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“There are many advantages of having the experience of being both an outsider born somewhere else and an insider,” said artist Lubaina Himid, who was born in Zanzibar, Tanzania, but moved with her mother to the UK as a baby. “One of the most obvious is the ability to see both sides, and act as a cultural broker between those on the inside and those on the margins.” Himid’s work, collected by the Tate and awarded the prestigious Turner Prize in 2017, is now heading across the Atlantic to be featured at the New Museum in New York in “Lubaina Himid: Work from Underneath” (on view June 26 to September 22).

Championing black voices and visibility, Himid’s work explores the influence of the African diaspora on British culture and widening this understanding has been a motivator throughout her career. Himid’s art — often laid out in an immersive mise-en-scène rather than passively hanging on the walls — confronts the legacy of colonialism and puts racial identity squarely in the public forum. Her paintings are bright and graphic, and she repurposes quotidian items by adding visuals and by extension, fresh meanings. The show’s centerpiece is a 15-foot wooden ship wedged within the building.

While Himid feels there is still much institutional discrimination to fight, she noted: “The next generation of artists are already extremely clever about working together, making themselves more visible and taking on the establishment in a way that we could only dream of.”


We spoke with the artist about navigating between past and present, the power of caricature, and how small gestures ultimately fuel larger-scale activism.

You’ll be showing new pieces. Are there any notable differences between your current and past body of work?
I have been making and showing work on a continuous basis since 1981. In the past, I have made work which uses the found object—plates, tureens, jugs, jelly molds, even farm carts, and newspapers—as a basis for my paintings. This exhibition will be primarily paintings on wood, canvas, and metal. The new work asks questions and tries to find answers about how it is possible to build something meaningful for the future while we are still surrounded by the heavy and unresolved burdens of the past. The space will be one in which the trauma is ever-present, but where the road to resolution will attempt to emerge triumphant.

How does integrating words complement what you share visually?
In this exhibition, the words depicted in the series of nine paintings on metal embedded into the wall—“Metal Handkerchiefs,” loosely based on the East African basic design of the Kanga—are taken from British health and safety guidelines. These are typically authoritarian, controlling, and over-cautious. But isolated as part of this series, they read more poetically and perhaps provide some amusement for those people who are obliged to be careful about how they negotiate their way through the everyday.


How did you decide on this exhibition title, “Work from Underneath”?
The title is practical [advice]: if you are working to fix a fragile roof, ‘work from underneath.’ It is about being strategic, about how to move forward from disaster. It also refers to the fact that traces of past histories lurk beneath the surface of everyday objects: in the fabric of buildings, in the nooks and crannies of furniture. We have to reveal these histories, scrape back the surfaces. If there is danger of some of this heavy history falling on top of us… the paintings I’m showing try to help us think of ways to work around the danger and understand the wisdom of negotiating, and feel what it might be like to have someone else’s life, in order to empathize.

You’ve been working as an artist for decades. How significantly have artistic institutions opened up their perspectives over the course of your career?
Artistic institutions have changed in part because there are new people running them: younger curators, more women in important positions. It’s debatable how long or how secure these changes are set to be, but while there are opportunities to be had for conversations, I am happy to try to build serious relationships with people who really want to encourage audiences to share the rich experience of engaging with art. There have been more opportunities through showing in art galleries, as opposed to historical museums, to broaden my audiences and this in turn has been influential, as I learn new languages of making and showing.


In the past, you’ve described your art as coupled with activism. How do you blend these effectively?
It’s important that audiences who engage with this show come away with the belief that even the small everyday actions that they carry out in collaboration with friends, family or colleagues can make a difference and could shift the balance of life in favor of positive change. I’d like people to feel that they might see ways to be more capable of being less risk averse.

The charged history and discussion around race in the U.S. is distinctive from the one in Britain. Are there things you could address differently in a New York context?
The history and discussion around race in the UK has been raging since at least the 1500s as this tiny maritime nation began to build its incredible wealth, power and global influence via the exploitation of people and land all over the world. Many of the issues we talk about in the UK—such as the lack of acknowledgement of the cultural contribution by people of the black diaspora, despite the very obvious physical evidence of present buildings and monuments at the heart of wealthy British cities—can be addressed with equal vigor in New York, where there are millions of traces of this historic presence and traumatic past still coursing through the veins of every street and building. What is different is that there might be more people passing through the gallery space who are used to engaging with how to tackle a future strategy than in the UK, where generally there is a national obsession with a selective version of the past. The idea that solutions for change might lie in ‘collective making’ as opposed to ‘individual striving’ are paramount in my work, as is the power of conversation and negotiation. These ways of being are relevant, whether we are in London or New York.


