Features

SVRN x Pas Normal Studios 'Off-Race' Launch Event

We partnered with Pas Normal Studios to celebrate the launch of their Off-Race collection with a San Francisco checkpoint race and an in-store release event at SVRN San Francisco

What's The First Thing In Your Luggage?

What's The First Thing In Your Luggage? Before itineraries and outfits there is always one thing that goes in first. We asked friends of SVRN what theirs was. A dog eared notebook because ideas do not wait. A Nintendo Switch to pass the time. Cashmere socks to make row 23 feel like home. Bedroom slippers because comfort starts the moment you arrive. The answers are quiet markers of priority such as comfort control and memory. This is not about packing light or heavy it is about the objects that anchor us as we cross time zones. Here is a look inside their bags and the habits that travel with them. View Recap On INSTAGRAM

SVRN SOUNDS 01: Secret of Manna

SVRN SOUNDS SECRET OF MANNA .001 SVRN · SVRN SOUNDS - SECRET OF MANNA SECRET OF MANNA Q+A Kicking off SVRN SOUNDS is SECRET OF MANNA, a visionary artist, DJ, and educator from Hyde Park, Chicago. As a professor at the University of Chicago, he teaches 3D sculpting and web design while also leading his namesake jewelry brand. Filtering through a Duchampian lens, he alchemizes everyday objects into immortal forms, blurring the line between the banal and the sublime. His influence stretches beyond the studio, mentoring youth across the city and crafting custom 3D-sculpted grills for artists like Bad Bunny, Jimin, and Playboi Carti. His sets echo the same ethos: unexpected, layered, and deeply intentional. Q+A [01] When were you first drawn to the concept of 'Sound', and Why? Being a kid in the 80s meant Saturdays cartoons in the morning and horror movies at night. That strange combo probably explains a lot about my taste and the way I process sound and storytelling today. [02] How would you define the essence of sound to someone who experiences the world without it? Sound has this way of shaping how we feel. Sometimes just a certain tone or texture can pull you right back to a whole season—like the buzz of summer cicadas, the crunch of leaves, or the stillness of a quiet winter day. [03] Describe a moment when sound shifted your perception or made you feel something unexpected. Birding has opened up a new way of listening for me. Learning to tell apart mourning doves, red-winged blackbirds, and house finches by their calls has made me appreciate the subtle details in sound even more. [04] Thinking of the relationship between space and sound, how do you blend the two? [In SVRN] I wanted to play refreshing and unexpected sounds —something that reflects my personal style, but still leaves space to experiment and have fun with it. [05] If you could distill your sound into one non-musical metaphor — like a dish, a color, or a landscape — what would it be? "Evolving Map" SVRN SOUNDS SECRET OF MANNA .001 SVRN · SVRN SOUNDS - SECRET OF MANNA SECRET OF MANNA Q+A Kicking off SVRN SOUNDS is SECRET OF MANNA, a visionary artist, DJ, and educator from Hyde Park, Chicago. As a professor at the University of Chicago, he teaches 3D sculpting and web design while also leading his namesake jewelry brand. Filtering through a Duchampian lens, he alchemizes everyday objects into immortal forms, blurring the line between the banal and the sublime. His influence stretches beyond the studio, mentoring youth across the city and crafting custom 3D-sculpted grills for artists like Bad Bunny, Jimin, and Playboi Carti. His sets echo the same ethos: unexpected, layered, and deeply intentional. Q+A [01] When were you first drawn to the concept of 'Sound', and Why? Being a kid in the 80s meant Saturdays cartoons in the morning and horror movies at night. That strange combo probably explains a lot about my taste and the way I process sound and storytelling today. [02] How would you define the essence of sound to someone who experiences the world without it? Sound has this way of shaping how we feel. Sometimes just a certain tone or texture can pull you right back to a whole season—like the buzz of summer cicadas, the crunch of leaves, or the stillness of a quiet winter day. [03] Describe a moment when sound shifted your perception or made you feel something unexpected. Birding has opened up a new way of listening for me. Learning to tell apart mourning doves, red-winged blackbirds, and house finches by their calls has made me appreciate the subtle details in sound even more. [04] Thinking of the relationship between space and sound, how do you blend the two? [In SVRN] I wanted to play refreshing and unexpected sounds —something that reflects my personal style, but still leaves space to experiment and have fun with it. [05] If you could distill your sound into one non-musical metaphor — like a dish, a color, or a landscape — what would it be? "Evolving Map"

PARIS FASHION WEEK RECAP S/S 26

PARIS FASHION WEEK RECAP S/S 26 View Recap On INSTAGRAM Paris Fashion Week S/S 2026 offered a season of clarity, designers embracing conviction over noise, and storytelling rooted in purpose. Standout moments came from Willy Chavarría, whose HURON collection was a defiant reflection on immigrant identity, complete with bold tailoring, vibrant color, and a powerful ACLU collaboration. Rick Owens delivered a visceral, water-soaked spectacle at Palais de Tokyo, previewing his Temple of Love retrospective with sculptural leather, exposed silhouettes, and subversive romance. Beyond the runway, spaces like the RHIZOME installation by Crosby Studios Gallery x Manyforms and showrooms from ON x PAF and Comme des Garçons showed that meaning and innovation remain central. SS26 made one thing clear, fashion’s most impactful voices are the ones with something real to say

SVRN Sommelier Sundays 06 at Bar Gemini

SVRN Sommelier Sundays 06 at Bar Gemini View Recap On INSTAGRAM For this SVRN Sommelier Sunday, we turned our focus to Australia. Known for its vast landscapes and bold climate, the region offers far more than its best-known exports. From coastal whites to skin-contact blends and rich, sun-drenched reds, the curated selection reflected the diversity of the country’s winemaking approach. Guests began the evening with a guided workshop, diving deeper into the profiles and stories behind each bottle. As the night unfolded, DJ Zan shaped the mood with a thoughtful mix that carried the room from early conversations to late-evening connection. Thanks to everyone who came out and made it such a great night. SVRN Sommelier Sundays will be back soon, with new regions, new sounds, and more to explore.

Staff Selects: Playlist 002

Staff Selects: Playlist 002 Staff Selects returns with a new selection of tracks we’ve had on repeat—fresh releases shaping our current rotation. Featuring genre-bending chaos from CA7RIEL and Paco Amoroso, laid-back West Coast rap from Jay Worthy and LDN DRGS, and ambient depth from DeerPark. 01_ ARCA - PUTA Futuristic, provocative, and unapologetically raw. “Puta” is a cybernetic reggaeton anthem that melds industrial textures with high-femme bravado, delivering a sonic assault that is both sensual and confrontational. Arca’s meticulous self-production and bold lyricism challenge genre conventions, asserting her dominance in the avant-pop landscape. 02_ TURNSTILE - SEEIN STARS “Seein Stars” drifts away from hardcore’s tight grip and leans fully into something softer, more reflective. With sun-warped guitars and melodic vocals, it plays like a love song to transformation. Proof that Turnstile can radiate just as powerfully when they slow the tempo and let the light in. It’s emotional, bright, and unafraid to feel good. 03_ JAY WORTHY & LNDN DRGS - CALAMARI This track floats with the ease of two artists who’ve mastered their lane. Jay Worthy’s bars are sharp but relaxed, while LNDN DRGS lay down a buttery synth groove that feels built for sunset drives. “Calamari” doesn’t shout to get your attention. It smirks, knowing it already has it. A low-key flex dressed in West Coast polish. 04_ CA7RIEL & PACO AMOROSO - EL DÍA DEL AMIGO The energy is magnetic. CA7RIEL and Paco Amoroso don’t follow structure — they bend it to their will, flipping between flows, moods, and genres like it’s a dare. “EL DÍA DEL AMIGO” feels like a celebration and a glitch, all at once — full of detail, punch, and the kind of chaos that only works when every move is intentional. 05_ GLOKK40SPAZ - IAN GONE LIE Stripped of gloss and packed with heat, “Ian Gone Lie” sounds like it was made in one take and never needed a second. Glokk40Spaz raps like he’s chasing something down, voice pushed forward over bare production that leaves no room to hide. The intensity is the point — raw, urgent, and impossible to ignore. 06_ KUKI - RARE BABY Everything about “Rare Baby” feels warped in a beautiful way, like a pop song filtered through a funhouse mirror. Kuki’s voice hovers just above the mix, soft but unshakable, while the production folds in and out of itself with dreamy unease. It’s catchy, sure, but also slightly haunting. Like remembering something that never quite happened. 07_ MOTHER SOKI - RIVET GUN “Rivet gun” is built from noise, distortion, and the feeling of something unraveling in real time. Mother Soki creates a world where vocals blur into machinery and rhythm turns into resistance. It’s physical, jarring, and oddly ritualistic. A purge through sound. 08_ AFUSIC - PAL PAL “Pal Pal” floats at its own pace, letting its pieces drift and click into place like a dream you’re still half in. Afusic plays with texture more than structure, layering whispers, glitches, and melody until the whole track feels suspended in air. It’s soft but not fragile. The kind of track that rewards stillness. 09_ DEERPARK - CLEAR SKY RAIN With minimal elements and a quiet confidence, “Clear Sky” builds its world slowly. DeerPark leans into restraint, allowing ambient tones and ghostlike melodies to create space rather than fill it. There’s a warmth under the haze, like watching light change through fog. Simple, but affecting in all the right ways. 10_ MONSTER RALLY - FLIGHT TO THE JUNGLE Every sound here feels like it was found in a forgotten crate and reassembled with care. “Flight to the Jungle” loops and sways through vintage samples and tropical textures, never in a rush but always in motion. Monster Rally’s collage work isn’t about nostalgia. It’s about escape and the joy of getting lost inside a sound.

JORDAN / SVRN: TONGNO (PASSAGEWAY) INSTALLATION

TONGNO was a cultural installation and event presented by SVRN and Jordan, held at Cinespace Chicago. It brought guests into a layered narrative exploring heritage, identity, and movement, bridging Seoul and Chicago through immersive design and storytelling. The name TONGNO (통로), meaning “passageway” in Korean, served as both concept and architecture, symbolizing a bridge between generations, cities, and cultures

SUNG JANG SHOWING RECAP

SUNG JANG SHOWING RECAP View Recap On INSTAGRAM We welcomed Sung Jang’s work into SVRN Chicago for an evening centered around his exploration of form, structure, and movement. Selected pieces from his Shape of Land and Given series transformed the space, inviting guests to move through the installation and engage with his vision. New garments were also curated alongside the works, extending the dialogue between art and design. Complimentary wine was served throughout the night, creating a relaxed setting for conversation and reflection. As guests explored the pieces, the room filled with thoughtful exchanges and new perspectives sparked by Jang’s work. Thank you to everyone who joined us and made it a memorable night.

