Editorial

SEVENSTORE x LACESOUT!

Fri, 14 Jun 2019 00:00:00 GMT

SEVENSTORE x LACES OUT! Festival 2019

SEVENSTORE will partner with Laces Out! festival this June to celebrate the launch of the brand new adidas ZX 4000 4D.

A shoe that places both feet in the future of footwear design, the launch will be supported through a newly commissioned multisensory installation housed at Laces Out! festival on Saturday 22^nd June.

Laces Out! Festival is an annual exhibition and celebration of sneaker and trainer culture, now one of the largest events of its kind in the UK. The 2019 edition of the festival takes places in Liverpool’s industrial north docks at Invisible Wind Factory from 1pm-5pm, with the adidas ZX 4000 4D installation housed in the venue’s basement.

A powerful blend of modern tech and athletic design, the ZX 4000 4D model provides a stylistic update to the original ZX 4000. The reissue is placed atop a midsole made from Carbon4D, adidas’ groundbreaking footwear technology. The Carbon4D midsole creates an experience tuned to the individual, based on extensive learning and digital modelling.

Comprising a series of 4D laser panels within the Invisible Wind Factory Substation, the installation will exist as an immersive, walk through experience, a 4D visual environment which digitally responds to individuals as they make their way through the space. Physical, analogue movement through the installation will trigger visual shifts and contortions within the 4D lattice AV environment, creating a highly personalised, immersive AV experience driven uniquely by each user. Whilst the area will house a bespoke soundtrack curated by Liverpool production duo UZU at Bido Lito!’s AI AUDIO LAB, currently housed in SEVENSTORE.

Ultimately, the installation allows existing analogue forms to dictate the digital movements of the future.

The ZX 4000 4D installation will be available to experience for one day only. The brand new adidas ZX 4000 4D reissue will be available to purchase at a retail point situated next to the installation.

Laces Out! Festival is a ticketed event. Buy tickets here.

Launching online on the 21 JUN 19.

June is YEEZY Season

Weds, 05 Jun 2019 00:00:00 GMT

The brainchild of Kanye West, YEEZY is one of the most sought-after brands in modern streetwear. Selling out almost instantly and then being flipped for double on the aftermarket, the brand is a mainstay of online raffles and in-store activations -getting your feet in a pair has become a rite of passage across today’s youth culture.

In 2015, the now iconic – and Kanye’s first release with adidas - YEEZY BOOST 750 became an instant hit – with fans of the brand and Kanye alike queuing outside the adidas stores across the world. Ready to wear, hyped footwear and the most Instagram famous family on the planet, Kanye has graduated from music and taken over popular culture. With no formal training, Mr West has grown YEEZY into one of the most successful new brands in the last few years, and a catalyst for the streetwear renaissance.

June is set to be a big month for YEEZY BOOST fans; the anticipated all-black adidas YEEZY BOOST 350 V2, 700 V2 Vanta, 700 V1 Utility Black and 700 V2 Tephra are all releasing on SEVENSTORE Launches. Despite increasing the number of releases, the brand continue to drive the hype machine by offering region-exclusive colourways, with the YEEZY BOOST 350 V2 Antlia exclusive to Europe also set to drop in the coming months.

Sign up for all of this month’s YEEZY drops at SEVENSTORE launches, or grab one of the last remaining pairs of the YEEZY BOOST 700 analog here.

SEVENSTORE x Baltic Weekender

Thurs, 30 May 2019 00:00:00 GMT

On Saturday 1^st June, SEVENSTORE will partner with Baltic Weekender as an official venue at the inner-city festival.

Taking place across the Baltic Triangle in Liverpool throughout the day and night, the event will see the store host an AI Audio Lab production workshop, Q&A with Detroit Swindle, and guest DJ set from Breakwave.

The instore activity instore will run from 12pm to 7pm, with the Q&A and DJ set beginning from 4pm.

SEVEN’s involvement in Baltic Weekender continues on from previous community and instore music experiences such as CONTAINER with Evian Christ and Emmanuel Baird, SEVENSTORE Presents Actress x Sam Wiehl, and a guest DJ set from Scottish selector Jasper James at the store opening party. The forthcoming schedule of activity with Baltic Weekender will bring a rich selection of local and world renowned talent to the store, with a wide-ranging programme of workshops, talks and music throughout the day.

AI Audio Lab is an audio installation that will be housed within the store for seven weeks as part of the store’s first full creative ‘edition’. The project is a feature of Bido Lito! magazine’s 100^th issue programme and has been designed by Dr Robert Strachan, senior lecturer in music at University of Liverpool, in partnership with SEVENSTORE.

The project is intended to encourage participants to critically engage with the idea of a music future based on AI rather than human creativity, questioning the boundaries and parameters of artificial intelligence. AI Audio Lab invites you to step into a virtual recording studio and shape the creation of an artificial intelligence-composed piece of music, in a genre of your choice. From 12pm to 3.30pm, local artists Giovanna, Lupini and Bens Leia will produce music using the software.

Detroit Swindle is an electronic music duo started in 2011 by Lars Dales and Maarten Smeets. The Dutch duo put out most of their music through their own label Heist Recordings. As avid record collectors of both old and new music, their DJ style is as varied as their taste in music, blending together everything from classic house, obscure disco and African funk. In addition, the Detroit Swindle will be in conversation with Bido Lito! in the afternoon from 4pm.

Breakwave is a DJ, producer and the founder of enigmatic club night/record label Meine Nacht, as well as co-founder of Deep Sea Frequency. Rising through the ranks of the Liverpool scene, Breakwave is now one of the most in demand DJs on the global circuit, holding down a residency on NTS radio.

Breakwave plays from 5pm-7pm in the SEVENSTORE basement.

AI Audio Lab launches at SEVENSTORE

Thurs, 30 May 2019 00:00:00 GMT

SEVENSTORE will house an Artificial Intelligence audio installation for the next seven weeks as part of the store’s first full creative addition.

Titled AI AUDIO LAB, the installation follows on from ClubTogether and will be housed within the basement of the store.

The project is a feature of Bido Lito! magazine’s 100^th issue programme and has been designed by Dr Robert Strachan, senior lecturer in music at University of Liverpool, in partnership with SEVENSTORE.

The project is intended to encourage participants to critically engage with the idea of a music future based on AI rather than human creativity, questioning the boundaries and parameters of artificial intelligence. Working with Dr Robert Strachan, AI Audio Lab invites you to step into a virtual recording studio and shape the creation of an artificial intelligence-composed piece of music, in a genre of your choice.

Throughout the seven-week period a selection of artists will be invited to the store to create new work within the installation, challenging them to test their own ingenuity out on the software in a bid to test out its capabilities and limitations. The first artist session will be part of Baltic Weekender on Saturday 1^st June, featuring a selection of homegrown artists working in the studio.

Once opened, AI Audio Lab will act as a steady state installation that is soundtracked by a 40-minute piece created by Dr Robert Strachan using Orb Composer, an artificial intelligence music making platform. This will be contained in a laboratory-like environment within SEVENSTORE, existing as a temple of reverence to the art of augmented creativity.

Over the course of the full programme, artists, musicians and members of the public will be invited in to AI Audio Lab. Weekly workshop sessions will create unique soundtracks, which can be analysed against the supposedly pure creations that spring from solely human ingenuity. No prior musical ability or theoretical knowledge is needed to work in AI Audio Lab – the installation exists as a democratic musical space open to all.

SEVENSTORE is a host venue at Baltic Weekender 2019, which takes place on Saturday 1^st June, 12pm-7pm featuring Detroit Swindle, Breakwave, Giovanna, Lupini and Bens Leia.

BALTIC TRIANGLE STORE LAUNCH PARTY

Thurs, 09 May 2019 00:00:00 GMT

Join SEVENSTORE in the opening of our new flagship store in the Baltic Triangle, Liverpool.

This is the first of many community-led initiatives to run through our new retail and exhibition space, binding facets of modern culture together in conjunction with Liverpool’s buoyant creative community. Digital workshops, evolving open-source artworks, international/local artistic collaborations, residencies and live events, SEVENSTORE is all about creating unique internationally significant opportunities for local creative minds

The official SEVENSTORE Launch party is open to the public at our Norfolk Street store on the 16th May 2019 from 7:30pm until late. New season collections will be available to purchase on the night - expect free beer, guest DJ Jasper James and support from homegrown talent, the Chibuku resident James Organ.

Register below to attend. Winners will be selected at random. All winners are allowed a +1 guest. Successful entrants will be contacted before the event to confirm launch party entry.

Sign up below

Thank you for your entry!

Martine Rose: Remixing British Subculture

Thurs, 09 May 2019 00:00:00 GMT

Only Martine Rose could get you considering square-toed snakeskin loafers, gelled-up centre partings and transparent trousers. This SS19 collection has got everyone second guessing what is bad taste or what is actually great – but pushing boundaries is something Rose is expert in.

A self-proclaimed tomboy, Rose has deep interest in how people wear her clothes and their cultural meaning, the underground fashion scene she witness growing up in London is reflected in her 80’s and 90’s inspired designs. Surrounded by the iconic styles of the ‘crusties’ and ‘rude boys’ of the rave and reggae scenes, they return in Rose’s designs mirroring her childhood. The mixing of maximalist prints including leopard, checks, raw edge patchworks and bold vertical stripes meant there was not much room for understated pieces. Gold chains hang over checked shirts with embedded leather-jacket panels and tank tops are tucked into suit trousers. We didn’t think we would see heavy leather coats for a SS19 collection but if you can pull off the trousers to match then anything goes.

Demna Gvasalia, creative director at Balenciaga, loved Rose’s work before he went onto launch Vetements. When he took over Balenciaga in 2015, Rose was hired as a design consultant until late last year. Designing since 2002, Rose quickly made her mark at Balenciaga and is now recognised for becoming one of the most influential menswear designers since 2007. The parallels between Gvasalia and Rose’s style have served a great platform of progression, with both of them continually playing with proportions, forming intriguing graphic language and fusing subcultures, they’ve created their own fresh, underestimated scene.

Martine has a radical approach to presenting having shown outside fashion week schedules in unconventional locations: rock climbing centres, markets, and a cul-de-sac in Chalk Farm, North London on a sunny Sunday for her SS19 show. Sat amongst Luka Sabbat, model, influencer and Gen Z’s ‘it’ boy and Virgil Abloh, designer and founder of cult brand OFF-White, Rose impacts not only the people in her field but the residents of the square, including their children. We see how a relatable mashed up vision is born from growing up with a sea of different styles: her clothing beautifully new to the young minds waiting in anticipation for the show to start.

The SS19 collection is available online at SEVENSTORE.com, shop the collection here.

ClubTogether: Light Night

Tues, 07 May 2019 00:00:00 GMT

Join SEVENSTORE for the first viewing of a newly commissioned visual installation mapping rave culture

SEVENSTORE invites you to the launch a brand new commissioned visual installation created by design studio Dorothy. The ClubTogether installation provides a visual display of unique, user generated data input to the ClubTogeher web app – created to map clubbing and rave culture experiences across the world, both nostalgic and contemporary.

The launch of the installation will be a part of the Light Night 2019 celebrations, a city wide event of visual art in Liverpool on Friday 17^th May, and will be displayed within the basement of the newly opened SEVENSTORE retail and creative space in the Baltic Triangle – 6pm-10pm.

Soundtrack to the evening will be provided by former Haçienda resident DJ Graeme Park and SEVENSTORE radio host Andrew PM Hunt. A further additional visual exhibition will be provided by photographer Mark McNulty, focussing on his documentation of Liverpool’s early rave scene.