How does the role of satire or caricature complement aesthetics and historical themes in your work?
My interest in 18th and 19th century British caricature is at the center of an understanding of my more satirical work, such as “The Lancaster Dinner Service” and “A Fashionable Marriage.” This popular cultural form of the satirical mass-produced print was outrageous and cruel: the artists were allowed to mock and ridicule everyone in Britain, from tyrannical and vain members of royalty, greedy politicians and aristocrats, to enslaved and freed Africans, the poverty-stricken, and everyone who wasn’t British. Indirectly, these caricaturists left visual evidence about who populated the streets and theaters, drinking houses, and political arenas of their day. I am rather more selective; I use the aesthetics of the historical caricature to make people laugh and to see how it might be possible to disempower, if only for a moment, the vain, the pompous, the incompetent and the chronically greedy.

You use a variety of media… how do you decide on the right way to articulate an idea? Do you let ideas gestate or are you very spontaneous?
I trained as a theater designer as well as a cultural historian, and this means that I always have a plan! I’m constantly aware of the potential for everything. Anything can be the starting point, or even the actual surface, for a series of paintings. Ideas can gestate for years because I make new work all the time, which means that some of these ideas have had to wait in a queue. I make drawings, make notes and think things through at every possible opportunity: waiting for a kettle to boil, traveling on long train journeys. In recent years, I’ve been able to ask [my assistants] to spend months testing the feasibility of future projects while I work on the current ones. This method enables me to be quite spontaneous, albeit within my own tight parameters in the studio. I often make preliminary drawings and paintings on paper and usually have a plan as to how the work will look… I argue with myself over color in the studio, in front of a work, in the midst of the process. I mix colors as I go, building layers where needed but then erase and replace huge swathes of painted surface as I add others.


Having done a residency at The Guardian’s London offices, where you examined problematic or negligent juxtapositions within print media, what do you think is the way forward at a time when misinformation and sensationalism doesn’t seem to be slowing down?
There has always been misinformation, negligence, and sensationalism in the press and the media. Media works to tight yet often self-imposed deadlines and is racing against the new technology culture of rolling breaking news. The bottom line is that being fair and clear and honest and ‘inclusive’ is not what sells papers. There are many communities across the globe who are very used to living their lives in the best way that they can manage while being totally misrepresented or ignored or distorted. The only way to counteract this unfortunate established method for keeping social control is… to tell your own truths and to listen to others’ narratives. We have to be better at imagining and understanding other peoples’ lives, and try not to be indifferent to other peoples’ difficulties.

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Following up their last Memorial Day Weekend release, UNDEFEATED and adidas have come together once again on another UltraBOOST 1.0 colorway.

Continuing their collaborative relationship, the duo has chosen a sleek “Blackout” look for the final iteration of the UNDEFEATED x adidas UltraBOOST 1.0 lineup. The upcoming triple black colorway features a clean black Primeknit base accented by perforated jersey mesh ankle collars, matching Three-Stripes TPU midfoot cages, heat overlays heel counters and heel tabs. Branding on the shoe comes in the form of reflective 3M UNDEFEATED logo applications on the upper and insoles, along with 3M Five-Strike and adidas motifs on the tongue. Finally, full-length black BOOST midsoles paired with black Continental rubber outsoles round up the design of the collaboration.

Check out the UNDEFEATED x adidas UltraBOOST 1.0 “Blackout” above and look for the shoe to release exclusively at all UNDEFEATED chapter stores and undefeated.com June 28.

In case you missed it, the adidas YEEZY 500 is rumored to be returning in a “Bone White” colorway.

adidas Ultraboost 1.0 UNDEFEATED “Blackout” // Coming soon

A post shared by UNDEFEATED (@undefeatedinc) on Jun 24, 2019 at 7:14pm PDT

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This article originally appeared on i-D UK.

Old Town Road by Lil Nas X has been described as trap, rap, and country — even though it was removed from the Billboard country charts for not being ‘country’ enough. The song features elements from all of these genres, but it would be equally correct to say that Old Town Road isn’t any genre at all.

Lil Nas X is a Gen Z artist, and Gen Z aren’t interested in labels. The idea that gender and sexuality are fluid — if not accepted by all — has firmly entered public discourse. But just as we move away from traditional boundaries of gender, Gen Z are also tearing down musical boundaries, instead embracing sounds that are fluid and difficult to categorise.

Of course, Gen Z aren’t the first generation to play around with genre. Millennial artists have jumped between genres in the past, but their sounds remained marketably mainstream. But they still belonged to traditional genre categories, even when they were transitioning from one sound to another. Taylor Swift’s switch from country to pop, for instance, was a jump between two long-established, clearly defined sounds, so it can hardly be considered particularly transgressive. It wasn’t difficult to pin down which genre she belonged to, even if the genre changed between albums.

Now, however, younger Gen Z artists are foregoing traditional genre categorisations altogether. But why?