Staff Selects: Films

Staff Selects: Films Our staff put together a list of films they’ve been watching lately—some revisited, others newly discovered. From surreal love stories to psychological mysteries and visual fever dreams, these are the ones that stay with you. 01_ IM A CYBORG BUT THATS OK (2006)directed by Park Chan-wook A delicate collision of fantasy and reality told through the lens of a psychiatric ward. Whimsical yet grounded, it explores identity and connection in a way that feels entirely its own. 02_ CITY OF GOD (2002)directed by Fernando Meirelles, Kátia Lund Shot with urgency and clarity, this film captures the momentum of growing up in a world that moves too fast to pause. Style and substance move in lockstep without ever compromising the story’s impact. 03_ THE WORST PERSON IN THE WORLD (2022)directed by JOACHIM TRIER A sharp and emotional look at becoming someone in a world where everything feels temporary. It’s romantic, uncertain, and deeply human without ever overstating the point. 04_ THE DEPARTED (2006) - directed by Martin Scorsese A pressure cooker of a film where lines between good and bad are constantly rearranged. Built with tension and detail, it thrives on what’s unsaid just as much as what’s shown. 05_ FLOW (2024)directed by GINTS ZILBALODIS An abstract piece rooted in rhythm and movement, where narrative takes a back seat to mood and motion. It invites interpretation rather than offering conclusions. 06_ BURNING (2018)directed by Lee Chang-Dong A film that works in the quiet. Each moment feels intentional and unresolved, drawing tension from stillness and suggestion. It holds more than it tells. 07_ INCEPTION (2010)directed by CHRISTOPHER NOLAN An exploration of memory, architecture, and subconscious control told with immaculate structure. Every element is purposeful, creating something as immersive as it is cerebral. 08_ LITTLE MISS SUNSHINE (2006) directed by VALERIE FARIS, JONATHAN DAYTON What begins as a simple journey becomes something far more meaningful. A portrait of imperfect people trying to stay together, full of humor and heart without ever feeling forced. 09_ The Holy Mountain (1973)directed by Alejandro Jodorowsky Visually overwhelming and symbolically rich, this is a film that rejects easy interpretation. It’s ritual, commentary, and spectacle all at once, unfolding like a lucid dream. 10_ thief (1981) directed by Michael Mann Set in a world of precision and control, this is a story about discipline clashing with desire. It’s quiet, focused, and built on atmosphere as much as action.

Artist Highlights: Sung Jang

ARTIST HIGHTLIGHTS_ SUNG JANG In a world where design often leans into spectacle over substance, Sung Jang’s work stands quietly but confidently apart. Trained as both a sculptor and a product designer—with degrees from the School of the Art Institute of Chicago and Domus Academy in Milan—Jang’s practice sits at the intersection of art, architecture, and industrial design. His objects often strike with scale and form, but beyond their immediate visual impact, they reveal a layered logic meant to unfold over time. Central to his approach is the idea of modularity: simple forms that, when repeated, become intricate systems. His large-scale installation at Anderson Ranch, composed of 15,000 interlocking polypropylene pieces, speaks to this philosophy. It’s design as ecosystem—rooted in logic, yet expressive in form. “I want the work to feel alive,” he’s said. “Not because it moves, but because it evolves.” Based in Chicago, Jang leads the Industrial Design program at the University of Illinois at Chicago and runs his independent studio practice. He’s collaborated with names like Louis Vuitton and Roche Bobois, yet his most compelling work often emerges outside the spotlight—through experimental objects, teaching, and longform ideas that challenge how we define beauty, structure, and sustainability in design. Do you remember the first artwork of any medium you saw and thought, ‘That’s interesting,’ or beautiful, or impacted you in any way? When I was in pre-school age, my mom had a cassette walkman with a headphone. I remember playing the tape for the first time and listening to music in the intimacy of headphone- I don't remember the music itself, but I remember thinking it was an incredibly inspiring experience to hear the stereo soundscape at that age. for some reason I remember it to be both aural and visual.. Weird. But cool. Please explain your design principles. Where do they stem from, and were they passed on to you intimately or in academic settings? I think the foundation of my practice came from various sources - I religiously collected and bought Pla-model (Gundam kit type things) as a kid, which I think gave me an interesting mechanical, engineering sensibility, maybe even sense of aesthetic and proportions etc. Growing up in 80's Korea and spending teen years in 90's U.S. I was exposed to a variety of interesting culture products that kind of influenced me to put together a vision of becoming a producer of culture. What do you feel is the most overlooked design element, if any? This can be answered in different dimensions but universally, I think the amount of input to generate meaningful output is often underappreciated across the board. I think creating successful design is a very resource-demanding activity, be it experience, effort, or expense. Please share some of your favorite Korean or other cultural concepts of aesthetic or philosophical principles. Koreans are very ed-hoc. While we can trace back to discuss all of the ways Koreans invented 'proper' culture, we are also very casual and improvising. There is a kind of tendency of doing just enough to get what we need. This is probably amplified by the pre-modern poverty that we went through until a few decades ago. This improvisational approach to things, combined with an intense desire for prosperity generated lots of well- made strange hybrids we know now as the Korean pop culture. Do you incorporate any of these in your work? Yes. The foundational principle my work is predicated on is kind of along the same line of thinking. I find random natural object and negotiate with it to get what I want while not destroying it. It's also a critique on the cultural/industrial desire to have perfect things. What do you feel is oversaturated right now in design and arts? Instantly generated stuff. What would you like to see more of? Projects with long term commitment and mastery honed in though real dedication... What’s the most deceptively simple idea that inspired one of your pieces? No material is more valuable than another. It's not a new concept, but if you take away the concept of supply and demand, all materials are just elements that do different things. If a future archaeologist found one of your works without context, what do you hope they’d assume about the world that created it? That we love, respect, and want to preserve the natural environment. Do you design with permanence in mind—or are you more interested in how a form might decay, shift, or be forgotten? I think permanence is desirable. Not only individuals works but the whole genre or medium of work. What repels me (a little bit) from digital medium is its nature of foreseeable obsolescence. I feel oil painting and stone sculpture will outlast most plastic or digital things and that is attractive to me. Which piece challenged your sense of authorship the most? Recent attempts in paintings... I have been a maker type rather than a painter, but it always lingered on to make meaningful body of image-based work. I am inching in these days to allow myself to be a painter.. kind of.

SVRN Sommelier Sundays 05 at Bar Gemini

SVRN Sommelier Sundays 05 at Bar Gemini View Recap On INSTAGRAM As always, these nights are about more than wine—they’re about building community, fostering conversation, and creating space to unwind with like-minded individuals. This time, we explored the vibrant, sun-soaked wines of Sicily. Known for their coastal terroir and expressive flavor profiles, the curated selection offered a unique glimpse into the island’s winemaking culture. Guests began the evening with a guided tasting before settling into a warm, easygoing atmosphere filled with conversation and connection. Nowandformerly provided the soundtrack, blending ambient textures and rhythmic layers that carried the evening forward with depth and ease. Thank you to everyone who joined us and made it another special night. SVRN Sommelier Sundays will continue every other month with new themes and new sounds—see you at the next one.

72 Hours in Paris

72 Hours in Paris View Recap On INSTAGRAM Moving through runways, showrooms, galleries, and storefronts, we traced the season as it unfolded. The rhythm was familiar—early call times, tightly packed schedules, the constant shift between fashion presentations and quiet moments of discovery. But beyond the itinerary, it was the unexpected details that stayed with us. Laila Gohar sugar cube sculptures—small, intricate, collectively architectural—made the fleeting feel permanent. Oyuna London cashmere-draped chairs, suspended mid-air, balanced surrealism with stillness. A square-toed shoe from Phoebe Philo, its sharp silhouette tucked away in a Dover Street Market alcove. Hardware from Simone Rocha catching the light just so, transforming an accessory into an artifact. A lunch break set against Ann Demeulemeester tableware by SERAX, where cake felt less like dessert and more like a moment of pause, a quiet contrast to the market’s relentless pace. Trends fade, but the feeling remains—shaped by what caught our eye, what made us stop, what stayed long after we left.

Staff Selects: Playlist 001

Staff Selects: Playlist 001 A selection of new tracks we’ve had on repeat—fresh releases shaping our current rotation. Featuring hypnotic glitch pop from FKA twigs, laid-back luxury rap from Larry June and 2 Chainz, and raw, lo-fi storytelling from Thirteendegrees°. 01_ BLADEE & VS55 - ᚦᚦᚦᚦPERFECT VIOLATIONᚦᚦ A hazy rework of Perfect Violation, where distorted cassette loops and Bladee’s ghostly vocals melt into something immersive and hypnotic. 02_ THIRTEENDEGREES ° - DA PROBLEM SOLVA Lo-fi, unfiltered, and urgent. iPhone 4s recordings and no-frills storytelling cut through the noise, proving that all you need is a voice, a beat, and pure drive. 03_ MKGEE - ROCKMAN A feverish blast of nostalgia and subversion, where strutting riffs, woozy harmonies, and theatrical bravado collide in unshackled euphoria. 04_ LARRY JUNE, 2 CHAINS, ALCHEMIST - LIFE IS BEAUTIFUL Breezy jazz loops, effortless cool, and reflections on success. A quiet celebration of life’s luxuries, turning everyday moments cinematic. 05_ FKA TWIGS - STRIPTEASE A post-trap ballad erupts into high-energy drum and bass, Twigs weaving sensuality and glitchy futurism into something hypnotic and urgent. 06_ DEAN BLUNTS & Elias Rønnenfelt - 5 Minimalist guitar drifts beneath raw, unsteady vocals, creating a quiet tension that lingers. Stark, haunting, and effortlessly restrained. 07_ JOHN GLACIER - NEVASURE Dreamlike and weightless, its stream-of-consciousness delivery floats over sparse, textured production. A song that slips through your fingers even as it pulls you in. 08_ KING HENDRICK$ FT BABYFACE RAY - CASHED A MANSION Lurking bass and eerie synths set the tone for calculated flexes, as two effortless flows trade sharp precision for laid-back menace. 09_ WESTSIDE GUNN FT STOVE GOD COOKS - O55 Dusty soul chops and vinyl crackle set the stage for hypnotic sermon-like bars, a perfect distillation of luxury, struggle, and raw conviction. 10_ BASSVICTIM - GAJOWKA A pulsing, off-kilter rhythm moves with quiet intensity, electronic textures meeting cool, detached vocals in a steady groove that lingers long after.