Dorothy’s work has already had its finger on the infectious pulse of rave culture. Last August, during the 30th anniversary of the Second Summer of Love, their ‘Acid House Love’ Blueprint linked the sticky web of rave perspiration with its main movers and shakers. The product is a distinctive visual map of the history of dance music and rave culture based on the circuit board of a 303 synthesiser.

Building on the idea for the blueprint, ClubTogether allows users to input their own memories into the web app to create a real time, interconnected world of shared experiences, emerging from dancefloors on opposite sides of the globe.

The ClubTogether Light Night launch is a free event with limited capacity within the store.

Friday 17^th May, 6pm-10pm,
SEVENSTORE
26 Norfolk Street
Baltic Triangle
Liverpool
L1 0BE

To contribute memories to the web app head to clubtogether.me

New beginnings: SEVENSTORE Norfolk Street

Tues, 07 May 2019 00:00:00 GMT

New retail and creative space to open in the Baltic Triangle, Liverpool, 16^th May

SEVENSTORE is a new community-led, future-fashion and creative retail space set to open within Liverpool’s Baltic Triangle this month.

The innovative new space has been conceived as a thought provoking, barrier breaking and future shaping retailer. Set within a minimalist, future-tech warehouse in Liverpool’s post-industrial heartland, SEVENSTORE’s new home promotes creative collaboration, placing globally recognised fashion houses next to emerging talents. The new store will utilise the technologies of the future to share stories from across the world - Paris, Tokyo and London - with the streets of Liverpool.

SEVENSTORE’s roster of brands looks past the traditional view of Menswear - hitting varied cultural touch points to give a full view of modern fashion consumption, disparate influences joined by technology and a new sense of community and progression.

Newgen labels like Martine Rose hang alongside Acne Studios, Samuel Ross’ A-Cold-Wall* sits next to Off-White, with 1017 ALYX 9SM’s unconventional luxury mixing with Arc’teryx’s outdoor pedigree and Needles offbeat Americana.

Speaking about the store’s launch, SEVENSTORE Buying Director Mark Macdonald said: “SEVENSTORE will display that retail is far from dead. A carefully curated mix of fashion, music and art will intertwine throughout our seven week editions instore, with all of our activity looking to bring the store as close to the community as possible.”

Beyond the retail space, the SEVENSTORE ethos is carried into every aspect of its web presence – an e-commerce landscape that has attracted 2.4m visitors since its launch. The site is centred around industrial, minimalist design with future proof e-commerce functionality, translating the store experience directly to web. Additionally, the site is designed to allow for constant evolution, adaptability, and change to coincide with the revolving seven week ‘Editions’ creative projects. Fundamentally the site is a reflection of the ever-changing community it is part of.

The brand-new retail space is situated in the heart of the Baltic Triangle, a hospitable proving ground for the city’s leading creative minds and innovators. Here, SEVENSTORE will work to match the levels of innovation displayed by the businesses and studios who’s output in the last decade has firmly established the district as a creative hotbed in the North. Following in the footsteps of Baltic Creative CIC, SEVENSTORE arrives with an emphasis on community, operating with a model that feeds in a diverse range of fashion, art and music to the people of Liverpool on a level that is accessible to all.

Working alongside design agency Start, SEVENSTORE has been created to cater to the needs of a future-proof retail and creative space. The store will attempt to blur the lines between the two, bringing together a range of curated content that inspires and informs the other in tandem. Spread across two floors in a repurposed industrial warehouse, the space pairs both a retail focussed ground floor with an expansive basement equipped to house a range of music events, panel discussions and brand activations, complete with bespoke AV screens and PA system.

“Created from the ground up – and designed to celebrate culture and styles through curated experiences – SEVENSTORE is the up-start staging and intervention in this non-traditional location. The store is designed with humility and minimalist fixturing in respect of the Baltic Triangle buildings heritage. Powerful A/V installations deliver disruptive and distinctive storytelling amplifying ranges and styles and differentiating the entire experience for customers.” – START

SEVENSTORE believe fashion is more than clothes, shoes and accessories. And retail is more than windows, rails and tills. Fashion is shaped by community, technology and expression. SEVENSTORE connects people to these ideas. Inspired by Liverpool’s history of commerce – the seven streets that were the backbone of one of the world’s most industrious cities – SEVENSTORE challenge perspectives, curating culture for the new era.

A mash up of the past, the Nike P-6000 CNPT

Mon, 29 Apr 2019 00:00:00 GMT

The new sneaker arriving this spring is the Nike P-6000 CNPT, with some serious colourways of the reimagined retro style. We may not have expected the “dad-trainer” trend to stick around but the style of the 90’s and 00’s has come back around as Nike moves forward with this new runner. With recent releases including the React Element 87, M2K Tekno and Air VaporMax Plus, never underestimate how they can simultainiously give us popular futuristic styles and transport us back to the year 2000 in one breath.

Nike has looked back through it’s archive, the P-6000 CNPT being the emanating hybrid of both the Pegasus 25 and 2006 silhouettes of our past. With no Air Max cushioning in sight, the P-6000 CNPT features a cushioned midsole and waffle outsole tread instead to add traction. It’s horizontal and vertical overlays on a mesh upper provides a heavily textured look with breathability which mirrors the former Terra Humara sneaker which has a softer shaping. This flexible combination however isn’t for the marathon runner but the casual jogger and outside the track, wear them to the office with your Aries Gabardine Tailored Trouser or A-Cold-Wall Rouche Trouser. Like the Pegasus’, the lacing system extends to the midsole for a cushy fit and even the placement of the embroidered swoosh and edition stamps are echoed. The Silver/Blue and White/Black colour ways will be laucnhing on the 16th May, register to purchase through SEVENSTORE LAUNCHES. The shape of the P-6000 is truly emphasised in the White/Blackcolourway, with a strict just-above-half and half line, the white stretching over the toe all the way around the back. For the not so faint hearted and retro enthusiast, the Silver/Blue is your trainer.

The Nike P-6000 CNPT is now available to purchase here.

Off-White c/o Virgil Abloh AW19 Preview

Thurs, 25 Apr 2019 00:00:00 GMT

Abloh’s first menswear collection for streetwear brand Off-White for AW19 since joining Louis Vuitton was a curated mixed bag of designs and political emotions to his hypebeast fans. Entitled Public Television, California bred and Italian based Virgil Abloh’s pieces adorn the brand’s mixed heritage on the catwalk, with models wearing American football helmets, sharp tailoring in navy and an appearance by Offset in an elaborate lilac puffer jacket scaling to the floor.

You couldn’t stand close to each other with the broad shoulders of the oversized suit jackets, some even slightly padded and completed split up the side, a reminder of the years you borrowed your father’s suit for a party. Hoodies over a shirt and tie are the garments of the work hard, play harder man. Huge baggy trousers with low crotches and a dip dyed shoelace belt holding them up pay homage to the skateboarders of our youth. As if we didn’t already know Off-White brought us the luxury streetwear revolution, printed instructional warning signs are grouped together and small signature embellishments are embroidered onto sleeves and necks: Abloh’s visual voice remains tenacious.

The Yellow Off-White industrial belt continues to be a key piece amongst the rest of AW19’s accessories: black oversized fanny packs calibrating the size of a man’s chest; ‘plastic bag’ shaped drawstring bags and small boxes made with teddy-like fleece in bright greens and orange. The strongest pieces from this collection are the oversized jumpers, transitional spring staples intarsia knitted with the Off-White logo in contrasting colours.

The latest Off-White footwear and accessory collection is available online at SEVENSTORE.com, shop the Industrial Belt, Waist Bag, and the Arrow Running Sneaker here.

1017 ALYX 9SM AW19 Preview

Thurs, 25 Apr 2019 00:00:00 GMT

Cult label 1017 ALYX 9SM brought us its AW19 collection with the continuation of high-profile collaborations, a focus on the “extreme present”, and the mimicked construction of urban districts that shadow our everyday directions. Not only does this season follow the monochrome colour palette we know and love ALYX for, Creative Director Matthew Williams focuses on the use of recycled materials and up-cycled techniques: “sustainability is a new pillar of luxury”.

Growing up playing soccer in California, you can see how sportswear has heavily influenced Williams’ ALYX. This season sees the creative director’s second training collecting with Nike producing training tops, chest pouches, jackets and even 2 in 1 shorts and skirts. 1017 ALYX 9SM also continued their collaboration with Makintosh, the coat maker so influential it’s synonymous for its signature outwear products. Oversized puffer jackets were paired with sleek overcoats on the catwalk - juxtaposing textures tied together with industrial belts and chest rigs.

Splashes of red, pinstripes and checks give the oversized-top-thin-leg silhouette a pop. Thick to thin cable knits look soft and mimic the frayed denim in matching waistcoats and jeans. High-neck coats, removable hoods and the rollercoaster buckle belts are must-have features to complete the modern, hardy aesthetic.

Matthew Williams has called this collection Ex Nihilo,“out of nothing”, mirroring the title of his newest collaborative photography book, one of many that is expanding and translating Williams’ fashion talents into art. Photographed by Daniel Shea and art directed by OK-RM, Williams has a great renaissance mind towards his work showing us the elements that go into the brand including photographs of the ore that they use to make their famous buckles, down to the places they are inspired by and people they work with.

Any designer can claim great attention to detail, but Matthew Williams’s graphics have not only been translated through the collection. The models at 1017 ALYX 9SM AW19’s Paris Fashion Week Men’s show were styled with handfuls of papers bound by the brown strips that we see in the book. Ex Nihilo also included over 15 womenswear looks in Paris, introducing the brands first women’s handbags, and cementing Williams’ ability to create effortless, genderless looks season after season.

The current 1017 ALYX 9SM collection is available online at SEVENSTORE.com, shop the iconic Rollercoaster Belt, Makintosh Formal Coat and Classic Chest Rig here.

Coming soon, POSTAL SS19

Fri, 05 Apr 2019 00:00:00 GMT

Dundee based, Virgil Abloh approved POSTAL release their SS19 t-shirt collection including a capsule exclusive to SEVENSTORE.com

Founder Nelroy’s brand draws from his life experiences in and around Dundee, his retail surroundings at Manifesto, and fellow scots in the creative scene: conversations with house DJ Jasper James inspires the tight collection of embroidered slogans and graphics.

Returning lines like ‘Last night I dreamt somebody loved me’ sit alongside minimal, abstract plays on the POSTAL name and skull motifs – tonal embroidery in the new collection bring a sense of irony to the slogan tee, with profound sentiment blending into the background, giving the basic tee a visually subtle but philosophical upgrade.

POSTAL have built a strong relationship with SEVENSTORE through last season’s sell-out collection of t-shirts, and through a shared ethos of community-driven creative collaboration.

SEVENSTORE - headed up by Buying Director Mark Macdonald - has a bricks and mortar store opening in Liverpool’s Baltic Triangle in the spring and is founded on the concept of fashion, technology and community; with a tech-led modular retail space and exhibition floor to showcase talent from emerging talent to global brands across music, fashion and tech.

‘One of SEVENSTORE’s pillars is to support emerging talent that bring through new communities and POSTAL are embedded in this culture. Nelroy cross-references multiple genres when drawing inspiration for each release and he produces product that we sell out in minutes. Each run is made in limited quantities and the DNA of the brand is to always move forward - it’s refreshing to see such a young brand be so focussed on their end goal. POSTAL is a big part of SEVENSTORE’S plans going forward’ – Mark Macdonald, Buying Director, SEVENSTORE.

