darkest end of that colour family (described more appetisingly by our media as “latte”), designed by uniform maker Esther Tay. Doing away with the full National Day look was, perhaps, deliberate, as the Singapore National Olympic Council probably didn’t what the team to appear similarly dressed as those from other contingents, such as China or Monaco. Did our athletes look good? Did they stand out? Were they in any best-dressed list? Best left unanswered.
Flag bearers of Tuvalu, Karalo Hepoiteloto Maibuca and Matie Stanley in grass skirts. Photo: Getty Images
Although the turn-out for the Parade of the Nations of the Opening Ceremony was a mixed bag—some dressed as athletes, others as flight attendants, bank clerks, nurses, even like our Safe Distancing Ambassadors!—memorable were the many men who appeared in non-bifurcated bottoms. In fact, what was spectacular were the skirts sported on the male athletes and officials, worn unselfconsciously. Most outstanding was Tongan star Pita Faufatofua’s (taekwando/rowing) traditional Tongan dress of a tupenu (a kin of what we recognise as the sarong) and taʻovala (a mat made of plant fibre that is typically wrapped around the waist)—a combo worn on formal and semi-formal occasions. On his upper body, he wore only body oil (coconut, we were told). Not to be outdone were his team mates, dressed in skirt-like tupenus of dark grey and topped by shorter, fringe-, zig-zag- and scallop-hemmed taʻovalas in the colour of straw. Although the Tongans were a small team, they made a striking sight.
As it turned out, it was quite the competition of the shirtless and the skirted. This was Mr Faufatofua’s third scene-stealing appearance at the Olympics. But, this year, he was not without serious sartorial match. Vanuatu’s Rillio Rii (rowing) was just as shirtless and just as gleamingly oiled. He wore a traditional, multi-coloured, striped, ankle-length grass-skirt (rather than the famous namba or penis sheath of the tribes people of the island), and he looked a lot more dashing than some of his trouser-wearing fellow athletes. Another grass-skirt wearer (but not entirely topless) was Tuvalu’s Karalo Hepoiteloto Maibuca (athletics), who wore a titi (skirt) on top of which the more decorative, paneled te titi tao was laid upon. His fellow flag bearer Matie Stanley (athletics) wore a similar titi, showing the world that skirts really recognise no gender. Surprisingly, there were few sarongs worn. The team from American Samoa, therefore, set themselves apart with black, knee-length versions paired with what were the handsomest holiday shirts of the night. And those, for whom the sarong is acceptable attire, chose something far more skirt-like. Team Malaysia’s traditional kain samping (a short sarong) in untraditional graphic print, conceived by the Design and Art Faculty of Universiti Teknologi Malaysia, was worn (or looked) very much like a cheer leader’s skirt although the National Sports Council of Malaysia insisted that it is kain samping.
Fiji’s flag bearers Taichi Vakasama and Rusila Nagasau in long dresses. Screen grab: Mediacorp
Team Burundi’s Belly-Cresus Ganira in traditional gown-like garb. Photo: Getty Images
Apart from the thwabs of the Middle Easterners or the boubous (long tunics) of the Africans (including Liberia’s Telfar Clements-designed, calf-length-and-below sports jerseys), there were those men’s styles that were rather dress-like. Fijian flag bearer Taichi Vakasama (swimming) wore a traditional column dress with fringing, all made from a local reed called kuta. From Burundi, Belly-Cresus Ganira (swimming) and his fellow male athletes wore a decidedly modern-looking, chocolate-brown-with-white-polka-dot, floor-length pagne, a wraparound garment (or, possibly, the more formal imgega), topped with a short cape, placed fetchingly askew. We thought Mr Ganira looked rather dapper in his traditional dress. These athletes stood out not only because of the perceived feminine style of dress they adopted or that they were willing to go against global athletic wear conventions (not regional or local), but because of the surprising freedom with their choice of clothes in the traditional power structure of the athletic world, as well as its attendant institutional and cultural bias. This is no less pronounced even if, among this Olympics’ three core concepts, there is the yet-to-date call of “accepting one another”.