It’s impossible to discuss this new, hybridised sound without also discussing the stratospheric rise of streaming services, which has completely transformed how we consume music. On platforms like Spotify we’re now longer beholden to specific albums or specific genres; we pick and choose our favourite songs to add to playlists instead. And importantly, those playlists are diverse. According to a report last year conducted by Sweety High, a Gen Z girls media company, almost 97% of Gen Z women listen to “at least five musical genres on a regular basis.” Clearly musical tastes are becoming more varied, which also impacts music-making. Blending different sounds becomes more likely when the music-makers themselves are constantly listening to varied genres.

Streaming services are important too because of the way they organise the music on their platforms. Although Spotify organises based on genre, it uses more fluid music categorisations as well, allowing for playlists that communicate mood (“Down in the Dumps”) or activity (“Dinner with Friends”). Unsurprisingly, these playlists are a smorgasbord of genre. A song on the “Creamy” Spotify playlist — yes, that’s a real title — doesn’t have to be strictly future bass, for instance, or interpretive dance music, or bedroom indie: it can incorporate elements from all of these genres. Gen Z has grown up with Spotify and these looser categorisations, and relying on a streaming service that is as equally interested in mood or setting as it is in genre has impacted how we view music. So it makes sense that now Gen Zers are making music, they’re creating songs that defy genre, and using social media to publicise their music.

If you’re part of Generation Z you use social media more than any generation before you, making you fluent in viral content, and adept at using social platforms to grow a following. Lil Nas X, for example, ran a Twitter account that was popular even before he blew up with Old Town Road, and used TikTok to launch his song. Old Town Road was used as background music for a video saga about two teens falling in love, and quickly went viral on the platform. Part of the song’s appeal also stems from its timeliness, of course. Right now, the Yeehaw Agenda, a meme-turned-movement, has gotten serious traction on social media, with Old Town Road as its unofficial anthem. Clearly, Lil Nas X has an eye for virality and is well-versed in social media. When the time came to share his music, it was easier for him to navigate online platforms. “the rumours are true i am a marketing genius”, he recently tweeted.

Social media is also an important platform for Billie Eilish. In a 2017 interview with Harper’s Bazaar, she said, “I’m grateful for [social media] because I’m nothing without it”. She uses it to interact with fans, debut music videos, and publicise tours. For Gen Zers like Lil Nas X and Eilish, social platforms impact the way they view music-making. Online, you can find people who share the same tastes and viewpoints as you, which, on one hand, can be comforting. On the other hand, it can make you feel indistinguishable from others. Carving out your own space — both as a social media figure and as a musician — becomes important. Hybridising genres and crafting an unconventional sound is one way to create a unique musical identity.

And as social media has allowed increased exposure to diverse new music, non-English language songs have become more popular than ever before. Spanish-language artists like Rosalía and Bad Bunny are playing Coachella this year, and K-Pop groups like BLACKPINK and BTS have garnered an international following. Gen Z listeners have globalised playlists and are digesting sounds from a variety of countries. This means that, when it comes to making music, Gen Z is comfortable blending various geographical sounds into their songs, mish-mashing them the same way they would traditional genre boundaries. R.I.P., a recent release by 23-year-old singer Sofia Reyes, is a perfect example of this trend. Pandora Music broke down the song into eight different genres; each genre is no more than 16% of the song, and encompasses Caribbean, Afro-Latin, and Latin influences. The multiple geographical genres in R.I.P. point to how Gen Z artists are reflecting a globalised world in their music.

Importantly, Gen Zers have also grown up with apps and platforms that make music creation and distribution much easier. Sound-making software is no longer just available to established figures in the industry. There are beat-making apps that anybody can download. And, once you’ve created a song, you can easily upload it to SoundCloud—which is exactly what Billie Eilish did. Billie started making genre-defying music with her brother at the age of 13. In 2015, she uploaded her track ocean eyes to SoundCloud with a free download link. The song gained traction within a few hours. Hillydilly, a music discovery website, uploaded the song onto their site so that, in Eilish’s words, “it just got bigger and bigger”.

Eilish’s rise proves that making and sharing music isn’t reliant on industry contacts. That’s not to say music isn’t still heavily industrialised — it is. But now, it’s possible to grow a fanbase if you have talent, a computer and a SoundCloud account.

The facilitation of the music-making process also means that, since you’re not beholden to industry executives, there’s no reason to stick to prescribed genres. As long as your sound is interesting, the industry will come to you. 23-year-old Dominic Fike, for example, was signed for $4 million on the strength of the music he’d made as an independent artist while on house arrest. He posted his six-song demo EP on the internet, sparking a bidding war between executives. Fike’s sound is a blend of guitar music, bedroom indie, and hip-hop, making him a prime example of Gen Z’s appetite for mashing different genres together.

Streaming services, social media, and increased accessibility to music-making all not only contributes to a culture in which Gen Z rejects traditional music genres. It also impacts the way they measure success. New stars and listeners care less about charts and sales than previous generations because the music they’re listening to doesn’t fit neatly into categories. The Old Town Road controversy has not only sparked conversations around genre, it’s also forced us to ask whether the Billboard charts are relevant anymore.