New season Postal launches, including exclusive styles are now available on SEVENSTORE.COM

LIVE: Actress (DJ Set) Ft. Sam Wiehl

Fri, 29 Mar 2019 00:00:00 GMT

SEVENSTORE and 24 Kitchen Street present a brand-new, one night experience this April. ACTRESS (Ninja Tune) will perform an exclusive DJ set alongside a bespoke, live audio visual test bed produced on the night by visual artist SAM WIEHL (whose previous work includes visual commissions for Forest Swords and Liverpool International Festival Of Psychedelia). Support will be provided by Liverpool producer and DJ ASOK.

The event is the second in the ongoing SEVENSTORE PRESENTS series, following on from the hugely successful run of CONTAINER, with Evian Christ and French visual artist Emmanuel Biard. The trio of events saw a repurposed shipping container dropped into an undisclosed location, with the event promoted via a fly poster media campaign. Hopeful attendees were instructed to text a designated number, with successful applicants being added to a WhatsApp group which revealed the container’s location through a pin drop 24 hours before, giving way for 50 attendees to experience ‘trance sybaritism’ – a music journey into the unknown, led by Evian Christ. The forthcoming event with Actress reflects SEVENSTORE’s ambition to bring forward-thinking artists to the heart of Liverpool, with the addition of Sam Wiehl displaying a commitment to providing unique collaborations across its events series.

Speaking on the event, SEVENSTORE Buying Director Mark Macdonald said: “It’s fantastic to be able to celebrate the imminent opening of SEVENSTORE by inviting one of the most innovative producers in the world to Liverpool, and pairing him with a one of the city’s best visual artist. It’s billing like this that best displays the core of our philosophy, embedding world renown talent into the community here in Liverpool.”

SEVENSTORE is scheduled to open its Baltic Triangle retail space in May 2019.

One of the preeminent and most singular voices in UK electronic music, since 2012 Actress has run his label, Werkdiscs, in conjunction with Ninja Tune, releasing ‘Ghettoville’ in 2014, a record described as “inscrutable, unsettling and utterly unique” (Uncut). An epilogue poem written for the press release to Ghettoville led people to believe that Cunningham had retired. This in turn led him to conceptualise his new work as ‘Giving power back to identity.’ This fourth album was not just a poetic take on British youth in an electronic age.

As a DJ and producer, he’s an artist capable of music and mind duality, sharing his cerebral existence between an arresting electronic output that congeals influences from IDM, techno, hip-hop and industrial. The Wolverhampton born producer meticulously entrenches himself into the world of his productions to generate a product both haunted and breathing, subtly melancholic and spectrally mechanic.

In 2017, Actress returned with a new album and a new music system – “AZD” (pronounced “Azid”). An artist who has always preferred to make music than to talk about it, in “AZD” he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it.

Actress has also worked with renown photographer Wolfgang Tillmans and collaborated on projects with the White Cube, with his appearance in Liverpool set to be another example of his willingness to place a multifaceted artistry at the forefront of his craft.

Sam Wiehl is an artist, live event designer and film-maker focusing on the visualisation of sound and immersive audience experiences. As Visual Director of the annual Liverpool International Festival of Psychedelia he has crafted it’s unique visual aesthetic over the past seven years, with the event being widely regarded as one of the finest of its kind in the world.

As an artist, his collaborations include work with Matthew Herbert, The Bug, Chris Watson and Plaid, working with labels including Domino, Warp, Ninja Tune and Triangle Records. He tours internationally as a live audio visual artist and production designer for Ladytron, Forest Swords, and Szun Waves having previously worked with The Coral, Hookworms, Not3s and Jane Weaver. He also is a production designer and visual artist for a number of festivals based in the UK and the Netherlands. Recent commissions include work for Loop Berlin / Ableton, Unsound Festival, Tate Britain, Tate Liverpool and Mira Festival Berlin.

Liverpool based DJ and producer ASOK released his latest EP, ‘How It Is', on Lobster Theremin earlier this year, with his A Mind Forever Voyaging show a regular feature on Melodic Distraction radio.

The event will take place at 24 Kitchen Street, Liverpool, on Thursday 11^thApril in celebration of SEVENSTORE’s forthcoming opening in May. Tickets to the show will be free and available via a text message sign up.

Text ‘ACTRESS’ to 0777 677 0707 for limited free entry.

SEVENSTORE

SEVENSTORE is a thought provoking, barrier breaking and future shaping retailer. We seek to challenge and expand perspective whilst at the same time remaining accessible and grounded by the world that surrounds us. SEVENSTORE is open source and rooted in collaboration between our global brands and local Baltic Triangle community, utilising the ideas of tactical media techniques, guerrilla marketing and media manipulation.

Trimm-Trab Event

Thurs, 28 Mar 2019 00:00:00 GMT

Purple Sole: City Of Liverpool FC and the social fabric of Merseyside football
One-night panel discussion and archive exhibition.

Join SEVENSTORE and adidas Originals for a one-off evening celebrating the launch of the brand new adidas Trimm-Trab Rivalries pack – the iconic terrace and away day shoe. Ahead of the opening of our new store in the Baltic Triangle in May, the event will take place at Smithdown Social, featuring an archive exhibition and Q&A exploring the social impact of grassroots football in the city.

The Trimm-Trab Rivalries pack launch presents an opportunity to explore and dissect the unique role that football culture plays in Liverpool. Throughout the city’s history football has been a constant presence; a lens through which we can examine challenges, successes and the day-to-day realities of Merseyside’s social climate. The launch of the Rivalries pack will be supported through a panel Q&A featuring influential members of Liverpool’s grass roots football institutions, journalists and adidas collectors.

Panellists will include Paul Manning (chairman of City Of Liverpool FC), Simon Hughes (The Independent, written extensively about football’s unique role in the social fabric of the city), Gary Aspden (adidas brand expert and consultant) and Stephanie Power (BBC Radio 4).

The latest Trimm-Trab pack will mark adidas’ acknowledgement of its influence on the city’s football politics and fashion, with the panel Q&A aiming to underline the extensive social impact football has had on Liverpool, and how adidas collections have evolved in toe with social developments throughout the city.

The archive collection will be curated by Laces Out! and Transalpino.

The event takes place at Smithdown Road Social Club, Liverpool, 7-11pm, 12/04/19.

IF YOU WISH TO ATTEND, SIGN UP HERE

1017 ALYX 9SM

Mon, 11 Feb 2019 00:00:00 GMT

There’s an argument to be made about the inevitability of success being one of Kanye West’s creative collaborators. Mathew Williams, creative director of 1017 ALYX 9SM, was an early member of multidisciplinary creative outfit DONDA, working in collaboration with Ye, Virgil and Heron Preston. That’s some foundation for a career in fashion.

Using his West Coast upbringing and wife Jennifer as inspiration, Williams’ collections present an upscale Californian adolescence – timeless hedonism in leathers and denim that sit alongside contemporary tailoring and streetwear’s calling cards, all punctuated with luxe hardware.

William’s references to a fast life have done more than take his lighter caps to Paris fashion week – it’s provided a shot straight into high-fashion’s bloodstream. Collaborating with Dior Homme, ALYX’s signature rollercoaster buckles hold significant weight in aligning the French Fashion house with the streetwear-oriented landscape under creative director Kim Jones.

The 1017 ALYX 9SM SS19 collection is available online at SEVENSTORE.com, shop the iconic Chest Rig Buckle Baseball Cap and Classic Coat here.

and Wander: us against the outdoors

Thurs, 31 Jan 2019 00:00:00 GMT

There’s a conflict between Man and Nature that, while complex, becomes ever simpler as we speed towards complete environmental disaster. Both a provider for and an enemy of Progress – the deity Humankind has knelt to since primitive tools and fire, through the cyclical inception and denouncement of lesser religions – Nature’s unflinching power has been nurtured and harnessed by our societies before being destroyed by it. What are we to nature: beneficiaries, stewards, enemies? Or short-sighted parasites, giddy with greed over self-preservation. As politicians are forced to take stock of coral graveyards, raising temperatures and the possibility of being in the midst of Earth’s sixth mass extinction event, maybe it’s time to take advantage of the world around us while we’re still around to destroy it.

These issues are too big for a retailer to answer, but brands like Kieta Ikeuchi and Mihoko Mori’s and Wander address the Man vs Nature conflict with garments designed simultaneously to get you outside and protect you from the outside. and Wander exist to make you soak up something greater than office gossip, exhaust fumes and serial-killer docuseries.

Both ex-Issey Miyake designers, the transition from a label whose philosophy is rooted in functionality and technology isn’t actually as big a jump as it may seem. Sure, the pair have ventured away from prints and pleats towards Primaloft and technical polyesters, but the chasm between haute couture and outdoor wear – in this instance – isn’t so hard to traverse.

The SS19 collection boasts hardy garments with a casual but polished ease that belie their technical credentials. Trousers are cut ergonomically from water-repellent fabrics with integrated drawstring belts and elasticated cuffs; high-density nylon jackets cut with clean lines and hits of 3M work as efficiently on the commute as they do in the field.

For all of this, and Wander doesn’t break tradition - the brand is everything we’ve come to expect from product designed and made in Japan: flawless craftsmanship and impeccable quality. It’s no wonder it’s got us yearning for frosted mountaintops and winds singing in valley bottoms – until tech-withdrawal hits and we cluck back to social feeds, over consumption and impending environmental disaster.

Shop SS19 and Wander at SEVENSTORE.com

SEVEN Radio - Discussion + Disruption

Mon, 14 Jan 2019 00:00:00 GMT

SEVEN Radio — Discussion + Disruption

Host Andrew PM Hunt (Outfit, Dialect) guides listeners through shifting spheres of music and discussion that links culture with an electronic, international post-rave world.

The monthly show features cutting-edge music from across the global worlds of electronica, downbeat techno and soulful neo-jazz, with regular guests joining in the conversation, focusing on the places where subcultures and music intersect.

SEVEN Radio is the audio arm of SEVENSTORE, challenging perspectives and curating culture for the new era.

December

November

POSTAL - Dundee c/o Nel Roy

Fri, 14 Dec 2018 00:00:00 GMT

Dundee isn’t top of anyone’s list for birthing sell-out collections, but that’s exactly what Nel Roy’s POSTAL is doing, growing from a passion project to a tight collection of embroidered slogans and graphics in collaboration with fellow Scot Jasper James – tees inspired by a conversation with the house DJ that sold out in hours when launched exclusively at SEVENSTORE last month.

There’s something uniquely personal about the graphic t-shirt. Whatever the designer is trying to get across, be it a take on branding, a social message or an emotional connection, it gets buy-in to a much wider audience than avant-garde runway pieces, conceptual video or selling prints in a gallery gift shop. For consumers - for fans – it’s a badge of insider knowledge and a show of support, a chance to nail your colours to your chest/back/sleeves. Or, you just like the print.

In the ruthless proving grounds for young brands, it’s the graphic tee that acts as the scout, the foot soldier and the standard-bearer: the literal representation of collection-wide concepts; the affordable membership for lower incomes; the volume pieces that keep you afloat when your £2k coats aren’t selling.

For POSTAL, their collection of Abloh-approved graphics have placed both feet firmly on the stairway to greatness. In a climate where the new luxury is dictated by the early adopters and purchased at a 100% increase by the aftermarket casuals, the best time to invest in POSTAL was yesterday.

New season Postal launches, including exclusive styles, are now available on SEVENSTORE.COM.

CONTAINER: Trance sybaritism in a shipping container

Mon, 03 Dec 2018 00:00:00 GMT

Attempting to decode the failures of Britain’s post-imperial trade policy, those that continue to echo through the port city of Liverpool, sounds more like a dissertation thesis than the idea behind a conceptual rave. To help navigate such a debate, you might expect to find the likes of David Olusoga, camera in tow, wandering the dock road, staring longingly at freight cranes glistening in the distance over Seaforth. It would be an apt starting point for explanation, at least.

