Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford


Franco Barrera (part 4)
by Juliana Soo

Brandon Stansell - "Spare change"

Grave Pleasures - "Be my Hiroshima"

Davis Mallory ft. John Dahlbäck - "Anyone would know"

Дима Каминский - "Снимай"
Dima Kaminski - "Capture"

Sam Hasan - "Ben mi deli

AAA - "No way back"

Ivan Dorn - "Beverly"

Our Last Night - "Caught in the storm"

Reykon - "Pa eso " ft. Bryant Myers

Owl City - "Waving through a window"

Coach 1941

Stuart Vevers is one of those designers as concerned with the bottom line as with the hemline, as preoccupied with the commercial afterlife of a product as the exact angle for its runway debut. Those designers are rare -although, increasingly, less so, given the demands of IPOs, CEOs, and, increasingly, a press corps that devours financial information as rabidly as new lines. Coach has been through some rocky times of late, but the company's latest financial results are rosy (sales in the latest quarter spiked up 13% on the year), and revenue stands at $4.24 billion annually. Before his menswear show, Stuart Vevers clutched a lukewarm latte and jabbed at looks pinned to a board : "that's the best seller", he said, highlighting first a bag, then a coat, then a tee-shirt, with lightning speed. Mr Vevers is turned on by the idea of dressing the world, which is why his Coach 1941 collections are so immediately and easily accessible. For this season, it was once again a riff on American wardrobe classics. "Every look is styled with a tee-shirt", he stated. They were, but it was more interesting that the ethos of the tee-shirt (an American working-class underwear staple pulled center stage in the mid-Fifties, and now an indispensable everyday staple for the majority of the planet) informed every piece. Coach clothing is easy to wear, uncomplicated, fuss-free. It's also comfortingly familiar -both in that we know the garments from our own wardrobes (classic bombers, skinny pants, penny loafers, those tees) and because they have, over the seasons Stuart Vevers has been designing, created an identifiable Coach look. They included, naturally, multiple iterations of the best sellers he pointed out. "We've reset the idea of the brand people thought they knew", he said. "Now we can push further". As befits a designer interested in commerce, the push was as much about selling as showing the collection. Mr Vevers chose to respond to the ongoing debates about instant access selling. His tagline : see now, buy now -or else ! After the show, Coach released a selection of pieces from the collection, in limited quantities. When they're gone, they're gone -and, presumably, you have to wait until next spring. "We trialed it with a handbag in the last women's collection", said the designer. "It sold out in an hour and a half". Impressive. What's even more impressive is how Stuart Vevers is challenging preconceptions about the creative limitations these new ideas of selling will place on designers. Half the collection wasn't there when he walked me through -because Gary Baseman, a contemporary artist he collaborated with for his SS15 womenswear line, was busy scribbling across the leather jackets and bags, less than 24 hours before the show was set to begin. The pieces Coach has retailed were similarly hand-decorated by this artist, alongside more affordable print totes and tee-shirts. "It's about thinking of how to get an intimate voice from a big brand". You hope more labels can think with such open-mindedness when addressing these ever-more-insistent demands. Like Mr Vevers put it, there is an intimacy to what he offers at Coach, and a personality. For this season, rather than his previous singular cinematic inspirations, he had been channel-hopping. He simultaneously cited "My own private Idaho", "Rebel without a cause", obscure B-movies, and even an episode of "The twilight zone" as equal influence. They added up to a general notion of teenage rebellion; of customization; of personalization, even, with models' penny loafers pimpled with studs, jackets pinned with badges, and Gary Baseman's dribble, spray-painted art everywhere, especially on salable black leather jackets. It even infested classic prints, like Aloha florals and surfer seascapes. "He's involved in just about all of i"t, said Stuart Vevers, pointing out a Baseman-ian snake wriggling through undergrowth on Hawaiian shirts. The collection was handsome but made to be pulled apart into individual pieces, rather than proposing a head-to-toe look. The designer likes that idea, and it seems he engineers his pieces to fulfill it. In the end, though, perhaps you can't judge its success before the sales figures are totted up. Stuart Vevers himself summed it adroitly : "the customer has the final say". Indeed, if well-off enough to afford Coach.