What Are You Gifting Your Valentine?

What Are You Gifting YourValentine? For Valentine’s Day, we took to the streets of Chicago to ask locals what they’re gifting this year. From statement pieces like Acne Studios jorts and Salomon mules to thoughtful, personal touches like engraved lighter cases and promise rings, each answer reflected a unique way of showing love. Some are updating their spaces with new furniture, while others are planning quiet getaways to reconnect. Whether it’s fashion, home, or sentimentality, the gifts shared all speak to an appreciation for individuality and intention. View Recap On INSTAGRAM

SVRN x Rick Owens: A Tribute to Evolution and L...

The Statue of Liberty’s green patina tells a story of time and transformation—a beacon for immigrants seeking new beginnings. For the Kim family, that promise became reality in 1979 when they opened Diana Shoes in Chicago. What began as a small storefront grew into Dream Town Shoes and later evolved into SVRN, shaped by the next generation. The oxidized green in SVRN’s identity isn’t just a design choice—it’s a tribute to their journey, a nod to resilience, and a symbol of building something lasting. On September 13, 2024, SVRN opened our second set of doors in San Francisco, carrying that legacy forward. The walls, finished in green oxidized copper, symbolize time’s evolution, embracing change while honoring the past. The material draws a parallel to the corten steel of our Chicago store—both metals transformed by exposure, shaped by their environments, much like SVRN itself. This interplay of materials reflects our journey: a balance between permanence and reinvention, heritage and progression. In celebration of this new chapter, we collaborated with Rick Owens to create an exclusive Jumbo Lace Low Sneak in MouthWash. Featuring an under-ankle height, four silver eyelets, jumbo laces, toe caps, and shark-toothed bumper soles, they embody Rick Owens’ signature design language, bold, subversive, and unmistakable. Crafted from medium-weight full-grain calf leather with a flat, matte finish, the upper is tanned for durability, developing character with wear. More than just a sneaker, this collaboration is a reflection of SVRN’s evolution—our roots, our new space, and the spirit that propels us forward. A tribute to transformation, independence, and the ever-evolving journey ahead.

Paris Fashion Week Recap F/W 2025

Paris Fashion Week Recap F/W 2025 View Recap On INSTAGRAM Paris Fashion Week F/W 2025 reaffirmed the industry’s shifting landscape—designers refining their identities, collections becoming more considered, and competition pushing brands toward higher standards. Strong showings from names like AURALEE, Studio Nicholson, and RIER reinforced this, resonating with both press and buyers. Unlike previous seasons, January’s audience was notably more industry-focused, signaling a recalibration of priorities Willy Chavarría’s 10th-anniversary show was the kind of moment that stays with you—raw, subversive, and deeply rooted in cultural identity. The energy in the room was different, the kind of enthusiasm rarely seen since the early days of Virgil Abloh’s influence.As the week wrapped, the key takeaways were clear—cultural and authentic storytelling is becoming more integral, competition is driving innovation, and Fall/Winter remains the industry’s strongest stage.

SVRN Sommelier Sundays 04 at Bar Gemini

On January 26th, we hosted our fourth installment of SVRN Sommelier Sundays-and for the first time, we brought this cherished event to San Francisco. This series has always been about more than just wine; it's about community, connection, and creating a space where link-minded individuals can gather and unwind.

To Sale or Not To Sale

When Comedian first debuted at Miami Art Basel in 2019, Maurizio Cattelan's duct-taped banana became an immediate viral sensation, with three editions selling for $120,000–150,000 each. Was it clever, playful, and layered with commentary? It didn’t matter. It was a success. Now, this infamous piece has returned to the spotlight. Weeks ago, it was sold to crypto entrepreneur Justin Sun at a Sotheby’s auction for $6.2 million—a 4,000% increase. Sun framed the purchase as a symbol bridging art, internet memes, and cryptocurrency culture. The irony? This year’s banana was purchased fresh for 35 cents at an Upper East Side fruit stand the night of.

The Doors To The SVRN World

After opening its second door in San Francsico last month, something is apparent - stepping into the SVRN is less about crossing a physical threshold and more about slipping into a moment suspended between past and present.

San Francisco Grand Opening

Nestled above Chinatown’s vibrant streets, Moongate Lounge is known for its neon-noir interior and its ability to bring people together with its welcoming atmosphere and creative cocktails, inviting guests to relax and connect.

SVRN San Francisco Portal

Experience SVRN from wherever you are—step inside our San Francisco location through an immersive virtual tour.

The Pink Matter of World Building

Earlier this year, in one raw share, Rick Owens did more than mood-board-post the cover art of an Edgar Rice Burroughs book. Accompanied by a short paragraph implicating the significance of the science fiction classic, he illustrated a young Rick in Porterville, mapping the constellations of stars to fit the hyper-imaginative silhouettes of his future collections. He explained the influence the lack of television imposed on his childhood and what his father substituted for that time, ultimately molding the visionary with symbols and narratives that echo in his creations today.

Anime Freaks | VETEMENTS

In this article, we spotlight our latest editorial for Vetements, delving into the captivating realm of the suburban anime enthusiast. Join us as we explore the unique subculture of anime fans who find themselves nestled in the tranquility of suburban life.

JOY-INDUCING OBJECTS

There are objects in this world that have the potential to boost happiness and overall well-being. Since Aristotle, happiness has typically been categorized into at least two aspects: hedonia (pleasure) and eudaimonia (a well-lived life). But more appropriately, in this case, the Japanese would call this zakka or the art of everyday things. Essentially it is an appreciation of ordinary objects that favor quality, craftsmanship, mindfulness and intentionality.

These Yeti's are Made for Walkin'

Meet Michael Hades: a style maestro whose daily walks with his beloved dog Billy and iconic Yeti mug have turned heads on social media. In “These Yeti’s are Made for Walkin,” we delve into his passion for Rick Owens and how his unique fashion sense has captivated fans worldwide. From his early experiments with attire at six to his artistic pursuits and love for opera, discover the story of a man who transformed his dog’s routine walks into a fashion statement.

A State of Transition

Without over-pouring or steeping a necessary blend of loose philosophical tea leaves, let us deem A State of Transition as SVRN's annual equivalent to 'spring cleaning" - more directly, to indicate the time we shuffle our unwieldy winter garb for something more apt for ahead of the head-to-toe switch is better before sweating at self-checkout.

At.Kollektive Season 03 Launch Recap

As At.Kollektive’s North American launch partner for Season 3, we want to thank everyone who made it to our Chicago flagship installation featuring pieces from the Kiko Kostadinov and Peter Do collections.

At.Kollektive: Factory Visit

As At.Kollektive Season 03 approaches, SVRN wanted to truly dive in and understand the intricacies of the key element this year’s collaborative designers are working with: the in-house developed Ecco leather

SVRN Sommelier Sundays 01 At All Together Now

Sunday scaries happen to the best of us, so SVRN wanted to do something to help bring our community together and have a little fun. Enter ‘SVRN Sommelier Sundays,’ our collaborative wine nights with Ukranian Village based natural wine shop All Together Now. These wine nights occur every other month on a sunday and are open for everyone to come kick back, form new connections and enjoy a glass of the best wine in the city.

SVRN | KVADRAT/RAF SIMONS: CDMX DESIGN WEEK 23

Partnering with companies and people that showcase the connections between art, design and culture, SVRN’s first venture in Mexico City is one of collaborations from around the world: The object sculptures made for the showroom are created by Chicago and Antwerp based design studio Julian Davíd using Raf Simons textiles from Denmark based textile company KVADRAT for a gallery during Design Week Mexico City. Our time in Mexico city consisted of two parts: a commemorative Supper Club Dinner to celebrate the launch of our collaboration with Kvadrat/Raf Simons and a gallery featuring collaborative art work with Julian Davíd studios during Design Week Mexico.

Triumph at the Bingo Hall | Séfr FW23

Swedish label Séfr originally began as a specialty vintage shop in 2012. Longtime friends and co-creators of the brand, Messrs Per Fredrikson and Sinan Abi changed their path in 2016 and began making original menswear designs. Akin to its name, Séfr meaning ‘zero’ in Lebanese Arabic, the label offers elevated basics reflective of vintage inspired minimalism. The brand is rooted in an ethical and environmentally friendly ethos, sourcing innovative fabrics form local European mills.

SVRN x ARC MUSIC FESTIVAL

At SVRN, we are always looking to explore the fine lines that connect different industries, they have a continuous crossover where each influences the other. Take, for example, the effect ASAP Rocky had on introducing younger generations to Raf Simons or KISS’s influence on Rick Owens. Members of each industry are able to elevate and grow the output of the other through genuine appreciation, which is often how many partnerships begin.

GALAXIES FROM HOME | RICK OWENS FW23

Rick Owens FW23 Luxor was inspired by the juxtaposition of beauty and brutality in the city of Luxor, Egypt. The collection itself focuses on merging real life with fantasy to communicate the balance of contemporary tensions with the looming concept of eternity. Luxor brings garments back to simple shapes and colors, with pops of angularism and brightness to commemorate the balance and tension Owens wishes to explore.