SEVENSTORE’s approach to the subject matter – in conjunction with Warp Records’ techno whizzkid Evian Christ and lighting engineer extraordinaire Emmanuel Biard – reroutes this debate through the abstract. It’s a fascinating concept, one that leans on visceral emotion as opposed to dry-eyed academic research. Billed simply as CONTAINER, a series of three parties held in a secret location within the once industrial Baltic Triangle, there appears to be an emphasis on an exploration of the question rather than a quest for comprehensive understanding.

At this phase the idea seems as elaborate as the Ellesmere Port native’s future-perfect music. In Evian Christ’s own words, Container will attempt to channel the “history of containerised global sea-freight” over the course of three secretive, invite only, raves. Better still, they’ll take place in a shipping container lined with high spec strobe lighting, an LED wall, smoke machines and 50 dancers – there to help absorb the 150 decibels cannoned out by the command of Christ (producer, not the son of God – though, at times within the container, this is questioned).

For all of the escapist sentiment, though, it seems like Container is attempting to take a sincere, leftfield route to realist understanding. An acknowledgement, at very least, of certain features of our post-industrial lineage, and the prescribed feelings that can be shared between an abrasive post-industrial history and an equally abrasive 170bpm soundtrack. To round off the pre-flight information for this mission, Evian adds: “[Container will follow] the story of a country with an unsustainable and ever-widening trade deficit; of a city whose industrial sites were replaced with monuments honouring the speculations of international financiers; and of a culture which services this ongoing state of affairs by holding itself accountable to an unsolvable set of moral values.” All there’s left to do is step inside.

It’s the night of the first event. While the back story offers more pre-attendance intrigue that your average four-to-the-floor warehouse rave, there’s no knowing how this storyboard will be processed: firstly, by Evian and Biard; second, by the sensory receptors charged with withstanding an intensive, strobe-lit history lesson focussing on freight trade in neoliberal Britain, and its socio-economic impacts.

With a prized guestlist spot secured, messages are passed through the waves by SMS to provide the lucky few with coordinates to the container, resting in the Baltic. Time of departure is clearly outlined. Total flight time is only two hours, so prompt arrival is required. There’s to be no easing towards euphoria. A driving, foot to the floor style seems like the instruction.

Bodies are fluttering in the space surrounding the container. There seems to be a conjecture of excitement and nerves. What lurks within remains top secret. The container does little to draw attention to itself from the outside. Its monolithic presence is interrupted only by a set of butcher’s curtains, which offer a small glimpse of the toxic green hues glowing within. Aside from that, all is left to the imagination – for now.

Tension isn’t relieved with the parting of the curtains. In we go, shuffling, as though searching for an unfamiliar light switch kept in complete darkness. For those hoping for minimal challenges to the senses, spirits are crushed; the switch is under the controls of Biard. The French visual artist isn’t renowned for designing lights for the local switch-on at Christmas. Tonight, he’s here to make the music as 3-D as humanly possible; music that will be spanning a spectrum of trap, happy hardcore, trance and gabba. This isn’t going to be a breezy, Close Encounters-esque optical conversation with the 50 Earth-dwelling guests. Eyes and minds are going to be borrowed and contorted.

To start the music is spacey, the lighting warm. Smoke perforates gradually, suffocating all clear vision. As the music rises, all that can be seen is puppeteered by Biard. It can only be described as watching a rainbow-soaked solar eclipse through a pair of opaque sunglasses. A rush of colour flies past the eye but detail of the picture is left entirely to the imagination.

The container is completely packed but it feels like there are fields of space surrounding every attendee. The lighting has the ability to transcend the body beyond those dancing inches away. It becomes introspective; a questioning of not just the psyche, but humanity (so the note says on my phone… perhaps I’m dazed). There’s a sort of celestial camaraderie shared among the chosen 50. Not one body aggressively bumps into another, somehow. All that is telling of another’s presence is the occasion “whoop” or cheer as Evian grinds the gears of this airborne shipping container.

The soundtrack is warped for the most part: paired with the light show, it works the mind into an obedient liquid, happily shifted into whatever shape the colours suggest. It feels as though the eyes are watching the scene from 2001: A Space Odyssey where Dr David Bowman is hurtling tough the space and time continuum wormhole, except it’s playing at 10 times the speed and your nose is pressed against a cinema screen.

I’m left unsure on whether I understand the UK’s trade deficit any better. But there’s certainly been hopeful thought provocation. In many ways we have no idea what’s in these boxes when they arrive at ports. We have no engagement with these economic building blocks: we simply look at the words Hamburg Sud, China Shipping and think nothing more. There is no inkling that the world’s account balance is tipping from side to side before our eyes.

The idea of Container breaks beyond the four rectangular walls which we step inside. It tells the story not of how these containers are shipped and traded on a daily basis, but how we, ourselves, reflect the same process. In the post-industrial city, we are the highly valuable commodity, the commerce. We box ourselves into self-constructed containers of aspiration, expectation and anxiety, just because the nature of the capitalist western economy says so. Dancefloors, nailed to economy, are no longer an escape. Through placing ourselves in a blinding box with 50 others, you come to see this.

Who knew a two-hour strobe examination could prove so metaphorical, so scathingly political?

Written by Elliot Ryder (@elliot_ryder). This article appears in full in Issue 95 of Bido Lito! magazine.

Dries Van Noten

Mon, 26 Nov 2018 00:00:00 GMT

There’s an honesty in the designs of Dries Van Noten that is rarer than you might think. The Belgian designer, part of the generation defining Antwerp Six collective of (university) alumni, bikes to his Antwerp studio if the weather is fine; and takes the car if his dog is coming along for the ride.

Outside of the studio, he tends his garden as respite from a career that has spanned three decades on the runway. It keeps his feet on the ground, literally and fgiguratively. As he said in an interview: in fashion, you control every element, from the sourcing of fabric to the staging of the shows to the stockists selling the garments. Cultivating a beautiful garden requires surrender – an acceptance of outside forces with their own agendas. There's nothing more freeing than surrender, nothing more relaxing. Surrender is acceptance.

Where Instagram and twitter fuel sensationalism, focussing the lens on ‘it’ items and the influencers wearing them (or the other way around), focussing in on the copycats, the appropriators and the downright racists (see dietprada), on Dries' account he posts images of his designs, the aforementioned dog and occasionally, flowers. And that’s not to say that Dries hasn’t done his fair share of dressing ‘celebrities', - from the queen of Belgium to Academy Award nominees, but he refuses to become the victim.

Refusal is the wrong word. It suggests absolutes, drama that isn’t part of Dries’ - makeup. Instead, carefully considered cuts, colours and fabrication add depth to what is, in essence, a collection of menswear classics simultaneously timeless and modern. It’s an art project. A passion. Simply, it’s nirvana for people who love clothes.

Amazingly, the breakdown of the company’s financials is something as stunning as the colour palette. Over 90% of the business comes from ready-to-wear. And with $100 million revienue estimate for 2018, that’s no mean feat. To put this in perspective, clothing is traditionally a loss leader in the industry. (why? Because there’s nothing bandwagon about the collections, because Dries appeals to everyone, from original fans from 30 years ago to the rappers wearing the SS17 and AW18 collections.).

His decision to sell a majority stake to Puig isn’t something to be afraid of. While the fragrance titan certainly takes away an element of romance, like giving up your long-held dreams of reconnecting with your first love and settling for a the safe pair of hands with a a house, family car, and job in the city, it’s a smart move for the label. Known for affording it’s brands creative freedom, and with Dries staying on as chief creative officer and chairman of the board, it’ll provide the infrastructure and financial backing to force further growth. If you’ve always wanted to smell like Dries’ garden, things are looking up.

But until then, it’s back to the present. As part of the AW18 collection, the Raincoats project uses the marbling technique seen in the wider collection, but across limited edition shell raincoats. Each one was created painstakingly by hand, using a technique that creates unique marbled patterns from the diffusion of inks on the surface of water. It’s something traditionally reserved for printing paper, and is (probably) the first time it’s been applied to textiles. Sometimes, in our world filled with pushing the envelope of performance, it’s refreshing when innovation is as simple as bringing together separate traditions.

For Dries, it’s not about creating fashion for fashions sake – he’s always wanted to create clothes that people actually want to wear:

Fashion has always been a way of communication. You make garments that people can really wear, that can underline their personality and that can tell something about how they feel, who they are. That, for me, is my main thing. I donlt make fashion just for fashion, I really make clothes for people to enjoy, to buy and to wear. You can make incredible things, but when at the end nobody actually buys and wears them, its like a baker who makes beautiful cakes but nobody eats them.

After all, the only tragedy greater than rationally rejecting romance is a wasted cake.

A-Cold-Wall*: Levelling the Runway

Thurs, 15 Nov 2018 00:00:00 GMT

Samuel Ross tears down the traditional class system one fashion show at a time.

A Cold Wall takes inspiration from the British class system –recontextualising the working classes and updating public perception from hooliganism to rich subculture.
The brand, by Ross's own admission, has strong ties to geographical landscapes, with early compositions and ideas based entirely off wall palettes – these structural references intrinsically tied to the idea of social structure:

‘A Cold Wall is the feeling I had rubbing my hand against a pebbledash wall at a council estate, yet it’s just as important and relative to someone who is brushing their hand against a slab of marble in the upper sections of society.‘

In streetwear’s current climate, concepts and backstories like Ross’s are important. It’s easy to screen-print a logo onto t-shirts, hoodies (and ponchos), seed it out to ‘influencers’ and watch the cash roll in. It’s much harder to create an emotional connection between designer, product and consumer. That makes it all the more important for the Northamptonshire born designer: ‘why are these kids going to Zara and buying rip off designs when I can make a product at a price point and those kids understand who I am, what the fuck I’ve been through, and know I understand them too?’

A-Cold-Wall offers something authentic, collections of garments as an expression rather than a cash-in. It’s about presenting conceptual ideas at a digestible level. After all, as a multi-discipline designer, Ross is an artist before anything else. As a young 20 something, he was putting out video, paintings, even doing kitchen installations– fashion is simply another medium for his creativity. Indeed, his website reads ‘multidisciplinary creative director, designer and installation artist. Even at this early stage of his career, you can’t argue with that.

His breakthrough came as the assistant of none other than Virgil Abloh, working alongside the now Louis Vuitton artistic director of menswear while juggling a graphic design job. Both designers have found untraditional ways into the fashion industry (Abloh’s rise from DJ to figurehead of one of the oldest fashion houses is well documented), and proves that in this post-Saville era, graphic design and hard work is as viable a way into the fashion industry as a degree from Central Saint Martins.

More than that, Ross has come from court appearances to celebrated designer on the strength of his unwavering creative vision and unshakeable work ethic. Now, after collaborations with Nike, Oakley and sister brand POLYTHENE* OPTICS – a graphic-heavy collection at a much more accessible price point - he can get the word out to a broader spectrum of the public. His Academia Correction Workshop was ‘a contextualisation of the A-COLD-WALL* narrative through the British school system’: an examination of classist tiering and systemic nullification of individuality, something none of his collaborations or side projects can be accused of.

It's high-concept stuff with a salient social message, and the clothes aren’t bad either. AW18 again looks at juxtaposition, this time between the building site and the art gallery. Featuring a collaboration with The National Gallery - its sensible, serif lettering alongside A-Cold-Wall’s hieroglyphic accents across t-shirts, shirts and accessories – which tells a story of British architecture: ‘It was about interpreting how you can take something from a more working-class context [council estates] and place it in a gallery environment’ Ross explains.