So, does all this mean that we’re moving into a post-genre music world? Will we eventually be genre-less, and discuss songs simply as ‘songs’ rather than as ‘country songs’ or ‘pop songs’?

In an interview with Billboard — the company who publish the genre-based music charts—Eilish said, “I hate the idea of genres. I don’t think a song should be put in a category”. As Gen Z artists like Eilish continue to make unclassifiable hits, it’s easy to speculate that we’re moving steadily away from the rigidity of genre. It’s very possible that, in a decade’s time, genre will become a meaningless category. Gen Z artists are clearly moving in that direction — and maybe it’s time for the music industry to follow their lead.

This article originally appeared on i-D UK.

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Another day, another Jane Austen adaptation. Thankfully, the first images of ITV’s forthcoming Sanditon have all the classic period drama elements that made us fall for the channel’s record-breaking Downton Abbey.

There’s Rose Williams as the spirited young heroine Charlotte Heywood, staring out at the ocean like a member of the Monterey 5; Theo James as her mysterious love interest Sidney Parker (in a brocade waistcoast, of course); and Anne Reid as the formidable, ageing heiress Lady Denham, who calls to mind Maggie Smith’s Lady Violet. Yet another reason to get excited: Emmy and BAFTA-winning writer Andrew Davies (War Peace, Les Misérables, Pride and Prejudice) has written the script.

This is the first-ever major television adaptation of Austen’s last – and incomplete – novel, which she was forced to abandon due to poor health months before her death in 1817. While the Sense and Sensibility author only wrote 11 chapters of the novel, the script has been fleshed out to eight hour-long instalments.

Filmed in and around Bristol, the series follows Charlotte, one of Austen’s most spirited heroines, as she leaves her father’s rural estate in Sussex for the fictional coastal town of Sanditon – populated by a range of eccentric (and occasionally shadowy) characters who, according to Davies, go in for a “bit of nude bathing”. This is no village drama, however, with the story ranging from the cramped and dirty streets of Georgian London to the lush tropical islands of the West Indies. Consider your Sunday nights filled until further notice when it premieres later this year.

A Fresh Adaptation Of Jane Austen’s Emma Is Coming – And It Has Serious Fashion Credentials

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Boston-born brands Concepts and New Balance are linking up once again for a collaborative sneaker. Finding inspiration in their city’s infamous Curse of the Bambino superstition, the partners are celebrating its 100th anniversary with the revamped 997S Fusion “ESRUC.” Retaining the 997’s OG upper of high-grade pig suede, the iteration arrives in hues of regal purple, pink and gold offset by silver reflective details. The model rests on an elevated midsole retooled with New Balance’s “Encap Reveal” technology and features other like Concepts-branded insoles, a special Concepts box and extra lace sets.

The Concepts x New Balance “ESRUC” drops June 28 exclusively at Patta London for $200 USD.

In other collaborative footwear news, take a look at the upcoming UNDEFEATED x adidas UltraBOOST 1.0 “Blackout.”

Patta London
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Heidi wears Earrings, Bracelet, and Ring by Bvlgari. Shoes by Christian Louboutin. Spencer wears Shoes by Christina Louboutin. Sunglasses Spencer’s own. Sunglasses and Boots Justin Bobby’s own. Jason wears Sunglasses by Retrosuperfuture. Shoes by Christian Louboutin. Frankie wears Sunglasses by Versace. Whitney wears Sunglasses by Carla Colour. Earrings and Belt by Laruicci. Shoes by Jimmy Choo. Audrina wears Earrings and Ring by David Yurman. Necklace by Bvlgari. Mischa wears Earrings, Necklace, Bracelet, and Rings by Bvlgari. Shoes by Roger Vivier. All Robes and Towels by Land’s End.

“Reality television is now a way of life,” says Justin Robert Brescia, the hirsute heartthrob better known in the late aughts as Justin Bobby. Huddled in white terrycloth robes next to a swimming pool in Beverly Hills, Brescia and his former MTV castmates have been reunited in anticipation of The Hills: New Beginnings, a reboot of the reality show The Hills (2006–2010), which was a spin-off of another reality show called Laguna Beach (2004–2006), itself a loose interpretation of Fox’s sudsy teen drama The O.C. (2003–2007). If the franchise made celebrities out of Brescia and his band of maudlin merrymakers, it also turned them into test pilots for today’s round-the-clock strain of rampant exhibitionism.

But the biggest difference between “reality” then and now has less to do with the players and everything to do with the audience, whose bullshit detector has evolved considerably since the passing of the torch from Sharon Osbourne to Kris Jenner. There was a time when Spencer Pratt, the anti-hero of The Hills, would make money for ratcheting up the drama at the expense of documentary— take, for instance, the moment when he kicked his future wife, Heidi Pratt (née Montag), out of his car during an argument, a scene they actually filmed ten times before going to dinner. “We got a million-dollar ratings bonus if we got to [a certain number of viewers], so whatever they wanted from me, I had no problem doing it,” says Spencer. “But that’s not the case this time.”