The Misconception of Quiet Luxury

Succession took the world by storm this year, and with it, so did Kendall Roy’s go-to Loro Piana baseball cap. Which, to the dismay of many, is a cashmere hat that costs around $500. And before truly immersing myself into the world of fashion, I, like many of the show’s fans, would have found that price absurd. But let's get into why it's priced that way. Loro Piana uses baby cashmere, one of the highest quality materials, and all of their pieces are handcrafted by artisans in Italy. These artisans are paid appropriate wages for their meticulous craftsmanship, whereas many labels overwork and underpay their manufacturers. The price we pay for the garments, even a baseball hat, helps pay the workers that make the product what they deserve. Additionally, Loro Piana sources their materials sustainably. This means only getting their cashmere from local populations in the Alashan Regions of China, where the animals are selectively bred, raised in smaller herds and rationally sheared. This process is better for both the animals involved and the farmers, ultimately producing the highest quality cashmere that costs more than average because of the work that goes behind producing it. That seems like quite a lot of work for a simple baseball cap, right? I’d be lying if I didn’t agree. But the difference between the Loro Piana baseball cap and one you can find at any fast fashion chain is that the Loro Piana one will last you your whole life and can be passed down to your kids. And that is what we call ‘quiet luxury.’ The notion that something can look so regular and plain, but actually be crafted to last a lifetime. You’re not paying for something you’ll wear once and throw out. You’re paying for something you will cherish forever and will last you a lifetime, while looking and feeling brand new year after year. Quiet luxury is more than a trend. Sure, it has been popularized as of recent, but the concept has existed since luxury fashion has existed. It’s nothing new. The way people are treating it is new. As the mainstream discovered what they deemed ‘quiet luxury,’ they changed its meaning. To most people, quiet luxury is just something super expensive that looks like it should be cheap. And when something looks like it can be cheaper while looking the same, fast fashion brands tackle it and create their own version, introducing what they think is accessibility. But overworking millions of underpaid people in large factories with horrible conditions to produce a similar shirt that emulates ‘quiet luxury’ is the opposite of what the term stands for. When products are produced at such a quick rate and in large quantities, they are inevitably lower quality and worn only to be part of a trend. But quiet luxury is not a trend. And it is more than just a plain, expensive shirt. Quiet Luxury is the fair pay that goes into making a long-lasting garment. It is the sustainability behind the brand. It is the ethical sourcing of materials and the hand-stitching that goes into a shirt. It is a piece that is meant to last more than a lifetime and be worn over and over again. It is not a simple fad that is going to go away anytime soon. Maybe the trend will die out. Maybe brands like Shein will stop trying to emulate the aesthetic. And that is okay. Because quiet luxury is meant to be a lifestyle people take part in not for the hype or for others to know what they’re wearing, but rather for themselves and the knowledge that they are investing in their wardrobes. Take the brand Jil Sander. Known for its minimalism and simple silhouettes, the label rose to popularity because of its dedication to purity and elegance. The clothes might not have the craziest cuts or colors, but they are made from the finest materials and typically match a large portion of any wardrobe. That is quiet luxury. Investing in a garment that you can wear with almost anything without worrying about replacing it the following year. Maison Margiela puts out simple, timeless pieces each season with nothing to give away the brand name besides the four stitches on the back of garments. Their Replica sneakers are a staple in many wardrobes due to their elegant, minimal design that tends to go with any type of outfit for work or pleasure. Brands like these are a reminder of what quiet luxury really is. It is a commitment to a lifestyle of sustainability and high quality. A belief in investing in oneself and one’s wardrobe to not only own pieces that last through generations, but to ensure fair treatment of the workers that make your clothes. Quiet luxury has been around since luxury fashion has, and it most certainly is not a trend of wearing things that look boring but make you feel expensive. Text by Yusra Shah

SVRN GUIDI EXCLUSIVE

SVRN is proud to be the exclusive retailer of the Men's GUIDI 792F Derby. Initially created for women in 2021, SVRN brought up the concept of reintroducing the silhouette in men's sizing. Our Special Projects Team worked with Guidi's in-house production to develop a custom last and tooling for this silhouette. Handmade, these horse leather shoes feature an exaggerated sole meticulously wrapped in wrinkled leather. Each product tag is hand stamped with the SVRN logo, and every pair is carefully packaged by our team. Shop the Guidi SVRN exclusive here. Photos by Drake Sweeney. Styled by Ciana Mai and Josh Ray.

UNDERCOVER: REBIRTH

Suffocated and molded, your layers remain in their decay. While mine continue to shrivel and tear as I’m rebirthed in the midst of my discomfort. Photos by Drake Sweeney. Text by Ciana Mai.

The Era of Readymade Jewelry

Do all universal shifts happen in waves, or only the cultural ones? While ancient civilizations are accredited for their amulets and ornamentation, even the Neanderthals were beading seashells by the shore. Jewelry and accessories have existed always and are regarded as forms of identity, stature, or honor. From the talismans to the high jewelry of the world, and in the cyclical manner of life, we are amid a paradigm shift, and a new era has dawned (or returned)—the era of readymade jewelry. The term 'readymade' comes from Marcel Duchamp, the French revolutionary artist who challenged ideas of mastery and obsession, jumping himself from one discipline to the next. One of the first examples of readymade was his creation Bicycle Wheel in 1913 (a wheel mounted on a wooden stool). Over the next several years, he'd produce many works like these that stunned audiences with their perplexingly brainless conception. The theory of his idea was published anonymously in the May 1917 issue of The Blind Man (a magazine run by Duchamp and two friends), which read: Whether Mr Mutt, with his own hands, made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life and placed it so that its useful significance disappeared under the new title and point of view – creating a new thought for that object. This simple explanation propelled several vital points: the choice of object is the first creative act, and by stripping it of its function, the object becomes art; lastly, all elements of its display expose it to the limelight of reinterpretation. Concurrently, many fashion houses gave birth to their Haute Joaillerie collections during this time. This is important to note because by the end of the 1900s, the term 'readymade' was used across all art disciplines, including fashion. Over the last century, each season becomes closer and closer to each other, original thoughts seeming to stray from the pack. Trend forecasting is a journalistic job, predicting what palettes, patterns, and silhouettes will reign supreme this Fall/Winter. But one shift worth celebrating is the resurfacing of readymade objects as jewelry. Taking a Duchampian approach, or even more closely aligned to what the Egyptians did with scarab beetles, established and independent brands lately have returned to objects symbolic of their identities and ethos and pass them off as jewelry and accessories. It's refreshing because though sometimes bizarre, there's a true brilliance in seeing the beauty in any and every object. Heritage and subcultures find their way back into the narrative and immortalize their place in precious metals and lux materials. Without walking us through each object and its significance, some pieces resonate in today's contemporary setting and act as a prompt by providing no explanation, leaving the interpretation up to its viewership. Text by Shahrnaz Javid

Fashion & Mental Health: Within the Industry

In our last article, we explored the effects the fashion industry has on the mental health of its consumers. From setting beauty standards, influencing body image and being a stage for representation– or a lack thereof, the industry has a very strong influence on how its consumers perceive themselves. But just as devastating as being subject to those standards is, the people who set them deal with a similar weight. The writers, photographers, designers, creative directors, stylists. Everyone who plays a part in the industry inadvertently takes part in both perpetuating problematic standards and dealing with the consequences. Working in the fashion industry is a dream for many people, myself included. From a young age I knew that whatever path I took, whatever I studied or went to school for, I needed to make sure it would lead to working in fashion. I mean think about it. What other industry is so perfectly set up for freedom, self expression and creativity? Clothes allow you to show people your personality, your style, emotions, your innovation. I knew I wanted to be involved in that in some way. And now, finally being in a place where I am involved within the industry I always dreamed to work in, I’ve had time to reflect on some of the bigger themes I have become part of. As a long time consumer, I often wondered how it was that people within the industry allowed some of the adversities to take place. For example, how could someone who is a person of color just stand by and be okay with the excessive use of white models. Or how could anyone above a size 0 be okay with the ultra skinny, heroin-chic representation that is all most brands use to show their clothes. However, the lack of diversity and inclusion in fashion is a systemic problem that has been around for decades. The problem is so deeply rooted that the things people are now finding the power to call out, are actually just seen as standards within the industry itself. And at the end of the day, this is because some of the most important people in the industry are still in support of such problematic notions. At the end of the day, fashion is a business. Photographers, writers and stylists are told to make things digestible. True creativity and freedom is generally shut down for a quick sale. Being told to fit a mold, especially one that isn’t inclusive or reflective of the people who make up the industry, can be detrimental to one’s mental wellbeing. While we feel like we want to push the industry in a positive direction, it can be mentally exhausting to know that the bigger players do not care to see a change and only care to see a monetary increase based on outdated standards. Fashion does not seem to evolve at the same rate as other industries, and working directly in an industry that is so advanced yet so far back can be difficult. That being said, there have been a few big players in the industry advocating for change and inclusivity, such as Rihanna with her lingerie brand Savage x Fenty. Whereas previously the Victoria’s Secret fashion show was extremely popular, over time the audience began to speak out against the lack of representation and the problematic equation of thinness to beauty. The Savage x Fenty fashion show changed the game through usage of a variety of models that are intersectionally diverse, using talent with disabilities, different weights, age and sexualities. Rihanna even included pregnant models, something that was not traditionally done before. The Savage x Fenty show quickly gained more popularity than the Victoria’s Secret show, largely because it actually represented the people who shopped for it. Seeing a positive change grow on such a large scale was truly monumental for me, especially for my perspective on change within the industry. Sometimes it is hard to feel like we can make a difference and fight against old, backwards standards. But seeing someone take that first step feels inspiring. Sure, we all may not be working with a name like Rihanna’s, but the fact that she was able to fight against traditional fashion stereotypes and garner such a positive response on a large scale shows that we can have the same effect, even if it's on a smaller scale. Because every individual’s fight for inclusion and healthy representation adds up to create a larger impact. And what feels better than knowing you fought for something you believe in within an industry so set on exclusivity? Brands like Paloma Wool and VETEMENTS are setting a better example as well. Paloma Wool consistently uses models of all shapes and sizes in their ecommerce imagery as well as editorials. VETEMENTS especially has been stepping away from traditional basic editorial photography and are using more authentic, user generated content. They also cast models of older ages and gender neutral aesthetics. These brands are pushing the boundaries of what is typically apropos in the industry and have been met with nothing but support from both consumers and industry employees. I’ve realized that as people within the fashion industry, we have a responsibility to push for what we believe in and fight against outdated rules and standards. It can be scary, and it can seem insignificant, but in reality every small experience adds up. As more brands, and more creatives take the leap to do things their own way instead of adhering to the systemic standards, we will slowly see the inclusivity we crave. Each one of us, each creative, has the ability to make that change and push for the progress we believe in instead of just accepting the outdated standards of the industry. Text by Yusra Shah