As long as Ross has stories to tell, he’ll keep the industry hanging on his unique perspective.

Shop the collection of Samuel Ross’s A-COLD-WALL* at SEVENSTORE

Liverpool, Culture City

Thurs, 15 Nov 2018 00:00:00 GMT

“Welcome to the third Golden Age of Merseyside music.”

These aren’t my words but those of Queen Zee – the Liverpool punks beloved of Iggy Pop – who tweeted this statement on 13th October 2018. You may think it’s hyperbole, but I’d say it’s merely a fair reflection of the state Merseyside music in 2018. It has, once again, been a remarkable year for our region’s musicians. Stand-out albums from Bill Ryder-Jones, She Drew The Gun, The Vryll Society and Mark Peters will make many critics’ end-of-year lists, with plenty more artists waiting in the wings to continue a Scouse music domination (check out Xam Volo, Zuzu, MC Nelson and Sub Blue if you haven’t already). But it’s on the ground, in the city’s great mix of venues and clubs, that you’ll witness exactly the kind of camaraderie and energy that Zee’s original tweet alludes to. The city is alive with DIY creativity. It’s infectious, dynamic and hard to ignore. The Beatles? Nah, mate. Old news.
There can’t be many other cities in the world that can support and nurture the number of musicians and events that Liverpool does. Scores of musicians are out their plying their trade every week, and they do so in a supportive community where collaboration and cross-pollination are not merely buzz words, they’re a way of life. It’s a state of the rude health of a music community when you can point to a genuine buzz in the air and scenes-within-scenes; nights where the bands are promoters, performers and fans, where everyone mucks in; where you see support acts singing the words of the headline act’s obscure songs and losing their shit. It’s a self-supporting network –and it’s fucking exciting. You should take note of Queen Zee’s words, because they may well turn out to be prophetic.

There’s no doubt that the region’s cultural renaissance has been on an upwards trajectory since the 2008 Capital Of Culture year, taking the positivity in our collective spirit skyrocketing upwards. Liverpool has been a city in constant flux since the turn of the millennium, and is visually and emotionally a very different place to the one that signed off the 20th Century. This upwards turn has perhaps come a decade or so too late after years of stagnation (both forced and self-inflicted), but you can’t doubt that it’s a city on the up. Consider a visitor to the city, seeing a place that seethes with civic pride, one which celebrates the achievements of its own, makes museums dedicated to telling their stories and welcomes in others who want to come and embrace that energy and use it to create new stories; they’re going to want to come and sample that atmosphere – a blend of pride and acceptance, mixed with a ‘can-do’ attitude – and be enriched by the personalities and stories that it’s all built on.
Re-purposing former industries and turning our history into new forms of culture has been a defining narrative of the city’s 2008 boom. Both the Baltic Triangle and Ropewalks areas have become desirable locations for visitors in recent years, as living embodiments of Liverpool as a city on the rise. Where once the clank and grind of industry dominated, driving prosperity, culture now leads. The warehouses and factories left behind as the city’s docking operations have moved gradually northwards have been taken over by new industries; digital, disruptive and with the same kind of daring that made the city a global leader.

Certain chapters in this region’s history loom large over us, especially when it comes to music and culture. Being respectful of this past, yet not weighed down by it is a tricky course to navigate – especially when some elements of that past are uncomfortable. But, the Merseyside region has always been at its best when it’s looking forwards and embracing change, which is exactly what culture-led regeneration does when it is executed properly. There’s always room for a respectful repackaging of heritage within such plans, but we must also make sure that we don’t overlook the strength of communities who are living with and reinterpreting these stories on a daily basis. Accessible forms of culture like music, art, theatre, poetry and comedy are universal forms of mass communication, and they can help us to understand these deep-seated motivations. As well as being a salve and a spark, music is also a powerful vehicle with which to have difficult conversations, and question our preconceived notions.
It never ceases to amaze me how perfect a backdrop Liverpool is, not just visually, but in the context of it being a great place for creativity to flourish. There’s a mass of energy to be drawn from walking the city and noticing its (seemingly) random points of convergence, where buildings cluster and the layers of myth and legend run deep. There are also a plethora of stories and connections tied up in the city’s dense historical web, most of which we’re not even aware of. These gaps in our knowledge are cavities where conjecture, folklore and character flood in. These are the things a city is built on.

A whole history is out there on the walls of this cultural melting pot, and between those walls the future is being written by artists working fervently in bedrooms, box rooms and makeshift rehearsal spaces. The city is a canvas, the most richly detailed backdrop against which people document their lives in the most vivid ways. Its features, craggy surfaces and buildings are full of so much colour and character. Whether it’s artists coming to the Biennial from across the globe to interpret what they find here, or our own homegrown musicians documenting their relationship with home, the city and its people are an endless source of inspiration.

Our walls are witnesses: there is so much information around us just waiting to be discovered, and so much energy to tap into. We’re all constantly adding to the already dense narrative, layering on top of the memories that are already there. Every one of our actions seeps in to our surroundings, becomes folklore, ready for the generations coming after us to discover, learn from, twist and fashion into inspiration for their own new memories. And the cycle never stops, it keeps getting denser – and that’s why it’s important for us to keep adding to the strata of stories in the bedrock, so that the work of today’s artists isn’t forgotten.

The power of great art is that it has the capacity to make us connect deeply with the emotions of others, and it improves our ability to see things from another person’s perspective. The same can be said for nurturing a strong sense community spirit and togetherness; art, and its attendant culture, is a vitally constructive aspect in the development of strong communities. And if you’re connected with the society in which you live, through art or broader cultural community activities, you’re more likely to care about it and do something to protect it.

So, you see, we need music, and art, and the ability to create – as much as we need the venues and institutions to showcase and consume these creations. Art is not an indulgence, it’s part of our makeup – as a form of expression and as a way for us to understand the deepest motivations and feelings of others. And you don’t need to have a university degree or a love of DIY garage music to see that; you just need the ability to feel.

In Liverpool, feelings run deeper and emotions are stronger. Because a proud sense of culture is buried deep in the bedrock of our collective identity. And when the memories of giants, Stevie G and four lads who shook the world are long since faded, that is what will still be powering this city’s incessant forward motion.

Christopher Torpey is Editor-in-Chief of Bido Lito!, a monthly print magazine documenting Merseyside’s new music and creative culture.

Fashion, Fiction and the Rise of the Machines: Why is Science Fiction Having a Moment?

Thurs, 15 Nov 2018 00:00:00 GMT

Technology defines our human experience. Before vaccinations, it was the spear. Before it was the internet, it was the compass. To be in a position to create post-apocalyptic worlds and distant alien races we needed paper, ink, the printing press. We needed the atomic bomb.

Science fiction is a reaction to progress – extrapolating realised technologies into scenarios that dig into existentialism, metaphysical debate and social satire. It’s a reaction to our fetishisation of tech. But why is it having a moment in fashion?

Even before Metropolis debuted as the first feature-length cinematic example of the genre in 1927, popular culture had been captivated by alternate earths and galaxies far, far away. Born out of the searing pace of progress during the industrial revolution, even the earliest literary works of Science Fiction philosophised macabre applications of the technology propelling humanity into a brighter future. Mary Shelley’s Frankenstein questions the ethics and morality of wielding new knowledge, reframing the myth of Prometheus for a society increasingly rooted in science.

Where Prometheus played with fire, Victor played with science. Where Shelley’s protagonist (cue literary debate) reanimated dead flesh, today’s Dr Frankensteins are trying to recreate the mind through ever more complex algorithms and an almost impossible vastness of data. The philosophical questions posed by these works - what it means to be human - make them universal; quandaries the developed world has been having for centuries. Much of Science Fiction cinema is visual representation of thought experiments, delivered to the masses disguised as a date night activity.

As a study of human identity, it’s no surprise that fashion borrows a lot from the genre.

While futurism in fashion has been around for a hundred years, corporate housings are now predicting the near future with scientific methods of trend forecasting, use of data and machine learning, bringing technology to the forefront of the industry in the biggest way since the internet. The futurism is no longer all conceptual projection.

The applications of these new technologies aren’t, however, as nightmarish as their literary or cinematic counterparts. Not yet, anyway. Artificial Intelligence is the next great frontier; its presence being felt commercially after decades of fictional speculation. From silent algorithms serving consumers hyper-personalised ads Minority Report style, to fully automated chat bots, the time to heed cautionary tales like Spike Jonze’s Her or Alex Garland’s Ex Machina is creeping ever closer. Naturally, the dystopian vision of a fully automated creative process culminating in artificial sentience enslaving humanity springs to mind, but that’s definitely something Raf Simons and Jun Takahashi would get a kick out of - so it won’t be all bad.

2001 a space odyssey kicked off the sci-fi-as-an-existential-crisis movement as we know it today. As a frame for philosophical questions about the way we use technology, creation and destruction, humanity and morality it’s inspired contemplation across popular culture. The Matrix, Interstellar, annihilation, Arrival all carry the spirit of 2001, as does the Gucci cyborg, Prada’s Nylon Farm and, more overtly, Undercover’s AW18 collection.

‘The Gucci cyborg is post-human. It has eyes on its hands, faun horns, dragon’s puppies and heads. It is a biologically indefinite and culturally aware creature’. Alessandro Michele has reinvigorated the Florentine house not only by looking into its century of history, but by creating an entirely new world for the brand to live in - bridging the gap between maximalism and fantasy. The now infamous FW18 Dragon pup was inspired by author Allistair Mitchell’s 2004 hoax in which he spun a yarn about unearthing a baby dragon pickled in formaldehyde in an Oxford garage. Mitchell garnered press coverage as far-flung as Australia, and ultimately used the stunt to leverage a book deal for his unpublished fantasy novel.

In Blade Runner, the rich and powerful own artificial animals – when Deckard meets Rachel she asks if he likes Tyrell corporation’s owl; if he likes the company’s ability to create something artificial yet indistinguishable from the biological original. It took Makinarium, the special effects studio tapped up by Gucci, 6 months to create the dragon, severed heads, horns and extra eyes Michele sent his cyborgs to the operating theatre holding and wearing - anatomically correct and hyper-realistic prosthetics worthy of their own feature film or international hoax. Alessandro’s Gucci had to settle for industry acclaim and 6.2 billion euros in global revenue. Tough gig.

The grotesque realism was an evolution of the previous year’s ad campaign, a homage to vintage sci-fi complete with Friesian cows, abduction, Lagoon creatures, stop-motion dinosaurs, and aliens. The fantasy got darker in a year, the subtext more real. As real-world technology reaches the borders of sci-fi fantasies we grew up with, the conversations around new technology and morality start making the news. And when Elon Musk is voicing his concerns about AI, and mainstream media is writing about ‘designer babies’, the potential for slightly disturbing campaigns skyrockets. They capture the consumer because the stems of these concepts have already been seeded into their minds.

Blade Runner’s Replicants (and the androids of Philip K. Dick’s source material) undergo a series of questions to assess their empathic responses, and ascertain if they’re human or cyborg - similar to, and probably influenced by, Alan Turning’s Turing test (the test of a machines ability to exhibit intelligent behaviour equivalent to, or indistinguishable from, that of a human - thanks, Wikipedia). Both in art and life we’re morbidly fascinated by the idea of playing god; creating something in our own image with such accuracy we can’t hope to control it. As a species we’re in denial: we’re scared of freedom despite preaching the opposite.

The rise of CGI influencers like Lil Miquela, used by Prada and Highsnobiety, are as Black Mirror as it gets. The narrative that Miquela is a sentient robot is, of course, a fake one, but that’s the worst part. These accounts are real-time social satire, serving us image-addicted with something mysterious enough to stand out, but specifically tailored to be an Instagram success through data analytics. Can’t find the right human being as a vehicle for your streetwear brand? Create one instead. They’re personalised, medicated gruel for our self-constructed social media prisons - and they taste so good.