And these men’s choice of clothes also showed that there was no need for a famous designer to design garments that would capture the imagination of the world watching from digital devices across the globe. Team USA was outfitted by Ralph Lauren (since 2008!) and the contingent, bursting with spurious preppiness (striped T-shirt, navy blazer, denim jeans) showed why American fashion is in unceasing decline. These clothes were communicating New England summer, circa 1985! But perhaps, more annoying was the oversized, kiasu Polo logo on the left pocket of the blazer—brand recognition or a reminder that Polo the sport is largely played and enjoyed by wealthy white individuals? Or, that the game was not included in the Olympics since 1936? If some Olympians could adopt fashion in non-gender-binary terms, perhaps many more could also not seek security behind the sport coat, especially those marked by a white man riding a horse, holding up a mallet—all in total white. Could this also be what author David Goldblatt—quoting the “godfather” of the modern Olympics, Baron Pierre de Coubertin—referred to as the “display of manly virtue”?
Adidas is at it again. This time, they’re suing Thom Browne
They are four rows instead of three (at least seen in the above photo), yet Adidas thinks Thom Browne’s parallel lines are exactly like the former’s. The German brand is suing Thom Browne for “selling athletic-style apparel (also seen above) and footwear featuring two, three, or four parallel stripes in a manner that is confusingly similar to Adidas’s three-stripe mark,” according to the trademark infringement claim filed in New York and reported in the media. It is understandable that three lines, even of different widths, could be “confusingly similar”, but two or four of them will cause confusion, even when everyone not living under a rock knows Adidas never use less than three? That’s confusing! Or is this because lawyers under Adidas’s payroll need to justify their existence? Don’t you dare!
Trademarks, of course, need to be protected, but is it possible that Adidas does not seem confident of their unmistakable, although unremarkable, graphical branding even as they say, “for over half a century, [they] extensively and continuously [have] used and promoted the three-stripe mark in connection with apparel and footwear”? Despite holding fast to the three stripes, Adidas does not consider it adequate or long enough since “confusing” is apparently the result when similar marks appear. And the only way to make things less “confusing” is to take a litigious approach. According to a 2017 Bloomberg report, Adidas had, by then, filed nearly 50 lawsuits to secure its trademarked stripes.
The suit also stated that, previously, there was mediation between Adidas and Thom Browne, beginning in November 2020. Nothing was resolved, it seems. But in a statement responding to Adidas’s charges—quoted by WWD—a spokesperson claimed that they did their part and “acted honorably for all this time”. He added that “Adidas consented for 12 years and now they’re changing their mind. The court won’t allow that. And consumers won’t as well. It’s an attempt to use the law illegally.”
We do not know that the illegal use of the law exists. But as consumers, we are definitely not confused by Thom Browne’s use of the stripes, which, graphic designers will agree, are themselves generic lines and are “devoid of any distinctive character”, as the EU Intellectual Property Office, which had rejected Adidas’s trademark application, said in 2016 (a ruling upheld by an EU court in 2019). Many of us do no think that the Adidas stripes look anything like Thom Browne’s. But never mind what the rest of us actually think. It only matters what Adidas think we may think, stupid us! Will Adidas sue Kit Kat next?
The Finnish brand, beloved by women of a certain age, is going sporty, with Adidas joining the game
At each launch of the Marimekko X Uniqlo collaboration, now into their fifth season since 2018, women who have reached a particular station in life and age group make sure they are the first few to cop the cheerful tops and dresses. The collab’s success with this sizeable company of women allow it to be an ongoing project that suits the Japanese brand’s LifeWear positioning or what is described as “practical sense of beauty”. As Uniqlo is well embraced by all women, regardless of age and size, it is unsurprising that Marimekko’s tented shapes, in particular, are adopted and have quickly become the go-to silhouette for those seeking clothes that are forgiving. As one fashion stylist told us recently, “the Marimekko woman is not the Ines des la Fressange woman.”
Marimekko is probably well aware that it needs to break away from the sticky cliché that its designs appeal mostly to those who want loose, bright, graphic-strong clothes that detract attention from the body—unchallenging garments that make the wearer look youthful, too. Sportswear is an inevitable category to go into, even if Marimekko has never traipsed into the path of performance wear (not counting T-shirts) before this. Into the field came serial brand collaborator Adidas. And it’s timely too, considering that track tops and bottoms are presently the fashion choices of many women IRL. That Adidas has had success with pop-centric collabs—such as Beyoncé and Niki Minaj—likely prompted Marimekko to adopt the sports brand’s tried and tested formula.