Fashion & Mental Health: Effects on the Consumer

I can’t believe I’m going to start this essay with the very thing all my professors told me to never use at the beginning of a piece: a quote. And not only a quote, but probably one of the most known and cliche quotes there is. Kate Moss’s “Nothing tastes as good as skinny feels.” The first time I read that I stopped and thought to myself you know what? Is she right? She has to be right, just look at her. A size 00, so perfect, able to wear whatever she wants. The fact that people are taught to equate skinny to perfection in their formative years is one of the main factors that creates persistent body image issues. For me, that started by looking at magazines. I flipped through the images before I could even read, and subconsciously at a young age these magazines taught me that in order to be perceived as beautiful I needed to be at least two things: white and skinny. Growing up Pakistani American, I always felt a little ashamed of my skin. I longed for blonde hair and blue eyes. And it wasn’t because of anything anyone told me in real life. My parents were the most supportive, kind people that loved themselves and their children. None of my friends or their parents ever hinted at anything that made me feel lesser. But looking at those magazines and seeing who was called pretty, that sat with me for longer than I wish it did. I wanted to be those girls and because I looked different, I convinced myself that I could never be that. As I got older and went from just staring at photos in magazines to reading the articles, I was drowning my brain with almost every possible diet by every possible celebrity: How to lose 10 lbs in a week. What Gwyneth Paltrow eats for breakfast, lunch and dinner. Why all carbs are bad (not true… at all). My mind became a storage room for everything that the fashion industry deemed as necessary to meet their standards. And those standards? They were never inclusive to anyone besides size 0 or smaller, white, gender conforming individuals. I never saw girls like myself in magazines or walking in shows, and neither did my POC friends. There was hardly any south asian representation, let alone trans or nonbinary individuals that were given the same platform in the industry as their straight, white counterparts. I think in a sense, that lack of inclusion is somewhat responsible for the body image and confidence issues my friends and I dealt with. I, at least, convinced myself I was never going to be as beautiful as the stereotypical models simply because I looked nothing like them. Things have obviously changed since I was in middle school, and I’m glad there has been an increase in representation from movies to runway shows to editorials. While the Fall 2022 Runway Diversity Report proves that diversity is indeed increasing within the industry, looking at the actual numbers shows there is a lot of work to be done. Plus size models only accounted for 2.34% of total castings during FW22, while over 67% of American women wear above a size 14. That number is so small and disappointing, especially considering ‘plus size’ means anything that strays from the size 0-4 standard. People are not seeing themselves represented in the industry, which causes not only mental dissonance but physical problems later down the line. This has always affected me in a personal manner. I’ve never been a size 0. When I was younger I was almost always a size 2. In recent years after recovering from an eating disorder and finally reaching a positive mental state I’m more like a size 6. Being removed from that stereotypical safe zone has definitely been hard, because the further you are from that 0-4 range, the more you realize nobody that is hired to represent fashion looks like you. That lack of safety and belonging within the fashion industry goes beyond sizing. Only 1.34% of total castings included non-binary and transgender models. Think about that. Just 1.34%. This number is not at all representative of the people that make up the fashion audience, or even the industry. The fashion industry is known for capitalizing off minority groups without giving them any piece of the profit or representation. This is a prime example. It seems that many brands are taking a ‘gender neutral’ or ‘gender inclusive’ approach to their collections and creating clothing that is meant to exist without labels. While this is a step in the right direction, these actions without using models that actually embody the concept of being gender inclusive or nonconforming makes things seem performative. Representation shouldn’t be treated as a PR move. It is much more than that to the communities that need it. As consumers of an industry that tells us what to wear and how to look, we have every right to ask for proper representation. Some brands have started to be better with this. LVMH and Kering, owners of brands like Gucci, Christian Dior, Givenchy and Marc Jacobs promised to stop using models smaller than a size 32 (US 0). While a majority of models are still extremely skinny, this was an important precedent to set and a step in the right direction. Heaven by Marc Jacobs consistently uses models of all shapes and identities, playing into their models’ personalities for styling instead of sheerly their measurements. This has been incredibly well received by the public and gained Heaven a lot of popularity on social media. Eckhaus Latta also pushes for representation and inclusion by ensuring their clothing is genderless. They show that any piece can be worn by anyone by placing male presenting models in feminine clothes and vice versa. This helps the consumer feel more comfortable going for clothing they like, not clothing they feel like they’re told they have to conform to. Rick Owens typically uses non gender conforming models both on his website and on the runway. These models wear garments both typically feminine and masculine. In wearing them they help reduce the boundaries set between gendered clothing, helping consumers appreciate the clothes for the artwork they truly are. The fashion industry is far from perfect. While progress is slowly being made and there are a few labels taking the lead in terms of inclusivity and diversity, there is much more work to be done. As consumers, we are fed thousands of standards every day that tell us how to look, how to eat and what to wear. These messages ultimately cause negative self image and issues with mental health. I love fashion. I always have, and I always will. I think while things continue to change for the better (slowly as it may be), there’s one thing that helps me keep myself (and my mental health together. This is a question that while working in the industry has helped me stay sane and learn to love myself: How can you let an industry rooted in body shaming, exclusionism and misrepresentation dictate your own self worth? Text by Yusra Shah

Femininity in Menswear

As long as I can remember, the coolest girls always dressed like boys. Walking down busy Chicago streets with my parents, tripping on my own feet, staring at girls in awe hoping when I was in my twenties I would look just like them. The ones that always caught my attention were the ones who looked like they didn’t care. And by that I mean messy, flowing hair and baggy pants. Cropped shirts but oversized jackets and sweaters. Silhouettes that were more manly than feminine, yet looked better on a girl than they would on any man. Masculinity in womenswear is nothing new, and it is something widely accepted and lauded. Bella Hadid, today’s It-girl, is always praised the most for her menswear inspired looks, despite wearing both traditionally feminine and masculine pieces. Her most simple outfits consisting of baggy cargo pants and an oversized button up or men’s suiting capture more attention than her traditionally feminine outfits. However, where masculinity in womenswear has been a staple for years and is welcomed in the fashion industry, the reverse hasn’t always received the same treatment. Menswear traditionally kept to masculine ideals: tailored suiting, strong silhouettes and common but timeless cuts. It seemed almost as if the great fashion houses of the world gathered one day and created their ideal man. One that was very much manly: strong, muscular, short hair and a basic taste in outfitting. Nothing too tight, nothing cropped too much above the waist. Where womenswear often dips into menswear silhouettes, ready-to-wear menswear tends to avoid a feminine influence. That’s not to discredit some of the men who embraced femininity in fashion. David Bowie, Prince and Freddie Mercury all left a lasting impact on society with their bold wardrobes that were far from the common masculine trends of the time. However, while they were able to express themselves without following gender norms, these aesthetics were not commonly accepted in the world of menswear, especially for traditionally masculine men. This, of course, brings up the issue of fragile masculinity. For years, men gravitating towards anything traditionally feminine was dragged down and ridiculed, mainly because people thought it took away from their manliness. The difference we are now able to notice, however, is that femininity does not take away from masculinity. In fact, when men embrace their feminine side it makes them more masculine in a way. Is there not power in being strong enough in your identity to embrace femininity without worrying it will wash away your manliness? This has become increasingly prevalent in mainstream media and fashion. Male influencers and fashion enthusiasts are embracing skirts, nail polish and makeup, all things that were traditionally deemed to be just for girls. Rick Owens fans have been wearing Kiss Heels regardless of gender or sexuality, appreciating the product for what it is as opposed to conforming to societal norms. This pattern has also been established in the world of luxury fashion, from the runways straight to the consumers. One label that is at the helm of forgetting gender roles in menswear is GOOMHEO. Founded by Goom Heo, the South Korean label ignores the traditional labels of gender. With waist defining jackets and slim, ruched pants, Heo’s eponymous label is known for subversive menswear that pushes the boundaries of masculinity. Her Harpoon Pleated Fitted Trouser follows a pattern more commonly embraced by womenswear for its ability to focus on the curves of the body. These pants also have a vent at the hem that allows for an almost flared look, once again a common trend in womenswear. ERL pushes boundaries in a different way. The Los Angeles based label has found a specific niche with the cool kids in the art and fashion scenes, pushing colors and aesthetics that are not traditionally masculine. Take for example the Gradient Shearling Leather Coat, a stunning piece in pastel purple that years ago, men would stray away from. All of ERL’s puffer coats are also typically feminine in color and pattern, yet have been rocked by some of the biggest male celebrities and are sought after by the people who follow them. ERL does a great job of introducing its male audience to traditionally feminine colorways and patterns while making it cool to wear them. One of the most historically prominent and respected fashion houses, with the founder belonging to the Antwerp Six, has been embracing femininity in a not so subtle manner. The ever prevalent Dries Van Noten’s use of colors and materials lend themselves to a more feminine take on traditionally masculine silhouettes. Take the Carvie Shirt, in all its sequined, sparkling glory. With a standard collar and simple silhouette, this is clearly a men’s shirt, but the coloring and details add a feminine touch that takes the shirt to another level. The label incorporates sequins onto other traditional men’s silhouettes like the Vaksel Jacket. This bomber is quite simple in composition, but features a show stealing floral sequin embroidery along the front chest. Sequins and sparkles are conventionally associated with womenswear, but Dries Van Noten beautifully incorporates them into their menswear in a way that enhances without overpowering. Subtle to some, but strong to others, the beauty of Dries Van Noten is that his blurring of gender lines in fashion is effortless and blends right into the rest of the men’s pieces. While older houses are tapping into their feminine side, newer up-and-coming labels like Feng Chen Wang are going at it with full force. If you peruse through the Chinese brand’s collection, there are multiple garments that challenge typical menswear silhouettes. For example, high waisted pants with a wide, cinched leg have been a trending women’s silhouette for years. Wang taps into the form of the skirt for many of her men’s pants. Ultra wide-legged silhouettes that are cropped at the knee lend themselves to look more like skirts than a pair of shorts. Figures like Pete Davidson and Russel Westbrook have played around with the concept of skirts, helping show the increase in traditionally masculine men embracing a more delicate silhouette. Additionally, the #meninskirts hashtag on tiktok trended in 2022, indicating more men are both following the trend and interested in seeing it. The beauty of these labels pushing hints of femininity into their ready to wear men’s pieces is that it opens things up to the regular consumer. As more labels stray from the traditional structure of menswear and allow themselves to embrace femininity, more consumers are able to feed into accepting the femininity within their own masculinity. It won’t just be David Bowie or Prince that can tap into their feminine side, it will be John at the coffee shop who feels okay wearing sequins. It will be Kevin from across the street who you see rocking a cropped sweater with floral embroidery. The more labels that accept femininity into their menswear, the more men will realize that femininity does not take away from masculinity. Rather, embracing it without fear actually proves you’re more comfortable in your masculinity than ever. Text by Yusra Shah

SVRN Supper Club: Blobb

SVRN Supper Club is a seasonal invite only dining experience that celebrates the intersection between fashion, culture and cuisine. For our second installation of Supper Club, we partnered with Blobb. This installation focuses on getting adults to play again— with their food, with art and with design. We took inspiration from Elias’ use of her architectural background to produce jewelry that is purely experimental and imaginative. Each guest invited to the event received a SVRN x Blobb collaborative ring and had the option to purchase a collaborative button up with Elias' artwork. A special menu and layout was curated with Tables Tables Tables and the acclaimed chef Daniel Marbán. The three course meal consisted of starters, main courses and desert. Sofia Elias' Pofi chair art pieces from the gallery of Pamela Weissenberg and other work were on display. Throughout the space there were opportunities to connect with one's inner child by drawing on surfaces we typically avoid, such as the table cloth, a paper carpet and a sofa. With specialty tequila from Casa Dragones and Yola Mezcal, the night was upbeat and lively and full of craft palomas and margaritas. Our goal with Supper Club is always to cultivate a creative environment where we bring together different people to celebrate art, fashion, design and cuisine. With our dinners we aim to introduce people to those who may be outside of their circle and forge new connections based on a shared love for the arts. Partnering with Blobb and Tables Tables Tables, we were able to do this in an organic and personal way. We look forward to sharing our next installation of SVRN Supper Club with you soon.