In a reality where we are already versions of the cyborgs depicted in fiction – where we remove ocular implants at night, modify the unborn with stem cells and live symbiotically with devices that recognise our faces, we dress up these advancements in plain clothes (contact lenses, smartphones) such that they seem essential at best, mundane at worst. As soon as things become possible, they’re boring. Conveniently, we forget how we wrestled with morality over the testing of these products or the potential applications of technologies by monstrous corporate entities. As long as there is immediate gain, we forget about the recent past. We look to the future.

By definition, fashion is a capricious field, but it’ll always react to the climate surrounding it, and, like science fiction, take grains of truth to striking extremes. And at the moment, that’s mild unease about welcoming Alexa into our homes. She’s always listening you know.

adidas YEEZY Calabasas Track Pant 16.11.18

Thurs, 15 Nov 2018 00:00:00 GMT

Launches 11pm 16.11.18

The sun-soaked hills of Calabasas have come to house celebrity culture’s elite, its gated communities and sprawling mansions affording enough space and relative privacy for pop culture's arbiters to enjoy the fruits of their labours (and/or film reality TV shows). To the streetwear community, the suburb means more than Newlyweds and KUWTK.

Kanye West’s YEEZY lines (in their various forms) can’t be underestimated for their part in bringing streetwear to the top of the industry, and with this in mind, the Calabasas Track Pant probably typifies the movement. First released to clamouring fans and immediately inflated resale prices, the sweatpant followed the script Kanye started drawing up in 2009 with Louis Vuitton.

Sneakers have been embedded in youth culture – street or not – for as long as kids have wanted to emulate athletes, for as long as feet have been forced into black oxfords for school, church and work. They carry a sense of escape from the rigidity of tradition, but have also carried relatively high price tags – leaving most of us pining for pairs out of our (or our parents’) reach at some point in our lives. Sweatpants though? Not so much.

In the post-YEEZY era, things have changed. With streetwear at its apex, the appeal of the track pant has raised considerably – it’s the spine of the everyday wardrobe. Throw in a co-sign from Mr West, and it becomes more than the anchor of any AW outfit – it’s social currency, too. And after all, why shouldn’t we be cozy?

Launching at SEVENSTORE on Saturday 16th November at 11pm, the Calabasas Track Pant returns in versatile, earthy palettes Core/Mink and Umber/Core with zipped side pockets and ‘Calabasas’ emblazoned on the double-knit polyester. But we didn’t have to tell you that – you’ve already seen them on Instagram.

Shop all sweatpants here.

YEEZY BOOST 700 LAUNCH

Fri, 07 Sept 2018 00:00:00 GMT

Rapper, producer, visionary. It’s said to be a thin line between genius and madness, and looking back over Kanye West’s career, it’s hard to argue he hasn’t walked that line – with generation-defining results.

The YEEZY BOOST line has been a runaway hit since its inception in 2015; debuting with bold new designs which capitalised on the best cushioning available on the market. Most importantly, in adidas Kanye found a partner willing to offer creative freedom.

West’s partnership with adidas doesn’t show signs of slowing down. Talking about their YEEZY BOOST line, Kanye promised everyone who wanted a pair would be able to get their hands on them, and increased quantities and restocks are seeing this become a reality.

The YEEZY Boost 700 launched back in November after debuting on the Yeezy Supply runway show earlier the same year. The first retro running silhouette from the brand features a mesh, suede and leather upper on a chunky, moulded midsole housing BOOST technology and flashes of orange to both lateral and medial sides; a look that divided fans at the time. Fast forward 10 months and the imitators are many – and appetite for the original strong as ever.

YEEZY BOOST 700 launches at SEVEN on the 15^th September at our Baltic Triangle location, with the raffle closing on the 13^th September. All winners will be contacted via email, and will be required to collect their pair in person at the specified location.

adidas Originals Yung 1: coming soon

Tues, 19 Jun 2018 00:00:00 GMT

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Inspired by running, made for 2018. adidas Originals Yung 1 dips into the late 90’s to take what was a transient running model, the Falcon Dorf, and repurpose it for the new streetwear generation.

The chunky runner comes back dressed in Hi-Res Orange and Shock Yellow – startling hues that are given depth and richness through contrasting textures of mesh and nubuck. Equally striking, though slightly less orange, is the Orange/ Collegiate Navy colourway; contrasting red, orange, white and navy shows off the varied panelling to the Yung 1’s upper.

While only minor tweaks to the silhouette are obvious when viewed next to the original Falcon Dorf, the Yung 1 is an example of how to perfectly reanimate an archive model. Updated materials and colourways are layered over heady nostalgia right in line with today’s retro milieu - giving the runner more cultural relevance now than it had in 97.

Launching on Thursday 21^st June, the adidas Originals Yung 1 is essential whether you remember it the first time around or not.

Shop adidas Originals Yung 1 here.

London Fashion Week SS19

Mon, 11 Jun 2018 00:00:00 GMT

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The height of summer means one thing: looking ahead to the collections that will be emptying wallets in a year’s time. London Fashion Week SS19 featured some of the most exciting designers in the world right now taking a theatrical, modern look at utilitarianism, nostalgia and broken America.

Taking the brands essence -utilitarian sportswear - to new extremes, Samuel Ross admits the Spring ‘19 A-Cold-Wall* collection is more art than streetwear. Outerwear was dissected, with large portions cut away and pouches wrapped across exposed torsos. Clear PVC featured alongside technical fabrics, netting and silver leather in A-Cold-Wall*’s most varied palette to date.

Liam Hodges reportedly read Donna Tartt’s Pulitzer prize winning novel the Goldfinch twice and travelled to Las Vegas to capture the dress code of Sin City and inject it into his Spring ‘19 collection. Loss of innocence, crime and identity play out as heavy themes in Tartt’s novel, and were brought to life through gaudy colours, slogans and bowling shirts on Hodges’ runway.

Inspired by the men she knows, and the men she wishes she knew, Lou Dalton’s utilitarian-inspired looks are reminiscent of the boys she would see around her Grandmother’s farm. Consisting of a few core items – wide-legged pants, oversized shirts and shorts – the collection favours timelessness over fleeting trends; its uplifting colour palette a nod to the spring season.

New season footwear and accessories from OFF-WHITE

Mon, 04 Jun 2018 00:00:00 GMT

A graphic heavy, industrial-inspired reflection of contemporary streetwear culture, Off-White’s footwear and accessory collection distils the essence of Virgil Abloh’s zeitgeist-hogging streetwear brand into caps, belts, bags, masks, and footwear not from Nike’s archive.

The industrial belt is as recognisable as quotation marks and Helvetica – the strip of webbing features repeating branding along its full length and a metal clasp to secure your load. Available in statement yellow or a muted black, the extra-long length is designed to be doubled up to create a point of interest from a traditionally practical outfit element.

For fans of Virgil’s reimagining of Nike classics (read: everyone) the Off-White AW18 footwear collection provides plenty to fanboy over. Deconstruction, external labelling and subversion of traditional silhouettes are again the key features of the AW18 footwear collection. The ‘low’ sneaker features what’s traditionally considered a high-top silhouette, with exposed stitching and external labels to the tongue and above the toe box. The High 3.0 sneaker puts the Low into context; the same court style features a mid-calf height stretch sock collar finished with signature quoted graphics.

Off-White footwear and accessories are available online and in store at Seven.

Introducing Maison Margiela

Tues, 22 May 2018 00:00:00 GMT

Uniform: unchanging in form or character.

The blousons blanche are the uniform of the Maison Margiela team, who adhere to the definition of the word more than most. The white lab coats instil a collective identity and are worn by all employees, from the head designer to the interns.

The Maison founded by Belgian designer Martin Margiela, although bearing his name, was never about him. The elusive designer’s fashion house is famed for its use of deconstructed details, unbranded collections and radical concepts on and off the runway. Throughout the 90’s, as celebrity culture grew into an all-encompassing behemoth, Martin Margiela’s invisibility was completely at odds to his environment – and all the more intriguing for it. Even during the height of his time at his eponymous house, Martin Margiela was very much the ghost of the fashion industry. With only a few images of the designer online it has always been much more than a publicity stunt; it’s an earned anonymity that has been largely maintained since his departure.

The creative director’s silence, while it turned into a large part of the brands DNA, wasn’t as much a rejection of the status quo as it was a simple decision. After giving an interview in the very early days of his business, Margiela reportedly turned to his press officer, Pierre Rougier, and said: ‘I don’t think I’m going to do interviews anymore’. That was it. He spoke only through his clothes – with commentators, journalists and peers inferring silent meaning from each collection, made more fascinating still by the creative and often unconventional staging of his collections. His first catwalk show saw models doused in red paint so their footprints were left on the runway – indelible split-toe tracks still prominent today.

The rumours were circulating prior to the Maison Martin Margiela 20th anniversary show in 2008, but the man behind the house didn’t make an appearance for his last hurrah. Just as the models wore white masks to obscure their features as they paraded the 40th collection, the final days of fashions silent designer went by unannounced. In typical Margiela fashion, the vacancy was not followed up by a high-profile appointment either. Instead, the resident design team took the reins and continued creating collections in the spirit of the house. It wasn’t until 2014 that John Galliano was appointed creative director and told by Margiela himself to ‘take what you will from the DNA of the house, protect yourself, and make it your own’.

Despite his departure from fashion, Margiela’s influence on the industry is as prominent now as ever. In his famed ‘00 Oversize collection, pieces were designed at an Italian size 78 (that’s XXXXL) – a direct contrast to the slim silhouettes of the moment. Raf Simons had revived slim suiting a few years previous – but Margiela was never concerned with jumping on trends, in fashion or otherwise. Creating a nameless calling card was a distillation of this subversive outlook; his blank, white label stitched onto garments with four exposed stitches reframed the idea of a’ designer’ piece. Rather than status and prestige emanating from the label, the collections could only be judged as they appeared - without the crutch of an in vogue name.

Signatures of the house are many and much imitated, inspiring trends and arguably a new design language. Demna Gvasalia spent several years at Margiela, the influence of which is clear in his work steering Balenciaga as it is in his own project, Vetements. Oversize proportions, calculated self-awareness and the upcycling of old garments are all calling cards of Margiela, but it was the Vetements split toe boot for the AW18 collection that got tongues wagging. Charting the line between homage and plagiarism is a question for another article, but Gvasalia’s comments on recreating an untouchable piece of his former employer’s archive provide somewhat of an empirical formula for the genius of Margiela:

“I wanted to show what Margiela means for me, and for Vetements. It’s an approach, it’s not a person. It’s a way of loving clothes, breaking the rules with those clothes. And that’s what we did.”

Iconic footwear like the Tabi boot and Replica Trainer are heavily influenced by the traditional Japanese tabi sock and the German army trainer respectively, and both are beloved parts of the label’s oeuvre. Both are love letters to the cultures they draw from, signed by an artisan and addressed to a new demographic.

Undoubtedly one of the most influential fashion houses of the modern era, Margiela brings a unique blend of creative minimalism and signature deconstruction to each collection, building on the same ideas that broke new ground and bled into the very DNA of the fashion industry. Despite keeping the blousons blanches exclusively in-house, you’ll struggle to find a corner of contemporary fashion that isn’t draped in some form of Margiela’s uniform.

AW18 Footwear and Accessories from Maison Margiela launch June 2018.