In a camera-ready culture, where everyone is the star of their own feed, it’s no longer necessary for producers to shoehorn personalities into 22-minute narratives. As cast member and self-described reality superfan Whitney Port puts it: “The audience is okay with just watching people gossip at lunch. They want to see people’s personalities as opposed to being entertained all the time. Reality television allows me to veg and not think about anything else. Some might look at it as a shallow version of meditation.”

The Hills is being revived at a time when the genre has produced America’s most successful mogul family — and, arguably, its president. To snark at reality television today is to snark at reality itself. Diving head-first into that juggernaut of meta-ness, The Hills: New Beginnings has replaced its former star, Lauren Conrad, with Mischa Barton, the actress whose introduction to fame came as Marissa Cooper on The O.C. “I swear to God, I got thrown into this last minute,” she says. “I was approached from every angle, by everyone I know. I ignored it at first, and then I got on a couple of calls with the producers and MTV. Then before I knew it, I was in serious talks with them.” For Barton and the lot, the rest is still, gloriously, unwritten.



Sunglasses by Miu Miu. Bracelet and Ring (on right hand) by Bvlgari. Shoes by Christian Louboutin.

“People don’t treat reality television like they used to. Now everybody has their own reality show on Twitter, Instagram, and other social media platforms, where they can edit themselves. Almost everyone is a reality TV star.”



Necklace Spencer’s own.

“I went into this season trying to be as genuine and authentic as possible, but the reality of my personality is that I just want success for this so badly that I’ve definitely caught myself. Like, I wouldn’t get blacked out at a pool party on a Tuesday at 1pm, but I want it to be successful. Heidi keeps telling me, ‘Success doesn’t mean partying harder than anyone.’ But my problem is that all of my favorite reality stars are always the drunkest or the most extra. So when the cameras are on, I’m like, ‘I gotta turn up.’ On the new series, I really am trying to explore real issues with other cast members on the show. They’re like, ‘Call me off-camera!’ And I’m like, ‘No.’”



“I think I’ve been stereotyped as a person who is here to listen — the girl next door. That is a part of who I am, it’s true. I’m not necessarily going to bring the drama, so that’s the role I play. And these days, I’m definitely a bit more guarded. When you’re 20 years old, you don’t have a career yet and you can be very raw. But now I think everybody is more conscious of how their behavior is going to affect their family or their work.”



Mischa wears Sunglasses by Carla Colour. Earrings, Bracelets, and Ring by Bvlgari.

“Throughout my career, people have totally confused Laguna Beach and The O.C. I think in people’s minds, it all kind of got blurred over time. When I was doing my own show, I saw a couple episodes of Laguna Beach here and there. Everybody would ask, ‘Have you heard about this reality version of The O.C?’ Being on the show now, I very much feel like what they do is a craft for them, and I give them props for that. I’ve found that what works best is to really embrace the process for what it is, which is just being yourself. If you’re not being yourself, it shows immediately. The camera doesn’t lie.”



Earrings and Ring by David Yurman. Necklace by Bvlgari.

“I feel like a lot girls have grown up with us. And I still meet a lot of people to this day who tell me they’ve been through what I went through. People just walk up to me and start telling me about their lives, because they feel like we’re friends.”



Sunglasses and Necklace Justin Bobby’s own.

“The biggest question I used to get all the time was, ‘Is it real?’ And I’m like, ‘It’s as real as you want it to be.’”



Sunglasses by Retrosuperfuture.

“A big part of what you’ll see from me moving forward is being in active recovery and sobriety. It’s my life, not a once-in-a-while thing. The whole reason I wanted to do this was to shed hope and show that recovery is possible. On every show that’s out there, there’s usually one person on there who struggles, or is sober, or is in recovery. On our show, that’s me.”



Sunglasses and Sandals by Versace. Necklaces, Bracelet, and Ring by David Yurman. Cross Necklaces by Ben-Amun by Isaac Manevitz. Boxers and Watch Frankie’s own.

“Back then, I think I cared too much about what people thought. This time around, there’s no holding back. I want to be shown as I really am. Frank the Tank is still out — I’m still running the L.A. nightlife — but with a family, it’s a balance.”


Hair: Andre Gunn at HONEY ARTISTS
Hair (Mischa Barton): Joshua Stinnett
Hair (Whitney Port): Mari Bowring
Hair and Makeup (Audrina Patridge): Emma Willis
Makeup: Jennifer Budner at ART DEPARTMENT
Makeup (Mischa Barton): Jessica Ahn
Makeup (Whitney Port): Phoebe Ogan
Production: Shawn Merz
Photography Assistant: Gabriela Forgo
Fashion Assistant: Fernando Picho
Hair Assistant: Nicole Konovaloff
Manicure: Merrick Fisher at OPUS BEAUTY
Production Assistant: Elle Lynch
Post-Production: Kevin Altorre

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El próximo 4 de julio se va a estrenar la tercera temporada de Stranger Things en Netflix. Y para promocionar el que seguramente sea su estreno más importante del año, la plataforma de streaming ha firmado un par de acciones publicitarias de altura: una con Coca-Cola, para sacar una bebida especial, y otra con Nike, para sacar sus propias zapatillas Nike de Stranger Things.