Elements of Runway— The Ventriloquist

No, not a literal puppeteer. But someone who brings something tangible (garments, in this case) to life. The known title for this role is the 'stylist' or 'fashion editor', and the masses sometimes overlook their hierarchy in Runway despite their play being what ultimately will deem a checkmate. We're in the midst of Women's Fashion Week. While some will witness remarkable presentations, we wanted to discuss one fashion editor and their contribution to the final show. Imruh Asha, the recently appointed Fashion Director of Dazed, has his hand in more than print and publication. Working with numerous brands for everything from campaigns and cover stories to runway shows, our appreciation for Asha can most eloquently be detailed in his collaboration with the brand Botter. While it doesn't outshine his other works, the union of these two entities is as seamless as the creation of the thread itself. Beginning from his first show with the brand for F/W 21 Men's, Asha's visual detail is like precision in a nevertheless surreal world. Botter is a brand heralded since its launch in 2017 for its vibrant and straightforward design and dedication to upcycled materials. Asha's eye for maximizing a garment's story has become intrinsic to what makes Botter's presentations so compelling. Never afraid of mixing, mashing, or covering a model with accessories to stay afloat, Asha, with Botter's dedication to coral reefs, almost replicates the energetic ease of Earth's waters. There is always a play of palette, either soft with contrasting hues or going for bold and layering patterns with exciting cuts and tailored shapes. When Botter's S/S 22 'Global Warming' digital show arrived, we received a dreamlike presentation of what all the wonders of climate and its effect on the aquatic might be. Models traversed through billowing textures and sun-spotted arenas with scuba masks, fisherman nets, and hooded umbrellas as if swimming in the upside-down. While the focus is the collection, the styling in this striking visual is one to compliment the overall narrative, not dominate. Creating a character for each look illustrates the beauty and alarm of the marine's actuality; we see a fisherman, some waste they may have caught, the deep-divers, the buoys, and the aquatic vertebrate animals themselves, moving alone and sometimes together as reality would naturally occur. In his personal projects, you can feel remnants and homage done correctly, giving breath and freshness to a style similar to the beloved collaboration of Irving Penn and Issey Miyake. A strength of Asha is that he does not need a whole body to create something compelling; concentrated areas like ears or the back of one's head also do fine. The truth is, to be a great stylist, one must be inventive and be able to see all the possibilities of a garment, even when lying lifeless on a rack. Asha does this almost as a reflex in his approach. Everything is art. Everything can be worn or accessorized. And in a world like today, it's necessary for visual architects as such to explore every dialect and history of fashion as a language. Imruh Asha's contribution to Fashion Week and runways is always a point of intrigue. Text by Shahrnaz Javid

Elements of Runway- The Location

Generally speaking, the experience of a product begins with the box in which it's housed; in terms of Runway, that box should be perceived as its location. Part one of 'Elements of Runway' dissected the stage, entailing different accounts of masterful set design. However, since the globe has opted to move as if living in a post-pandemic world, let's scale back to ground zero and look at Runway's various locations, some of which need no decor. Following the details of an intricate invitation, imagine reading the particulars of the said show. The location is no convenient or overlooked element. On the contrary, it is the first step in creating the whimsy of a memorable presentation. It provides the foundation, sometimes contrast, and, most notably, atmosphere. Positioning fashion as a portal to intersectionality has credulous backings; everything from social commentary to geopolitics and something as integral as booking a venue can be the catapult of a global shift. For example, in 2006, Chinese consumers made up only 2% of the luxury market. It was one year before they hosted the 2008 Summer Olympics, and fashion houses seldom thought there was an audience worth entertaining because their relations with the then-ascending world power still needed to be improved. But one October night in 2007, under the co-direction of Karl Lagerfeld and Silvia Venturini Fendi, Fendi put on a show that was "the first fashion show visible from the moon," as quoted by LVMH Chairman and CEO Bernard Arnault. Declared an act of solidarity and unification between East and West, a 'Silk Road' connecting China to Italy materialized in a 1,500-mile-long catwalk on the Great Wall of China. In 2007 there was no precedent nor procedure for obtaining permits to host something of this scale at one of the world's most marveled historical landmarks. But Fendi did the unthinkable and was the first luxury house to engage a market now set to make up 40% of luxury consumers by 2030 (according to a 2022 Bain & Co report). This also served as a trial run to the Olympic games and how China would cope with giving swarms of media free passes to roam the country unsupervised. But that was the onset of the 2000s; since then, much has evolved. Not scaling back but switching the gears to an appreciation of zeitgeisty creative genius, one has to mention Demna Gvasalia repeatedly. As if leaving a cookie trail between his ideas and endeavours, one must lack all senses not to know when it's Demna's turn. During VETEMENTS Paris Men's SS20 Fashion Week, Paris's largest McDonald's in Champs Élysées had more visitors than their usual daily quota, thanks to Demna. People gathered, possibly confused, under the golden arches while not-so-subtle jabs at capitalism and corporate conglomerates unloaded with the trucks of models stationed outside. And all the hard work that went into the collection to bring these social awarenesses to life was matched in an effortless instant by the world's most recognizable fast food chain. Sometimes when discussing high-low, a concept that, in truth, has many interpretations— we tend to veer for the jarringly overt displays as opposed to nuance; Demna consistently brings this concept in both forms. As a result, his commentary is received both in his collections and the hosted venues. Together they create an aggregated message. Whether it's VETEMENTS at McDonald's on Champs Élysées to Balenciaga Resort 2023 at the New York Stock Exchange— it's pretty clear that for Demna, these ironically organic homes to capitalistic cartels serve as low-production, high-impact backdrops to his works. It's, of course, to everyone's benefit to mention Martin Margiela's SS 1990 show in a bleak playground in the 20e arrondissement of Paris at any given moment. Why? Because it was radical. It disrupted the fashion industry ecosystem that was polished and changed the way designers presented for all time to come. Before Fendi, VETEMENTS, Balenciaga, Jacquemus, or anyone that comes to mind, this presentation was the actual catapult of the importance of runway locations. Not to say it was blazé before, but the catwalk mostly comes from simple origins. Designers used to only focus on the garments, not the stage. But on this remarkable Fall evening in 1989, Martin was the first to create a conceptual correlation between the garments and the venue, creating a symbiotic storytelling thread- the coveted creativity born from 'desolate' beauty. To make the impact more astonishing— this world-bending presentation came just after his debut show for SS 1989. That's the beauty of a location— it's a physical manifestation to bring the audience's mental eye level with the creative plane of the collections. Regardless of the intended show— does the house match its (presented in) home? This element of envisioning collections that play off its walls is the creativity's epitome of experiencing creation's 'bigger picture'. Text by Shahrnaz Javid

Fall 2023 Menswear: The Layers of Comfort

Why is it, more often than not, we find ourselves reminiscing over the past? Reflecting, referencing, reinterpreting what was? It’s got quite the hold on us. To be moving forward but always looking back. Instead of imagining what could be, what has yet to become, we dream in nostalgia. Our innocence, nativity and ignorance. When life once felt delicate, but yet exposed. I find this to be quite prevalent in this Fall/Winter 2023 Menswear season. There’s a sense of rediscovery, but yet we find ourselves back where we began. The place where familiarity and evolution meet. The undressed took center stage as they found comfort clutching sentimental objects. Styling has always been a key component to delivering the visual narrative of a designer's collection. This season, Jonathan Anderson allowed the garments to speak for themselves, with their accompanied accessories to fill in the blanks. One by one, models walked out with literally one item of clothing on to cover their body. Orange underwear covered with bunnies. A white oversized t-shirt and froggy slippers. A brown ruffle skirt with a pillow in hand. This presentation could easily be perceived as an unfinished or even a youthful approach to menswear. I believe JW Anderson’s most recent collections continue to share a story about our attachments: the many things we hold close to us. From infant to adult, we tend to associate ourselves, our memories and our development to a token object or symbol. (Which can also be seen in Martine Rose’s collection featuring a “drunk bunny”, illustrating the hope we had during the COVID lockdowns. And the blue and purple bunnies depicted in Nahmias’ collection, in remembrance of Doni Nahmias’ childhood.) As minimal and bare as the JW Anderson collection might be I think it highlights the direction fashion is headed: an exploration of the impact of our materialistic attachments and the transition towards vulnerability. Finding comfort in our exposure, with no place nor thing to hide behind. These two notes were also found in Lisi Herrebrugh and Rushemy Botter’s collection. Bicycle seats were repurposed into bags and miniature race cars danced across the necks and dazzled the fingers of the models. Some garments exposed the layers that hid underneath flaps and buttons, while others brought undergarments to the surface. Overtime we obtain these valuables. Which tend to have a unique story of their own, but they also carry our story, our secrets, and our past. These tangible objects, articles of clothing, can communicate a lot about who we are. And I think it’s quite interesting how we desire to keep them close, collected and displayed. But at the same time we feel the need to pull back. It’s as if we can’t decide if we want more or less. If we want to share more or less of ourselves, the things that we have, or the body that hides behind all that we carry. This theme of pulling back, shedding our layers, or more so, revealing our layers was beautifully presented by Namacheko. Dilan Lurr opened the show very heavy: overcoats with silver embellishments, a combination of knits: zipped, twisted and buttoned, detachable collared shirts, and pleated skirts. As the collection continued on, the models wore less and less clothing. Closing the show with a model dressed in a tightly fitted ombré turtleneck and legging set. Whether for play, comfort, or mobility, our relationship with clothing is getting quite vulnerable. Leaving us to be as we begin on this Earth, exposed. On a day to day basis, we tend to overlook just how quickly we’re evolving. I believe these bi-yearly presentations communicate what we value, how we view ourselves and where we’d like to be. Whether that’s in the past, present or the future. I think these designers and the fashion industry as a whole bring attention to who we really are at this moment in time. The garments just allow us to express our comfort in exposing all that we are. Text by Ciana Mai