Y-3: the art of movement

Thurs, 29 Mar 2018 00:00:00 GMT

Yohji Yamamoto’s tenure at y-3 has been a genre-defining exercise in creative design. Blending the best of adidas’ technical knowledge and Yohji’s mastery of avant-garde tailoring, the sportswear line stands alone in its dynamic, draped - but ultimately pragmatic – aesthetic.

Taking fluid lines through the city, the art of parkour is the perfect discipline to approve a collection built for the streets. Visually, it’s an elevated form of movement as poetic as it is physical. Practically, it gets you from point A to point B in the most efficient (and less travelled) way.

Showcasing the practical elements of Yamamoto and adidas’ collaborative line, we linked up with free runners from Airborn Academy Liverpool to traverse the city’s rooftops wearing the SS18 Y-3 collection.

SS18 sees new graphic logos and sneakers join collection mainstays like the classic t-shirt and hooded top. Silhouettes like the Kusari blend progressive design with premium materials and Boost technology for a high fashion take on performance footwear.

Shop the full Y-3 collection here.

A Celebration of Air Max

Mon, 26 Mar 2018 00:00:00 GMT

In recent times, the effect of streetwear on mainstream fashion has been striking. With big business literally buying into the culture - and the social media native youth essentially steering the multi-billion-dollar ship - it’s a historic time to be a fan of anything sneaker-related.

While the idea of a day celebrating a line of athletic shoes may seem like an indulgent one for many, for anyone involved in the industry, Nike’s Air Max is fully deserving of a full days meditation.

Now in its 4th year, Air Max Day celebrates every pair of beaten Air Max 1’s, every yellowed Air bubble and every deadstock pair perfectly preserved and stored in a cool, loving place. While the ‘holiday’ was introduced by Nike themselves, even cynics can't deny the importance of the line in building sneaker culture, and in pushing the boundaries of athletic performance.

The shoe that started it all, the Tinker-designed Air Max 1, changed the game back in 1987. In a market dominated by muted shades and dull mixtures of suede and mesh, the striking red/white shoe with a partially see-through midsole was the savior people didn't even know they’d been waiting for. It’s not too much to attribute the Air Max 1 as the catalyst for sneaker culture as we know it today.

30 years on, the line is breaking new ground with the Air Max 270, incorporating a first-of-its-kind Air unit designed specifically for leisurewear, a nod to how far the line - and street culture - has come. Celebrating the release of the classic ‘Dusty Cactus’ colourway, we took over The Bombed Out Church to embody the spirit of innovation and community.

Outside of product, Air Max day is a celebration of everyone who makes the line possible. In our ever-connected world, with reddit threads, Nike+ and the SNKRS app, the modern sneakerhead is as diverse as they are fanatical. Through social media, they’re the ones influencing their peer groups, breaking sneaker news as it happens, and allowing innovation to permeate through to the streets quicker than ever before. Highlighting the role community plays in streetwear culture, we set up 7 plinths in key areas of Liverpool displaying holograms of the Nike Air Max 270, letting the people get closer to the technology on the eve of the launch.

Check out the full range of Air Max at Seven here.

Seven x Nike 270: Bombed Out Church Takeover

Fri, 23 Mar 2018 00:00:00 GMT

‘Celebrating the future archive via community’

While streetwear will always champion design and storytelling over functional sporting elements, the culture is entwined with technology - as a muse and as a platform for communication.

The launch of the Air Max 270 marks the beginning of a new era for the franchise. As the first Air bag designed for day long comfort rather than for pounding the pavements, the 270 is a nod to the culture that has become as large a part of the sportswear giants’ DNA as pushing the boundaries of athletic performance.

Paying homage to the power of communities built through technology, we set up installations around seven of Liverpool’s’ cultural hotspots, displaying a hologram of the Air Max 270 ‘Dusty Cactus’.

The event culminated in a light installation at the Bombed Out Church, mixing new technology with a historic pillar of the community. Once an Anglican parish church, St Luke’s was badly damaged by the blitz in 1941. Since, it’s been used as a concert venue and event space; repurposing the ruins but keeping strong ties to the community.

Liverpool’s fashion community turned out in force for the evening, with each individual coming together as one to celebrate the launch of Nike’s newest icon. With innovation and design at the forefront of the event, it was only fitting that some of the city’s most influential came to witness a display of culture and community.

The Nike Air Max 270 is available now at Seven Liverpool.

Nike Air Max 270: Innovating a legacy

Mon, 19 Mar 2018 00:00:00 GMT

Innovation and technology are the fabric of modern society. Technology keeps Liverpool moving whilst innovation is at the core of every Nike shoe.

Inspired by the Air Max 180 and Air Max 93, the Nike Air Max 270 pushes the limits of Air technology with the biggest air unit heel in Nike’s history. The
retro inspired ‘Dusty Cactus’ colourway is re-imaged and re-purposed for the 21st century.

To celebrate the 270’s status as the epitome of sneaker innovation, we are taking over the city of Liverpool for something very special where technology, design and innovation combine to become art.

Keep an eye out around the city centre over the next few days for Seven plinths in Seven iconic Liverpool locations.

Each plinth will give you a clue to the whereabouts of our exclusive Air Max 270 installation; in a re-purposed location whose history is as grand as the Air Max’s legacy. Make sure you follow our Instagram account where we will also be posting clues and previews in the lead up to the event.

Shop the current collection now.

The Y-3 Harigane: innovation before its time

Thurs, 08 Mar 2018 00:00:00 GMT

The SEGA Channel let users play each other through cable TV. Truly ahead of the curve of what is the multi-billion pound online gaming industry, the service was launched in 1993 and officially closed in ’98, just 3 years before the company pulled the internet-ready Dreamcast and left the console market altogether. A year later, Microsoft launched Xbox Live. What could have been.

Innovation – no matter how big, small, culture-defining or novel - is inconsequential unless accepted by the community it serves. Often, it takes years before the public are ready to take new, creative solutions into their lives. Many great products have failed not because of poor design, not because of sub-standard execution, because the potential beneficiaries were not ready for them – the leap was too great.

Yohji Yamamoto’s Harigane silhouette is a new addition for SS18, but the design was conceived way back when the collaboration was yet to prove itself as a genre-defining, tradition-challenging concept. The Harigane was archived as a sketch too progressive to go into production.

For a brand that itself marked the beginning of something genuinely new, it’s surprising that the Harigane didn’t get a run out in Y-3’s earlier collections, especially when the line’s earlier signatures included the cult favourite Qasa High, a shoe that pulled a then lesser known adidas technology (Tubular) out of the archives and updated it with leather, neoprene forefoot straps and lacing placed high on the vamp – creating a shoe with sleek, techwear appeal that still stands as progressive piece of sneaker design.

So why wasn’t the world ready for the Harigane? It probably was, but the technology wasn’t quite there to support it - Primeknit didn’t debut in performance shoes until the 2012 Olympics. The aforementioned Qasa and the all-conquering NMD both took elements from Yamamoto’s original sketch for the Harigane – adapting elements into some of the most iconic sneakers of the modern era, and giving consumers a taste for what was to come.

A knitted, one piece upper features leather toe patch and heel counter on a corrugated, exposed sole. The external lacing system doubles as support – a series of cords wrap the forefoot, anchored around the heel. The construction has all the hallmarks of Yamamoto’s creative mind and embodies Y-3's synergy of innovation and artistry. .

At a time when the trend for sock sneakers is hitting boiling point, the use of Primeknit isn’t anything new – the technology has been used in adidas products since 2012 – but the deconstruction of the shoe’s functional elements is something of a love letter to the aspects of sneaker design often taken for granted by ever-demanding consumers and critics.

A perfect design, then, for adaptation into Y-3’s first taste of Futurecraft. The blink-and-you’ll-miss-it release of the Y-3 Runner 4D on 23rd February debuted (probably) the most advanced tooling ever created on a luxury, fashion-first silhouette. Futurecraft draws from decades of R&D in 3D printing and countless hours of analysis of athletic performance to create a midsole that can be tuned to the unique pressure points of singular feet. The Y-3 Runner 4D is the pinnacle of Yamamoto and adidas’ collaboration: the product of years of painstaking scientific research expressed by an artist.

Maybe it was a lack of suitable, accessible technology that prevented the Harigane from hitting runways (and stores) in years past, or maybe it was too conceptual for 2003’s consumer. Either way, as part of Y-3’s current roster, it offers design innovation that, even 15 years on, is forward thinking, functional and beautiful.

Available in 3 colourways, shop the Y-3 Harigane here.

Designers Dream of Electric Sheep: Raf Simons SS18

Fri, 16 Feb 2018 00:00:00 GMT

In any industry, figures as universally revered as Raf Simons are few and far between.

In his early career, Simon’s followers were the punk-infused fashion intellectuals, relating to the youthful revolt inherent in subculture. Fast-forward to 2018, and Raf Simons is one of the most relevant designers on the planet, amongst his most avid fans the Instagram and music industry elite. While his subculture-laden creative spin has been around since 1995, it only gets more poignant as the modern zeitgeist becomes more and more concerned with the levelling of archaic hierarchies.

For the uninitiated, Raf’s work has been some of the most influential in fashions modern era, and has trickled down to have a marked impact on culture as a whole. From renovating tired maisons, to the resurgence of slim-cut suiting, to giving streetwear it’s shot at the big time.
Born to a night watchman and a cleaner, Raf Simons early life in Belgium wasn’t exactly fashion-centric. At the time, the country didn’t have much sway in the industry, if any – which is partly why the likes of Ann Demulemeester and Dries Van Noten who came before made such an impression, and along with 4 other compatriots became known as the Antwerp Six; marking a turning point for Belgian design.

Simon’s first taste of fashion was at a Martin Margiela show in 1990, prior to which he’d thought fashion to be too concerned with glitz and superficiality. The runway show changed his perception though, and served as the inspiration to master fashion design. The following year, He’d finish his studies at the University of Genk, and only 4 years on from that found his eponymous label.

Today, Raf’s runway shows are some of the most anticipated events in the menswear calendar, and are as creative as the outfits exhibited. It’s not unusual for guests to be standing, relinquishing any status tied to a seating plan. It’s not unusual to be transported to another place, either, which is testament to the strength of Rafs creative vision.

SS18 sees heavy Blade Runner inspired imagery; chaotic, layered silhouettes with pops of graphics and textures. Interested with the way Asian culture comes together with Western aesthetics, the SS18 runway show was very much a collision of East and West, and of old and new.

Long-running collaborator and muse Peter Saville came together again with Simons to repurpose iconic Factory Records graphics across props and garments – the hundreds of Chinese lanterns emblazoned with Joy Division and New Order artwork were supposedly hand-made by Saville himself. The soft glow of lanterns and neon reflected in the wet runway created an atmosphere that could’ve been pulled directly from Ridley Scott’s 1982 sci-fi epic.

Raf’s Replicants strode the scene braced for the flood - their clear, printed umbrellas will go down as the coolest wet weather accessories the dystopian future has ever seen. Aside from the cyberpunk visuals, the idea of Replicants (bioengineered, emotionally programmed androids) being central to a fashion show is either a commentary on contrived beauty or a trap for over-thinking commentators to fall into. At the very least It’s an excuse to watch Blade Runner again.

The SS18 footwear collection continues Simon’s long-running collaboration with adidas, with new iterations of the Ozweego III, Stan smith and Detroit Runner.

With the Ozweego riding the chunky sneaker trend, the silhouette has never been as popular as it is now. Draped in block colours and accentuated by signature silicone windows, the shoe is may be acquired taste, but it’s a modern classic nonetheless.