Pero sería injusto tratar este lanzamiento de mero instrumento mercadotécnico. La colección de zapatillas Nike de Stranger Things tiene entidad propia y merece todo el respeto de un lanzamiento de edición limitada. Sobre todo, porque es un homenaje a los años 80, una época de absoluta gloria para Nike.

La colección está formada por tres de los grandes éxitos de la marca estadounidense de la era de las hombreras: Cortez, Mid Blazer y TailWind. Y será lanzada en dos tandas. La primera de ellas verá la luz esta semana y estará formada por zapatillas blancas.

La segunda tanda estará formada por zapatillas de color verde y rojo, en honor a los colores del instituto de Hawkins, el pueblo en el que transcurre la serie de Netflix. Las zapatillas incluyen el parche del mismo centro educativo, además de una serie de pins conmemorativos de esta colaboración.

adidas Pureboost HD y Yeezy 700

Esta es la semana elegida por adidas para poner a la venta unas de sus zapatillas más especiales de running, las Pureboost HD, especialmente diseñadas para correr por ciudad gracias a su mediasuela Boost HD y a su recubrimiento en caucho de la marca Continental, que protege a la zapatilla del calor y del desgaste.

Además, adidas también va a poner a la venta unas nuevas Yeezy Boost 700, esta vez de color negro (o Utility Black) una de las versiones más elegantes de las zapatillas Yeezy.

Converse, New Balance…

Además, esta semana ve la luz un nuevo modelo de la colaboración entre el rapero Tyler The Creator y Converse. Esta vez, las zapatillas serán unas One Star blancas con la suela en arcoíris, que llegan justo a tiempo para celebrar el Orgullo Gay.

Por su parte, la cadena de tiendas de zapatillas Size? va a lanzar una colaboración especial con New Balance. Se trata de una colorida versión de las 990v5.

Además, Nike también va a poner a la venta esta semana una edición especial de sus Air Force 1, reconstruidas. adidas también va a comercializar otra edición más de su colaboración con el artista Keith Haring. Esta vez, se trata de una un par de Stan Smith, otro Rivalry Hi y otro de Nizza Hi con motivos alegres y coloridos.

Estos son los lanzamientos de la semana

Nike x Stranger Things Mid Blazer

Nike x Stranger Things Mid Blazer

Precio: 110 euros.

Fecha de lanzamiento: 27 de junio.

Nike x Stranger Things Cortez

Nike x Stranger Things Cortez

Precio: 110 euros.

Fecha de lanzamiento: 27 de junio.

adidas Yeezy Boost 700 Utility Black

adidas Yeezy Boost 700 Utility Black

Precio: 300 euros.

Fecha de lanzamiento: 29 de junio.

Nike Air Force 1 Low Type

Nike AF1 Low Type

Precio 140 euros

Fecha de lanzamiento 28 de junio.

adidas Pureboost HD

adidas Pureboost HD

Precio: 140 euros.

Fecha de lanzamiento 27 de junio.

Golf Le Flur x Converse One Star

Golf Le Flur x Converse One Star

© FW01_2_110

Precio: 110 euros.

Fecha de lanzamiento: 27 de junio.

Size? x New Balance 990v5

Size? x New Balance 990v5

Precio: 200 euros.

Fecha de lanzamiento: 28 de junio.

adidas x Keith Haring Rivalry Hi

adidas Rivalry Hi Keith Haring

Precio: 140 euros.

Fecha de lanzamiento: 30 de junio.

adidas x Keith Haring Stan Smith

adidas x Keith Haring Stan Smith

Precio: 110 euros.

Fecha de lanzamiento: 30 de junio.

adidas x Keith Haring Nizza Hi

adidas x Keith Haring Nizza Hi

Precio: 120 euros.

Fecha de lanzamiento: 30 de junio.

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adidas Yeezy Boost 700 Analog

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Estas son las mejores zapatillas de lo que llevamos de 2019

Nike, adidas, Converse, Puma, Reebok, Vans, Fila… Cada semana hay decenas de lanzamientos, pero solo unos pocos entran en esta lista, las de las mejores zapatillas del año.

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Une pause salvatrice à l’hôtel POST BEZAU de Susanne Kaufmann

Où ? En Autriche, au croisement des frontières suisse et allemande, cerné par le vert ressourçant des montagnes, des forêts et des prairies.

La durée ? 3 jours minimum.