Elements of Runway — The Invitation

In fashion, everything evolves. And when history repeats itself, it still undergoes an evolution. So naturally, something as simple as an invitation has also grows past paper RSVPs. For decades, fashion houses and contemporary brands have gone beyond collections to curate guest lists and organize seating charts and momentous after-parties. Yet still, the initial point of intrigue remains the invitation itself. Intricate handheld shows that foreshadow what's to come are a better way to describe what someone else might call an invite. They're more like collectable objects or golden tickets concerning their rarity. So, for example, when Maison Margiela sent little white keychains tagged with recipients' names, at a glance, it could have been quickly appreciated before joining one's keys. But only a youthful spirit, or those interested in espionage, would have thought to unlock its hidden message. And so pressing the button on the side revealed a projection of the details of their Paris FW 2012 Women's Ready-to-Wear show. The disguised object was a playful precursor to the masculinizing female silhouette of any 1920s spy film that later roved the runway. Had the receiver been savvy enough, they'd have brought the keychain to communicate morse code across the stage. The only thing that could have made the invitation better is if it were slipped into coat pockets instead of arriving by post. And while not all summonings must remain hidden, Gucci's SS 2022 Cosmogonie invitation was the star-crossed type of mystery. Creative director Alessandro Michele was contemplating the infinite after reflecting on an essay by Hannah Arendt over philosopher Walter Benjamin. The undeniable connectivity of the past's constant interplay with the present was part of the larger message illustrated from the garments to the adopted star registrations. As if mapping the stars wasn't enough, putting each guest's name to their own gave the multigenerational cues such as sequins, pearls, ruffles and more a new meaning. Throughout history and all trends and ideologies, the stars align. And while the complexities of the astral plane are always welcome, so are earthly pleasures — such as a fresh loaf of bread. Finding beauty in the carnal is what makes the minimalism of Jacquemus so tantalizing. Who else could offer a freshly baked, soft loaf with a handwritten note and make you blush from within? Playing up the senses to arouse their audience with baked goods is a skillful charm not many have. It gave the feeling that nothing is better or more desirable than a French loaf. Nothing speaks to each season, and simultaneously the eternal summer quite like bread, quite like Jacquemus. The FW 2019 invitation was a presage to the mise en place planned. An ode to southern France portrayed in old cinema — handkerchief earrings and other textiles you might see being hung to dry after a long, savory lunch. Coming off the table in true ingenious form, Miuccia Prada and Raf Simons sent a paper stock slim enough to be enveloped but heavy enough to wear for Milan SS 2023. What read as a standard greeting unfolded into a wearable garment — a coat with stitched lapels, sewn tags, paper buttons, and the inimitable Prada logo. The paper itself was made from stone dust, a gentle reminder that sometimes a garment that functions can also be kept as art. Runway invitations have arrived as everything from classified ads to fresh groceries, smashed iPhones and everything in between. Of course, there's no wrong way to get the word out, but the more clever, the better. And at the rate of this evolution, it's only a matter of time before they arrive as a direct teleportation device to the live show. Text by Shahrnaz Javid

Little Rickie

Once upon a time…Let’s say on a Sunday afternoon. I decide to go back home.The air is dryand my knees are weak.I fear more than anything if they’ll finally see me.Behind the mask, besides the clothes, will I only ever be the creature unknown…Dark in nature.Just a stranger.Standing in the street, frozen and oblique.Am I just in the way? Will it ever be explained,examined, and exclaimed, the truths that lie behind your screens, the faces you ignore because they’re too discreet,the colors that you wear because you’re so unique.It’s surely just a show.And I would only know,since I’m the one who lives between the lines of what hides inside and what dares to discover the critters outside.Can this be normalcy,sitting at a table where the polarities meet?Or shall I be shamed for not sharing,for not caring, for not mimicking the behaviors of those who smile in green.I guess I’ll find out once I get home. Text by Ciana MaiPhotos by Drake Sweeney

Life After Death – The Case for Tangible Space

Teleportation- that's what space offers the mind and body. In regards to fashion, a brand's tangible space acts as a barrier to the reductive label "environmental waste" and becomes a reach that exudes its philosophies while creating core memories for its audiences when that space is shared. It puts a distance between fashion as meer consumerism and puts the experience in a tier of art and intention. Some data to balance the cerebral: According to the US Department of Commerce Retail Indicator Division, 2021 was one of the most vital years in US retail history. Brick-and-mortar stores outgrew e-commerce for the first time, and physical stores grew by 18.5% versus 14.2% of e-commerce. Pre-pandemic, this number was still 21.9% higher than in 2019, and during the pandemic, when physical contact was discouraged, e-commerces were still only 13.6% of all retail sales (Forbes). There was a period, similar to publication claims that print is dead, where fashion thought it would lose its brick-and-mortar to e-commerce. But, of course, multi-brand retailers have a proverbial upper hand regarding access and demand. However, could convenience flush out the exclusivity of physical locations and flagship stores? No matter how intricate online platforms become, with some retailers even transforming their sites into secret societies, much of it sounds like compensation. Think of your last spiritual encounter. Did it happen online or onsite? I'd bet, outside of witnessing the Matrix code, it was a palpable experience that sparked your senses. The first time I saw a Rothko, I was swept in its violently deep crimsons. So convinced the paint on the canvas was pulled from my flesh- the ingrained memory naturally supersedes any Rothko viewed online or in a book. I found myself in a furious state of drafting poetry note after note. In that overwhelming sense of emotion, space has the same ability in its more subtle yet gradual way— maybe even more. When Rick Owens moved into the corner of Howard and Crosby Street, something happened to the already staple fashion Soho intersection. Pouring concrete floors to mask any remnants of former tenants, a new temple emerged. And if you've ever wondered what an Owens-gothic era honestly looked and felt like, use this space as a compass, and let your spirit guide the rest. The chokehold wife and mystic Michelle Lamy have on mixing unexpected materials, footsteps through the first floor are like levitating around entities larger than you but in the form of her 'ritualistic' installations. You enter and silence, not because the air is stiff but because the energy echoes. The garments are momentarily an afterthought as you surrender to the space. Whether or not a purchase is made, an experience like that is far greater than anything monetarily transactional. You leave able to say that you went. You exchange conversations with other people equally invested in the brand as they are philosophy. Maybe it's Owen's attraction to logic and brutalism or Lamy's hypnotic chaos— it's not something to be gained by browsing a collection page on one of your many devices. And with that sentiment, even though space is, the essence is not something tangible that can be replicated, like much of spirituality is. Many flagships across several brands offer this (not exactly, but you get me). For this reason, discovering the corners of your favorite designers becomes an exhibition one plans their travels around. To study, observe and appreciate the intentional intricacies that make each universe part of a collective whole. So the question of 'is retail dead?' comes with a two-part answer. For a time, it was; e-commerce came (is still here) and offered buyers convenience and access. Unfortunately, this became overwhelmingly one-dimensional consumerism. But as most metaphysical— there is always, in some form, life after death. Whether the intention or not, retail found a way to cement the need for tangible space and has become a brand haven for creative philosophy. Text by Shahrnaz Javid

The Invisible Thread

Though only first opened in 2019, SVRN has already undergone a massive change. With the help of Korean architecture firm WGNB, SVRN's new build is wholly comprehensive of an identity rooted in the Kim family heritage and philosophical principles to create an open-format luxury retail space. And while serving as an epicenter of fashion, art, sound, research, and design, SVRN's Korean lineage is still felt within its walls. Beyond having common roots, there are traces of a shared compass in ethos between SVRN and many of the brands carried. For Korean-American brothers Terrence and Kevin Kim (of no relation), and founders of IISE, their designs are rooted in a second-generation diasporic study of how to bring traces of culturally historic practices and ideologies to modernize into quality wearables which pass on a story. More of a concept than a construct, their foundation is to blow the K-Pop and entertainment cover to which much of the world would, as of recent, reduce Korea's influence. Instead, exposing them to the intricacies of architecture, traditional garments, and aspects of government— all with heavy commentary behind each collection. As a result, they've built a steady market over the last decade, penetrating the global market more quickly than the local one, but understanding the ramifications of introducing Korean elements to Koreans, will take time to explain it's not a 'for us by us' brand. For example, their SS19 collection' Resistance' was inspired by experiences and daily life. Since protests in the city of Gwanghwamun were occurring and in front of Seoul City Hall, at the time, it aligned with resisting dictatorships worldwide, which continues today. To IISE, resistance symbolizes democratization movements relevant to past, present and future developments. "Resistance is not a symbol of conflict but a symbol of community," said Terrence and Kevin when introducing this collection. Studying history to aid innovation is a relevant practice in many labels that have emerged from Korea. And while not generalizing a people, it seems to be a consistent practice and commonality that should be recognized as a favorable contribution to this culture sector. POST ARCHIVE FACTION (PAF) is a collective, not a clothing line, which focuses on the conscientious study of archives and their process of evolution to design new structures and patterns. By expanding their references to art forms beyond fashion, PAF includes architecture, multimedia, nature and more to see which elements can further progress their technical garments and creative integrity. "We strive to portray the idea of "evolving uniform" in our collections. Frankly, I have not given deep thought to deconstructed designs. In the process of disassembling and assembling design elements, deconstruction and reconstruction coexist. The literal meaning of deconstruction partially exists during the designing process but does not represent the actual outcome." said Creative Director Dongjoon Lim to Hypebeast in a 2021 interview. "I believe good inspirations could come from other artists or architectural pieces, but great ones come from everyday life, as focusing on the little details makes a big difference." The harmonious blend of utility and artistic sensibility has given PAF its rapid popularity since launching in 2018. But as time shows, consistent attention to detail is always the prevalent key. LVMH recognized these traits and potential for PAF when shortlisting the collective for the 2021 LVMH Prize. As outside references guide these labels, and architectural influence seems to reign supreme, there is another brand incorporating color studies to convey its identity. XLIM, founded by Do Hee Kim, takes a unique cadence to its collections. While still architecturally inspired, their garments' play on light and color aids the brand in its practical, futuristic designs. Color perception and preference are often culturally and intrinsically linked and reflect in the ways of thinking, feeling and reacting. Korean color symbolism is built upon five elements and basic colors: blue, white, red, black and yellow. Traditionally, blue symbolizes creativity, immortality and hope; white symbolizes virtue, truth, innocence and death; red symbolizes the sun, fire, production, creation, passion and love; black symbolizes existence; yellow symbolizes light and vitality. And while Do Hee Kim finds ways to blend these elements to create XLIM's own compass and meaning, the impact of its garments can broadly be felt through its hues. This may not be Do Hee's intention, but it is undoubtedly a thought worth contemplating when XLIM can be celebrated for its architectonic form and palette. The latest to join the SVRN family, who continues to push the sustainability and innovative pedal, is JiyongKim. The young eponymous label is carving its way through natural process methods and deadstock textiles. For SS22, the collection focused on the sun's unfathomable powers. Its "Daylight Matters" theme evaluated the act of protecting against color fading by using heavy-weight fabrics inspired by sun-bleached workwear, curtains and tents. Each piece is distinctive from the next due to its pattern cutting of vintage materials and avoiding the reliance on traditional dyeing and production methods which incorporate excessive amounts of water and harmful chemicals. Instead, JiyongKim employs natural sun-faded effects developed through exposure to the sun, wind and rain for months per garment. One can link this approach to Korean architectural philosophies of including harmonious balance with nature by nullifying the profligate nature of today's fashion. While acting as a crux of intersectionality, SVRN and the labels above share many core principles and values which SVRN has implicated in its new space. Reconciling a modern with the natural world using materials like volcanic rock and blackened wood with Venetian plaster and stainless steel weaves a more intricate story for the garments and objects within the space. And while serving as a source for current and sub-current trends, something SVRN will never do is compromise its fundamental principles of balance, harmony and intensive research, much like this contemporary class of Korean designers. Text by Shahrnaz Javid