The Finnish label, which turns 70 this year, calls the collaboration “the art of print and performance”. Indeed, print is synonymous with Marimekko—they can easily draw from an archive of reportedly more than 3,500 graphic motifs. But rather than employ those that have made their collaboration with Uniqlo so rewarding, such as their famous poppy flower (known by the Finnish name Unniko) or the jumble of blooms Siirtolapuutarha, they have opted far more graphic patterns, such as the repeated dots of Räsymatto and the vintage waves of Laine. Perhaps flowers do not hint at performance. The clothes are clearly pitched at the athleisure customer than an actual track-and-fielder. There’s a hip-hop, Missy Elliott-worthy vibe, too. In fact, it could even entice the gorpcore enthusiast if we go by the location of the shoot for the advertising: a hillside or a hiking trail.
The campaign images could also be one of the most inclusive among the collaborations of Adidas. The photographs all feature models of colour—there is not a single Caucasian (is that still inclusive?). The clothes seemed to be for women only, but in their publicity images made available to the media, there is one male model in a cycling top. These days, it is, of course, hard to tell who a brand’s intended audience really is. The clothes could be unisex or that the women’s items could also be pitched or “recommended” to guys. If so, Marimekko X Adidas is really a collaboration alert to the requirements that make today’s fashion brands really tuned in.
Marimekko X Adidas is available online in mid-June at adidas.com.sg. Photos: Marimekko/Adidas
Air Dior is done and sold. Kim Jones doesn’t need to milk that success. His collaboration with Nike shows it
By Ray Zhang
Kim Jones can’t do any wrong. From his bringing together Louis Vuitton and Supreme to Dior and Nike, everything he touched had turned to gold. What’s next, I wonder—Fendi and whoever, whatever? But before there’s that, Mr Jones has put his own name to sit alongside Nike’s in a collaboration that many had thought might be as exciting as the shoe for Dior, probably the most hyped sneaker in the history of luxury-brand collabs. Nike X Kim Jones is the coming together of two big names in an iteration of streetwear that overplays hoopla, not design. If the publicity material and the merchandise are not identified by Mr Jones’s name (or in the case of the logo used on the clothing, the initials KJ), these could be any merchandise in Nike’s regular drops. Or something you might consider at ASOS… when they are offering a store-wide 20% discount.
Perhaps I have overlooked something here. Were these put out for kids who missed out on the Dior collab, or those who could not afford the (from) S$3,100 a pair shoes? And those who are happy to just wear anything as long as they are associated with a trending name? Frankly no one needs to pay S$149 for “classic nylon bottoms”, as Nike describes a pair of very standard-issue track pants. Or, $69 for a “short-sleeve (sic) tee” that is accompanied with a curious description: “Neon hues are combined with a reflective design Nike Air graphic to give this top an essential feel”. Or (I cringe mentioning this), the socks (S$29), with the Nike Air logo on one side and KJ on the other. Seriously? Even the sole shoe, an Air Max 95 (S$299), with orange highlights and, on the upper, “Morse code-like pattern” (I, and so many of us here at SOTD, prefer the sound), is probably one of the most uninspired interpretations ever.
…one is well thought-out and thought-through for both design and performance, while the other is basically commercial fluff
Mr Jones has had quite a track record in making athletic clothes somewhat cool and mind-bogglingly desirable. Since his work for the UK brand Umbro back in 2008, with its references to British football culture, he has been known to have an eye to sift out sportif and cultural reference to bring something to whoever. But they have never been, to me, as crave-arousing as, say, those by A-Cold-Wall*. I won’t even bring up Gyakusou, Nike’s successful, eleven-year-old pairing with Jun Takahashi, for comparison, since one is well thought-out and thought-through for both design and performance, while the other is basically commercial fluff.
In many ways, Mr Jones’s output reminds me of the equally lacklustre Nike collaboration with Riccardo Tisci in 2017, which also featured the initials of the designer. Given that there is increasingly more design-driven pairings between sportswear and designer labels, I would have thought that Mr Jones might have tried a tad harder. Sure, I did not expect him to do a Sacai, but neither did I regard such bland take to happen. Even the placement of the Nike Air logo on the apparel suggests to me a what-the-heck, just-plonk-it-here approach. If Nike’s pairing with Kim Jones can’t yield even a fraction of the design savvy in the former’s own truly appealing and often fascinating Nikelab or the ACG (All Conditions Gear) line, they should really not bother. Nike—and all of us—deserves better.