Le programme ? Un spa holistique avec les protocoles de la marque «Farm to face» qu’on adore, une cure détox inspirée de la médecine traditionnelle chinoise, des retraites de yoga, Pilates ou tennis avec des pros de la discipline… Le tout, rythmé par des balades au grand air, des saunas surprenants et une idée forte : «Tout ce qui ne vient pas de la beauté, de l’amour ou de la paix intérieure n’est pas la vérité.» Soit la pause indispensable pour reprendre son souf e quand il n’est plus possible de tenir la cadence. hotelpostbezau.com

Réapprendre la douceur de vivre au spa Clarins du DOMAINE DES HAUTS DE LOIRE

Où? Dans une jolie demeure du XIXe siècle, au cœur de la vallée de la Loire.

La durée ? 3 jours.

Le programme ? Détente au bord des lacs, promenade dans les bois, longueurs dans la piscine à ciel ouvert, dégustation de menus bien-être originaux imaginés par le Dr Olivier Courtin-Clarins et le chef étoilé Rémy Giraud, qui dispense même des cours de cuisine healthy… Il suf t de passer le portail pour que le temps s’arrête. Dans le spa intimiste Clarins aux allures de cottage anglais, les cabines donnent toutes sur des terrasses privatives et la salle de relaxation lorgne sur le potager. Bref, chaque protocole de la marque est un moment suspendu, avec mention spéciale au massage Équilibre aux huiles essentielles Tonic ou Relax, qui travaille sur les deux hémisphères en parallèle pour une détente intégrale.

Une parenthèse ressourçante au MANDALI

© Chiel van Diest

Où ? Au nord de l’Italie, au sommet d’une montagne, sur les bords du lac d’Orta,̀ à seulement une heure de Milan.

La durée ? 3, 5, 6 ou 8 jours.

Le programme ? Dans une atmosphère chargée en bonnes ondes, en connexion avec la terre, la nature et le soleil, on médite, on fait du yoga, on nage dans la piscine surplombant la vallée, on goûte les plats délicieux du chef végétarien… Bref, on se recentre sur l’essentiel dans un silence chaleureux. Cette bulle bienveillante dont le nom vient du mot mandala, qui signi e en sanskrit le cercle ou le centre, est un lieu de pause qui appelle au recueillement et à la découverte de la plus jolie version de soi.

Une détox aux SOURCES DE CAUDALIE avec La Pensée Sauvage

Où ? À la Chartreuse du Château le Thil, sur le domaine des Sources de Caudalie, à Bordeaux-Martillac.

La durée ? 3 ou 7 jours.

Le programme ? Pour puri er le corps en même temps que l’esprit, Les Sources de Caudalie et La Pensée Sauvage invitent à une semaine de détox en pleine nature. Perdue dans les vignes du Château Smith Haut La tte, la jolie Chartreuse appelle au calme, à la sérénité et à une remise à neuf intégrale. 4 types de détox sont ici proposés : jeûne (eau, jus dilués, tisanes et bouillons de légumes), douceur (mono-diète de riz ou de fruits de saison), végétale (3 repas quotidiens de légumes et fruits frais) ou gourmande (vrais repas vegan). Randonnées, méditation, bains de forêt et soins dans le spa de vinothérapie Caudalie en prime pour la dimension pur plaisir.

Une parenthèse ensoleillée au Spa My Blend by Clarins de l’hôtel ROMAZZINO

Où ? En Sardaigne, avec vue plongeante sur les eaux azur de la Costa Smeralda.

La durée ? De 3 à 7 jours.

Le programme ? Solaire ! Car ici, la dolce vita prend tout son sens. On fait le plein de vitamine D au bord des piscines d’eau douce et salée, de la plage privée, de la salle de tness extérieure, pendant une randonnée à cheval, sur le bateau ou à un cours de Pilates… Le tout, bien sûr, avec vue panoramique sur la sublime Costa Smeralda. Au Spa My Blend by Clarins, on vient prolonger l’expérience planante avec les soins Wellness qui réénergisent le corps tout entier, Rise Shine qui stimule notre joie de vivre en libérant une sacrée dose de sérotonine, et Beauty Sleep qui nous plonge dans un état méditatif pour passer une bonne nuit réparatrice.

Un shot d’énergie à l’Espace Vitalité Chenot du SELMAN MARRAKECH

Où ? A Marrakech, au Km5, route d’Amizmiz, avec les sommets enneigés de l’Atlas en toile de fond.

La durée ? 4 jours.

Le programme ? Après avoir éliminé tout ce qui encrasse l’organisme (médicaments, toxines, résidus alimentaires), on réactive, à l’Espace Vitalité Chenot, ses canaux énergétiques et ses fonctions organiques suivant un protocole bien calibré adapté à chaque physiologie. Un concept qui s’appuie sur la biontologie, discipline basée sur la compréhension de l’évolution des ressources vitales de l’organisme aux différents âges de la vie. Et parce que la passion des chevaux est inscrite dans l’ADN du Selman, comme en témoignent ses deux somptueuses écuries, on s’initie en prime à la gymnastique équine via des exercices doux en harmonie avec l’animal.

