When you have something popular you have to be careful with the volume. If people see something too much, they get tired, so we are very careful and control the number of units we sell. | | | | "Missoni Miss." 1975.
(Hulton Archive/Archive Images/Getty Images) | | | | |  | “When you have something popular you have to be careful with the volume. If people see something too much, they get tired, so we are very careful and control the number of units we sell.”
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| | rantnrave:// Great topic for debate: who benefits from all the trading in the secondary market for sneakers and streetwear? STOCKX announced Tuesday that it's moving into streetwear. The marketplace known for sneaker trading aims to deliver price transparency and a centralized market hub. It's also profiting from spaces previously dominated by amateurs and fans. Good or bad? What are the implications for sneaker manufacturing? For culture? CAM WOLF's piece for GQ quotes sneaker vlogger akaTRENT, who has this to say on searching for market prices for sneaker resale: "I'm not advocating for someone to use StockX—I'm literally saying that this is pretty much the only place I can do that very quickly." A market like StockX has its advantages, but it can detract from some of the serendipity that make resale markets fun. I've always been amazed at how enthusiasts of anything have a kind of preternatural instinct for pricing and market movements—and of course, those without literacy or access to information are the ones most vulnerable. As it ever was. What's next, people start taking short positions on JORDANS and front running YEEZYS? I'm kidding, but still... Love seeing projects like NEU NEU, a media platform that celebrates black creatives in fashion. The magazine is identity-driven, but the message is firmly inclusive. It's not "for us, by us," but "by us, for everyone"... The constant tracking of creative directors is like fashion's version of homing beacons or "where's my IPHONE." Except these aren't iPhones. They're talented, high achieving individuals responsible for the aesthetic direction of massive empires of ready-to-wear, accessories, advertising imagery, and social media. Per anonymous sources, PHOEBE PHILO may leave CÉLINE. LVMH denies it. Is anyone else feeling fatigue over the churn, not to mention the slingshotting of aesthetic direction at fashion's most well-known labels? If Philo does leave, how is the brand positioned to accelerate growth? CÉLINE became white hot under Philo's direction, inspiring unilateral riffing off of the label's aesthetic from fast fashion to mid-level luxury startups. I remember when just about every label, luxury or otherwise, began gold stamping a diminutive logo onto its handbags à la Céline. Cult status can be hard to maintain when the riffing begins. If Philo does leave, she leaves behind a long shadow—a tough act to follow... LIZ TILBERIS's HARPER'S BAZAAR is one of my favorite eras in the magazine's history. Fun to browse via online archives... KATE LANPHEAR is creative director at MARIE CLAIRE... Stats on US retail sales... Hybrid footwear. | | | - HK Mindy Meissen, curator |
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 | The Chronicle of Higher Education |
| In higher ed, threadbare is the new black. | | |
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 | WWD |
| Model Cameron Russell is shedding light on decades of sexual abuse in the modeling industry. | | |
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 | Neu Neu Media |
| At 24, the Jamaican native has caught the attention of girl group Fifth Harmony with his raw, disruptive designs and had his clothes featured in publications like Fucking Young and Cakeboy, all while Vogue street style photographers praise his personal, colorful style. | | |
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 | South China Morning Post |
| The Asian American designer feels a strong connection to China and wants to change the stereotypical view of manufacturing in the country as poor-quality. | | |
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 | Harper's Bazaar |
| A look at one of the most thrilling--and ultimately heartbreaking--chapters in the magazine’s history. | | |
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 | BULLETT |
| Everyone knows 'diversity' is it the It-word of the season-from inclusivity mandates to countless "changing faces of fashion" features, the industry has finally started to catch up with the rest of the world, in terms of rightfully banishing all-white runways. Or have they? | | |
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 | Racked |
| Fitting rooms can cause extra hassle. | | |
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 | The Cut |
| “If makeup becomes a corset, it’s not a good thing or a good message for women around the world.” | | |
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 | The Business of Fashion |
| Beauty companies are moving away from anti-ageing to anti-pollution, a concept aimed at wellness-obsessed and prevention-driven Millennial and Generation Z consumers. Will the bet pay off? | | |
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 | Aperture Foundation NY |
| The young photography duo Jalan and Jibril Durimel are transforming the fashion world's visions of beauty. | | |
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 | Fashionista |
| As shoppers are increasingly more fashion-conscious and digitally savvy, the traditional vintage store is getting a modern-day update. | | |
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 | Highsnobiety |
| Supreme has always been more than just your average graphic T-shirt brand. Meet Brents Sportswear, the Supreme producent from the '90s. | | |
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 | GQ |
| StockX started as a sneaker resale market. Now it's expanding into streetwear, starting with Supreme. | | |
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 | Retail Dive |
| Amazon hasn't killed them. They haven't been raptured in the "retail apocalypse." Nor are they trending online or in the media. But these retailers have staying power. | | |
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 | GQ Style |
| Jaime Hayon and Jasper Morrison are bringing their industrial design talents to your wardrobe. | | |
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 | The Fashion Law |
| The Spring/Summer 2018 shows - whether in New York or Paris - made it clear that logomania is back. After doing away with ubiquitous branding several years ago, on the heels of what has been referred to as “logo fatigue,” not even some of more logo-adverse brands can stay away as of late. | | |
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 | Garage Magazine |
| Howard Street is a four-block stretch in Soho that has some of the best shopping in the city-and is thriving despite the neighborhood’s retail woes. | | |
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 | JOOJOO AZAD | جوجو آزاد |
| It was not the first time I was asked, by friends, family, and strangers across the internet -- why do you wear provocative clothes that make people stare at you? Are you intentionally wearing clothes that make people uncomfortable?The answer is less simple than you might think. | | |
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 | Vestoj |
| The following is the first in a series of three conversations in which recent refugees reflect on material possessions. | | |
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 | It's Nice That |
| Each season as a new issue of "Fantastic Man" is released, conversation ensues around who it has chosen for its cover. What the publication has always done -- whether it be featuring Bryan Ferry, Christopher Waltz or Jeremy Deller -- is choose someone you wouldn't quite expect but equally someone you adore, or will do once you've finished reading. | | |
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