Japan’s White Mountaineering collaborates with Fila. The result is more for track and field than pitch and trail
These days, every designer label worth its salt—or stripes—collaborates with at least one sports label. The Italian brand Fila is rather productive in this respect, and has been able to attract Japanese names to its stable, such as Mihara Yasuhiro. Hot on the heels of that release is the collaboration with White Mountaineering under the line Fila Fusion, which, according to a Fila Facebook post, “targets (the) youth market, incorporating vintage and on trend elements to bringing streetwear into a new level.”
White Moutaineering’s been quite a prolific brand collaborator, having paired with Adidas for quite a few seasons, and more recently, with the Italian outdoor wear label Colmar, the American athletic brand Saucony, as well as Australian footwear Ugg. Designer Yosuke Aizawa would be the guy to bring Fila’s Euro-vintagey sportif style to quite a height, never mind “new”. While WM fans might be hoping for a more up-the-hill aesthetic, Mr Aizawa and his team have remained close to Fila’s athletic roots, including the latter’s colour scheme for its logotype.
White Mountaineering X Fila. From left: (women’s), T-shirt, SGD136, and skirt, SGD208; (men’s) pullover, SGD208, and track pants, SGD 288. Products photo: Fila. Collage: Just So
To the uninitiated (or Fila novices), the blue/red/white combination could be mistaken as those worn by the North American team bound for the Olympics. Truth be told, there’s nothing quite mountaineering about these cheery, potentially nationalistic colours. They are more track than trail, and would really not be out of place on a path of any urban centre or the walkway of a mall. But WM devotees would want something to identify the brand with, and Mr Aizawa offers a hint of WM detailing, such as the brand’s logo bordered by ethnic-looking repeated patterns. In fact, the collection is mostly based on Fila staples, but with WM’s love of details gleaned from military and work wear.
The women’s pieces are quite the standout that many sportswear collaboration are not (except possibly Sacai and Nike). We like the boxier tops and the layered/pleated skirts—rather tennis wear charmingly gone a little off-tangent. As with WM collections, the Fila outers are smashing. Lightweight jackets, some with that ethnic pattern, but mostly with massive pockets (and flaps) are totally consistent with the outdoor look, but city-centric enough to go over any dress that you might be wearing now. If only our climate here isn’t one we wish we didn’t have.
Rating: 3 out of 5.
White Mountaineering X Fila autumn/winter 2020 is available at Fila, Orchard Central. Photo (top): Zhao Xiangji
Now that the use of masks are mandatory, there really should be a way to keep them, including those set aside as spares, and those removed temporarily. Nikelab ACG has a jacket that solves the storage problem
Nikelab ACG vest. Photo: Nike/DSMS
By Ray Zhang
With increase and compulsory mask use, I found myself with one problem: I do not have a dedicated space to keep them when I am out, but not necessarily about, since I do not think the time is right to be gallivanting. Yet. I always like bringing a spare mask, in case the one I am wearing gets wet (the weather, for example, is so unpredictable) or when I have the misfortune of encountering someone who coughs into my face. And when I remove my mask to eat or drink at, say, the food court, I like to put it away in a proper and clean place; none of the below-the-chin, through-the forearm, or on-the-lap deployments. I usually bring along a Ziplock bag—two, in fact (one for clean masks, one for used masks)—but for those who use fancy fabric masks, a plastic case just won’t do.
Sure, some expensive masks brands offer storage bags that can be purchased separately, such as those by the streetwear-ish brand Profound, favoured by Zayn Malik, Kendrik Lemar, even Rihanna. But I do not know if the expense is warranted. I like a pouch pocket attached to something I can wear and is within easy reach. You can, therefore, understand why I was smitten by this Nike ACG vest at first sight.
This all-nylon gilet with mesh lining comes with an amazing number of highly usable pockets: five. They come in four different sizes, and each of them has zippered opening for additional security. I am also attracted to the triangular carabiner on the the outer corner of the bottom right pocket. For those who prefer to have their mask hanging, this is a good option (there is also an additional carabiner in the interior of the bottom pocket on the left). Additionally, I find the colour-blocking especially fetching—a bi-coloured body of top-half in black and bottom-half in white and the pockets in beige. It helps, too, that the utility vest is on trend, but that is never, to me, a priority. 😷
Rating: 4 out of 5.
Nikelab ACG vest, SGD189, is available at DSMS and online, as well as at nike.com