Une mise au vert thérapeutique au HAMEAU DES BAUX avec Les Merveilles

Où ? Dans un mas entouré d’oliviers, au pied du massif calcaire, à 5 minutes du mythique village des Baux-de-Provence.

La durée ? 2 jours.

Le programme ? Une invitation au cœur des Alpilles pour ouvrir ses cinq sens, s’oxygéner, faire le vide. Grâce à des marches guidées sur les chemins autour de la propriété, des techniques d’expression corporelle, des ateliers yoga, des soins énergétiques, on se libère du poids du stress émotionnel et physique pour se reconnecter à soi-même et aux autres. Pendant les week-ends lâcher-prise concoctés par Les Merveilles, on arrive le vendredi soir et on repart le dimanche après-midi pour enfin découvrir ce qu’une parenthèse enchantée au cœur de la nature veut dire.

Le meilleur de l’Orient et de l’Occident à la SHA WELLNESS CLINIC

Le meilleur de l’Orient et de l’Occident à la SHA WELLNESS CLINIC

Où ? Au bord de la Méditerranée, en Espagne, dans le parc naturel de la Sierra Helada, en surplomb de la baie d’Altea, dans un hôtel aux allures de vaisseau spatial.

La durée ? 4 jours.

Le programme ? Un check-up complet et un reboot total, via une cure Discovery qui propose 4 consultations médicales, un massage, un traitement de médecine traditionnelle chinoise, une activité physique, un soin aquatique et des cours à volonté avec la Healthy Living Academy (qi gong, méditation, yoga). On en pro te pour suivre des cours de cuisine a n de changer sa façon de manger, de retour chez soi. Chaque praticien prodigue conseils et tips que l’on peut intégrer dans sa vie de tous les jours. Ce n’est pas pour rien que ce lieu remporte souvent le titre de meilleur spa du monde. shawellnessclinic.com/fr

Une reconnexion à la nature aux FERMES DE MARIE avec le Tigre

Où ? À Megève, dans un hameau de petites fermes au cœur des jardins alpins.

La durée ? 5 jours.

Le programme ? En juillet et en octobre, le Tigre organise aux Fermes de Marie des retraites yoga au plus près de la nature pour tous ceux qui recherchent une activité physique intense et mentalement apaisante. Cours d’ashtanga vinyasa, séances de yin yoga, marches en conscience dans la montagne, méditation au lever du soleil, pique-niques green et protocoles Pure Altitude aux plantes et minéraux de la région: l’harmonisation du trio corps- esprit-nature est à son apogée. Le tout, au rythme de la «take care philosophy», signature d’Élodie Garamond, la fondatrice du Tigre Yoga Club.

Une remise à neuf intégrale à LANSERHOF TEGERNSEE

Où? Au sud de l’Allemagne, dans les Alpes bavaroises, surplombant le lac de Tegernsee. La durée ? 7 jours minimum.

Le programme ? «Restart your life», tout simplement. Après un diagnostic médical pointu, les cures s’adaptent suivant les besoins et attentes de chacun pour retrouver l’équilibre parfait d’un corps en pleine santé. Le premier palier se concentre sur la détoxi cation, la purification et la désacidification de l’organisme, pour que les étapes suivantes ne soient pas parasitées par nos anciens excès. Puis on apprend de nouvelles règles de vie, encadrée par une team de médecins : une routine sportive suivant notre morphologie, un régime alimentaire prenant en compte nos faiblesses physiologiques… Rechargée d’une énergie toute neuve et d’un œil aguerri sur la marche à suivre, on repart de Lanserhof avec l’impression d’avoir été rebootée pour le meilleur.

Une expérience quasi mystique au spa Clarins du MONASTÈRE DE VALBUENA

Où ? Au cœur de la province de Valladolid, à une heure de Madrid, dans un ancien monastère cistercien du XIIe siècle.

La durée ? De 3 à 7 jours.

Le programme ? Impressionnant ! Car dans ce spa thermal de plus de 2000 m2, l’appel au calme de chacune de nos cellules surmenées est immédiat. Après une promenade dans les vignes entourant le monastère classé, une visite du château de Peñafiel et des caves de Pago de Carraovejas, on se retrouve à l’espace Clarins pour une vraie pause bien-être. On y retrouve les soins stars qu’on adore: l’Art du Toucher, le Massage Relaxant Confort Absolu et le Massage aux Pierres Chaudes. Mais aussi un parcours thermal stupé ant dans une ancienne chapelle où la piscine, le hammam, le sauna et les douches à expériences frôlent le mystique. Côté nutrition, comme toujours chez Clarins, place à la slow food et au végétal, avec des menus issus du potager des lieux. castillatermal.com/fr/hotels/monastere-de-valbuena