Elements of Runway — the Finishing Touch

After further discussion, it would be wrong not to talk about Runway's most delectable garnish. After all, what are we, if not the masks we wear daily? So, to close the 'Elements of Runway,' we observe the face, Runway's finishing touch—absorbing as much of the spotlight as the garments themselves. To be clear, 'face' is extended to everything, shoulders and up. For the better half of this series, we've spoken from the heart on Runway and its magical storytelling. Unfortunately, this aspect of the show is prone to blindspots or blatant disrespect, and sometimes we witness styling take a painful turn.Hair, we can't get around it. Everything from the style it's worn to how/if it's covered, is controversial, and just about everything from skinheads to turbans and lace fronts have found their way down the stage. Taking inspiration without citing the source is dysfunctional. Yet, when lead hairstylist Julien d'Ys learned his Egyptian prince muse wasn't well received, he was more confused than apologetic. It was Commes des Garçons FW20, and white models in cornrow wigs stunned the audience one after the other. This was just after being ridiculed for not casting a black model over two decades and after Marc Jacobs matted yarn together to make colorful dreadlocks for their white models, supposedly an ode to Lana Wachowski. There's a lot to be said, but most of it has already been written. Without absolving one from their misjudgment, you realize how sometimes one can be so desperate to tell a story that they forget what they are trying to say. Sadly, history has shown its comfort in massacring the ethnicities they so often wish to replicate and to take it a step further—fashion is no different. So, although vehemently unacceptable, it was no surprise when the Sikh Coalition had to reprimand Gucci in FW18 for sporting turbans that would later go on to retail for USD 790. But it wasn't just the turban; there were other head coverings: scarves, bandari masks and cropped golliwogg doll ski masks, to name a few. Though the garments themselves told one story, it was apparent that the styling's theme was anything other than its authentic origins. Appropriation aside, styling in tandem with the collection can be a seriously impactful tool. Alexander McQueen is a master of overt commentary. For FW95, Highland Rape went past preying on women's sexuality and instead spoke to England's rape of Scotland. "[This collection] was a shout against English designers... doing flamboyant Scottish clothes. My father's family originates from the Isle of Skye, and I'd studied the history of the Scottish upheavals and the Clearances. People were so unintelligent they thought this was about women being raped—yet Highland Rape was about England's rape of Scotland," commented McQueen to Time Out (London 1997). Though graphic, the visual execution of bruised skin through tattered and torn garments made this presentation all the more real. Moreover, the details of this make-up, extending from the body to the face, vividly illustrated a nation's alleged threat of rape. Now, gearing the breaks towards fantasy and opulence—no one knows how to wield the power of make-up quite like Thierry Mugler, a pioneer of the renegade when he first entered haute couture. The late Manfred imprinted the world with his theatrical shows, and his vision brought him to stages beyond Runway. Yet, the ballet dancer, costume designer, director, and so much more knew his definition of beauty did not exist in this world. So, to circumvent reality's shortcomings, Manfred harnessed his bewitching skillset to create alternate universes that exemplified unprecedented femininity. Manfred's avant-garde designs didn't stop at what sculpted the bodice. No, there was no limit to his creations, nor was it uncommon for his looks to have impressive circumferences. Employing latex, feathers, sequence, scales, insect-like antennas and more—the models' make-up often extended well past their skin into surreal crowns. Finding beauty in the subversive, Manfred had an eye for the underground and frequently honored this community in his shows. Most notably, when he approached Kabuki Starshine, whom Manfred approached while dancing at Webster Hall. This resulted in the make-up master doing his own to star in Manfred’s runways. In the 90s, and still today, Kabuki took the NYC scene by storm until he was an international success. Paving the way for club kids and drag alike brought these communities together in more than one way. His use of full body make-up for couture was unprecedented, and he stunned audiences with his bare chest and pearls more times than not. This influence has grown, and body makeup has transformed into appendage-like modifications. Today, with the help of makeup technology and innovation, subversive then is a school girl compared to subversive now. And though not couture, gothic grunge maestro Rick Owens has used the internet to come across some of today's most disorienting luminaries. In 2019, Owens discovered Salvia, a visually disturbed 19-year-old angel. Alien or angel, you decide, but after one runway with Salvia’s mutant touch, Owens’ presentations haven’t been the same since. Salvia, a trans artist and visionary hailing from Cyffylliog, Wales, has been perfecting her craft to make their alternate world the only world. Thanks to them, FW19 donned sclera lenses, a frosty contour, pushed-back hairlines and facial modifications that Owens had not explored before. Owens and Salvia’s commentary in an excerpt and quote from i-D: "This generation has to reject tattoos, and they're doing that through body modification and face work, botox and implants, which is really interesting to me,” Owens explained. “It's supposed to offend my generation, and it does. It's wonderful; it's transgressive, it's inventive, it's provocative. Ultimately it's an insult to the generation before, which is exactly what it's supposed to be!...it takes a lot of aggression and drive to do everything she's doing at only 18; I hadn't done anything close by that age. This is my homage to her. What do you think of glamour today?” he asks her. "You can use glamour in a way that is political, a way that pushes things forward and challenges perceptions," Salvia explained. Unfortunately, their ongoing relationship grew to be one-sided. Post FW19, Owens has continued to use Salvia’s likeness and visual language in seasons since without the actual involvement of Salvia themselves. And though not payment enough, to know an 18-year-old made a lasting impression on the infernal, post-apocalyptic glamorous line is a testament to the mind-bending creations younger generations have homogonized in the beauty world. Suppose this is all to say—sometimes the garments can only take us so far. While every component is as crucial as the next, the stage, sound, and styling have formed an inseparable ecosystem. Yet, the styling, Runway's finishing touch, maybe its most envisioning element of all. Text by Shahrnaz Javid

Elements of Runway– The Crescendo

Of all the senses, sound can be the most looming. A pin drop, crashing waves, or thunder are distinct sounds eliciting unique mental and physical reactions. And sound in any category of performance is key to a fully comprehensive show. For this installment of Elements of Runway, the Crescendo will look into some examples of Runway where audio acted as a magical thread sewing its frequencies from one model to the next. One way to score a collection is through a long-standing collaboration between fashion and renowned sound designers such as Michael Gaubert, Jerry Bouthier, or Richie Hawtin (aka Plastikman). Another is to choose specific tracks to ballad a catwalk. Regardless of one’s method, we want to explore why sound is so integral in fashion presentations. First and foremost, the sound must be equally as transportive as the garments, and in some cases, maybe even more. With every new era comes a unique sound. For example, when Raf Simons joined forces with Miuccia Prada, Plastikman was an unspoken gain to Prada's latest chapter— marking a differentiated direction with an alternative bass. Simons's partialness to hypnotic sounds made his co-creative director's presence felt. Simons and Plastikman's continuous collaboration was undeniably in-house, whose relationship remarkably dates back to the early '90s parties in Ghent when Simons was known as just a young designer. It's his synth–his sequencers that pulsate in unison with the models' energy—posing as a rhythmic metronome, setting the tone, and having an inverse way of controlling the audience and stage alike. Musical crescendos and building suspense that melody each reveal. Like viewing any subtitled film, you watch once for the dialogue and a second for the cinematography. The same could be said about any catwalk; when properly executed, the sound design is something to digest with eyes wide shut. Especially with recent years and pre-recorded shows becoming commonplace, musical backdrops were given more priority when conceptualizing a performance leaving little room for technical error, as is always a lurking concern with live presentations. And with that, beautiful minds can combine forces to develop a beautiful moment, as seen in Prada FW 21. There were several moments where Plastikman echoed a clattering-like sound harmoniously with glittering platform heels trotting across Rem Koolhaas's marbled floors, bringing those footsteps from one's screen to one's ear. Pre-recorded or live shows are a preference that is hard to take. So naturally, the cinematic experience of a rehearsed shot and the edited show becomes an entirely different, immortalized body of work. But to say it tops the hundreds of hours of production spent on some eight to ten minutes before a live audience would diminish its brilliance. Dries Van Noten, another auteur, has decades of experience in materializing prodigious catwalks with ideal music to back them. However, while running through several seasons, his dedication to specific artists and their whole, undivided tracks is not just some pattern. Instead, Van Noten intentionally sniffs out songs that accentuate his designs, like searching for truffles. The FW 2011, both Men and Women's, collection took a remarkable level of mastery in song form— embroidering the spirit of David Bowie in his designs that season was not enough, and the slicked reddish-blonde hair didn't cut it either. So instead, not only channeling but receiving the tracks for "Golden Years" and the master tape of "Heroes" from The Thin White Duke himself, both to be broken down and remixed by Ghent-based musical duo Soulwax. This element here didn't exist merely as a coincidence. From music to design, every conscious choice was meant to be symbiotic, as this show was an ode to the 19-year-old Van Noten, whose hero also happened to be the writer behind the similarly titled song. This level of digging and remastering gives Van Noten shows more layered storytelling, existing beyond his intricately dyed and woven garments. Outside of the models, the sound brings the garments to life. Recapped imagery on Vogue Runway only presents a longing to have been there, curious what the atmosphere might have been in the room. Outside of recent digital presentations, sound is an element that cannot be photographed and eternalized. Sound in Runway is the coup de grâce. Text by Shahrnaz Javid