SS18 collections blend of old and new continues in the Detroit runner - twisting convention to create an Avant Garde take on the canvas lace-up. Using minimal branding and a monochrome palette, Raf lets the statement stacked sole make maximum impact – elevating a ubiquitous silhouette into a distinctly futuristic one.

As his collaboration with adidas draws to a close, Raf’s first collections with Calvin Klein are making a mark on NYFW. While Simon’s continued successes come from a dedication to pushing his art forwards, In a rare interview with GQ, Simons talks about the importance of recognising his archive, too:

‘Always the future. And I was actually very much like that. I didn’t get rid of it, but I wasn’t paying too much attention to it. Always romanticizing the future. And now I start to understand that it has an importance and I should care about. I know it’s important. And for a long time I thought not. But it is important. Otherwise there wouldn’t be pyramids.’

Without going into the nuances of the ever-raging debate, fashion is an art form and so – by it’s very definition - is a subjective matter. History, however, is not. Neither is business. In this vein, ask fashion houses Christian Dior and Jil Sander (and in a few years, Calvin Klein) If Mr Simons is one of the best designers of his generation. They’ll nod in unison.

Shop the adidas x Raf Simons collection here.

Seven Things: Machine learning, subhumans and floating hotels

Fri, 02 Feb 2018 00:00:00 GMT

A curated selection of the Seven things inspiring us right now. This week: machine learning, subhumans and floating hotels.

1. Floating Bath Hotel in Sweden

A floating oasis sitting atop the Lule River, the Arctic Bath Hotel is Sweden’s most anticipated wellness retreat. Opening in fall 2018, the hotel features six floating rooms that sit separately to the main hub, and houses an open-air plunge pool with expansive windows to view the Northern Lights.

(credit: Design Boom)

2. Rick Owens: Subhuman Inhuman Superhuman

His first full retrospective exhibition showcasing key pieces of past and present collections, Rick Owens’ Subhuman Inhuman Superhuman show is on display in Milan’s Triennale design museum.

Exploring his expansive 20-year career, the exhibition focuses on his creations across art, design and fashion. Describing it in his own words, Owens said: “Subhuman, inhuman, superhuman is the equilibrium that we are all trying to find between our failures, our successes, and who we want to be”.

(Credits: Owens Corp, Vogue)

3. Liverpool Tate Exhibition

This year Tate Liverpool celebrates its 30th birthday with an exhibition that’s three decades in the making. Curated by Ken Simons, an Art Handler who’s worked there since the opening back in 1988, ‘Exploring the Unseen’ features his favourite works from past collections housed at Tate Liverpool.

(Credit: Tate Liverpool)

4. Google Clips Camera

Announced back in October, the Google Clips camera became publicly available for the first time this week. Using artificial intelligence and machine learning software, the camera is designed to take the perfect picture – utilising light and positioning to take photos so that you don’t have to.

(Credit: Tech Radar, Tech Crunch)

5. Workshop Kitchen and Bar

Housed in an industrial-inspired building that dates back to 1926, Workshop Kitchen and Bar’s brutalist yet intimate interior was once the recipient of the James Beard award for Outstanding Restaurant Design. Serving locally sourced, classic American dishes by chef Michael Beckman, this Palm Springs-based restaurant is a must visit for those in the area.

(Credit: Vogue)

6. Y-3 Kusari

The Y-3 Kusari employs a unique lacing system tying together stretch mesh and premium leather, in a boost-cushioned runner that is typical Yamamoto.

7. IKEA founder dies aged 91

Pioneer of flat-pack furniture, Ingvar Kamprad founded IKEA at the age of 17. Building a business that values simplicity, creativity and value, the Swedish furniture giant has, in recent years become the focus of cultural discussion following the release of Balenciaga’s now-infamous tote bag.

(Credit: the local)

Just innovate: reinventing 90's Air

Fri, 02 Feb 2018 00:00:00 GMT

‘Innovation is not about creating for its own sake, it’s about creating something better, designing with a purpose’- Mark Parker, President and CEO of NIKE, Inc.

As the biggest brand in the world, today Nike are many things to many people. Through slogans they’re motivators; as sponsors they’re the lifeblood of athletes across the globe; and to 74,000 people they’re a vehicle for financial stability and career success. To high-profile collaborators like Acronym and Off-White, they’re the gatekeepers of major mainstream appeal. Whichever hat the brand is wearing, it sits on a refined mind finely tuned for innovation.

For 31 years the Air Max line has been at the forefront of Nike’s cushioning technology. Until Nike’s potentially game-changing ‘React’ cushioning unveiled in late January, Air units were still at the pinnacle of performance (and popularity) for the brand; the success of the VaporMax last year is testament to that. With Air Max day on the horizon, Nike are dropping two of the most important styles in the history of Air technology, the Air Max 180 and the Air Max 93.

First released in 1991, the Air Max 180 was the most advanced running shoe of the time – with its air unit worn by Charles Barkley and Michael Jordan the summer after its release at the 92 Olympic Games. The Air bubble was 50% larger than the Air Max 90, and was the first time the actual Air bag made contact with the ground rather than the shoe’s outsole. Designed by Air Force 1 alumni Bruce Kilgore and Tinker Hatfield, It’s just as well the 180 is one of the most beloved silhouettes of the Air Max franchise, because it was one of the most difficult sneakers to make (according to Nike’s director of cushioning innovation, Dave Forland).

The vibrant pops of colour highlighting the meaty air unit made the 180 a street favourite – and If rumours are to be believed was an early contender for Kanye West’s collaboration with Nike pre- 2009. There’s a shoe we’d love to see.

Thankfully, Paris fashion week gave fans of the silhouette a glimpse of the upcoming Comme des Garcons collaboration. Rei Kawakubo took the OG colourway’s pops of colour to the extreme: Laser Pink and Solar Red make up the majority of the sneaker this time around, making the 1991 classic as relevant in today’s climate of statement footwear as it was as a cutting-edge piece of design 27 years ago.

In '93, Tinker continued the bigger-is-better theme and, inspired by a milk jug (of course), designed the biggest air bubble the line had ever seen - again. The standout feature of the Air Max 93 was 270 degrees of blow-moulded exposed air in the heel, and the first ever coloured Air unit. In an email published to the world via twitter in 2014, Hatfield reflected on the model:

‘Air Max 93, one of my personal favourites. Probably the best actual ‘running’ shoes of the lot. … The first of the Air Max series to have ‘dynamic fit’ plus, we threw in ‘wrap around’ visible air. … I wish there had been a more breathable dynamic fit tongue material in 1991/92 when it was designed. All in all though, a good composition.’

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The inner bootie and generous air bubble meant the 93 was comfortable, bouncier and more protective for runners, and quickly became a long-distance favourite. The understated, modern colours of the OG ‘Dusty Cactus’ colourway still hold up well today.

Both silhouettes went on to inspire the Air Max 270 the newest addition to the Air Max line - including Nike’s first ever lifestyle Air unit. It utilises the 270 degree Air bag, but makes it even bigger (a towering 32mm tall) and gives it full contact with the ground like in the 180. Importantly, despite being designed for the demands of all-day wear rather than for running, the technology was developed with the same rigour as all previous models.

Pushing the envelope of cushioning technology in the Air Max line has consistently birthed market-leading running shoes, and subsequently rebirthed streetwear classics. Now, Air is by-passing the track and being designed expressly for all-day comfort. Less glamorous than leading innovation for athletes? To some, maybe. But Nike know - perhaps better than anyone- that innovation never goes out of style – whoever it’s for.

Stay tuned for updates on the Air Max 270, and Shop our range of Air Max sneakers here.

Coming of Age: Nike Air Max 98 Gundam

Weds, 24 Jan 2018 00:00:00 GMT

In a culture of rarer is better, Nike has the pick of its extensive archive of cult classics and brilliantly designed, under-appreciated gems to have a second bite of the cherry with this generation’s streetwear-crazed youth.

With the stratospheric success of the Air Max 97 last year, 2018 sees another Air Max model come of age. At 20 years old, the 98 is growing into its bulkier frame.

Originally released to underwhelming overall sales (but generally positive reaction from Sneakerheads), the silhouette had sleek shoes to fill: the universally revered design of La Silver just a year prior meant fans weren’t looking for a change of pace – they were still in the throes of passion for sexy, yet understated, futurism.

Instead, Nike served them the same iconic midsole paired with a bold upper that was less flowing 3M, more textured panelling. Visually, it was jarring in comparison. The Red, Blue, White and Navy colourway, inspired by the legendary Gundam anime, had little of the tonal minimalism of the 97 but maintained the link to futuristic tech - albeit giant, imaginary robots this time around. It was Nike’s refusal to stand still – the general public may not have been ready to leave the 97, but, as innovators, Nike continued to push things forwards.

The Air Max 98’s 20th anniversary couldn’t have come at a better time for the sneaker, with the wider fashion word enamoured with all things bulky. There are few other periods of fashion in which Balenciaga’s Triple S would be a footwear grail, and despite new colourways, Instagram ubiquity and production of the model moving from Italy to China, appetite for the silhouette is still as large as its sole, especially in the streetwear community. For now, bigger is better – good news (commercially) for the 97’s larger little brother.

It may not have appeared on runways back in ‘98, but the pockets of fans who loved the shoe saw the silhouette get no less than it deserved when Supreme brought it back into focus in 2016. This time, there was no chance of the Air Max Plus overshadowing the release, and it brought the sneaker to the attention of younger fans who had previously never clapped eyes on it.

For some, the hype surrounding Supreme is enough to warrant a purchase. For others, the 98 means much more than that. From early memories of paternal style to a gateway into an online community, this more obscure entry in the Air Max franchise continues to make a lasting impact on the youth, the culture, and the pavements.

With the legacy of iconic design in mind, we explored the impact of the silhouette on the ever-changing social landscape with seven Liverpool natives. Watch the film and hear their stories here.

The Nike Air Max 98 Gundam and Tour Yellow are now SOLD OUT.

Flying colours: Y-3 FW18

Sun, 21 Jan 2018 00:00:00 GMT

In the most colourful collection in the label’s history, Yohji Yamamoto’s Y-3 AW18 runway show showcased the Japanese master’s penchant for draped silhouettes with punchy fluorescent yellows amid elegant blacks and rich navies.

Logomania continued with stacked branding across select pieces, with the iconic 3 stripes of adidas adding dynamism to belted overcoats and more typical sportswear staples.

The show debuted all-new footwear - exaggerated runners and bright yellow slip-ons guaranteed to grab the attention of long-time fans of the brand. Despite the bright shades, Y-3’s AW18 sneaker offering follow the tried and tested formula: fashion-forward but equally wearable.

Yamamoto’s use of yellow will no doubt grab the headlines, highlighting the wider trend for colour and maximalism across Paris Fashion Week. Both Yohji and Ann Demeulemeester are some of the biggest advocates of monochrome in the industry - both opting for pops of colour in their AW18 collections.

Rick Owens FW18: SISYPHUS

Thurs, 18 Jan 2018 00:00:00 GMT

Tailored overcoats layered over slashed tunics, bare chests and bondage told the story of Rick Owens' FW18 show SISYPHUS.

The mix of tailoring, cut-out silhouettes and military details were Inspired by the arrogant king sentenced by Zeus to roll a boulder up a hill, only for it to roll back to the bottom and the cycle to repeat for the rest of time.

The show was one part brutalism, one part fashion and one part philosophy. Frayed silhouettes and otherworldly models walked to a soundtrack of unrelenting Techno - a nod to the monotony of eternal boulder-rolling in typical Owens fashion.

After ending his long-running collaboration with adidas last year, SISYPHUS debuted a new footwear collection, a mix of retro-inspired runners and military boots with exaggerated translucent outsoles.

Embellished, flowing coats countered midriff baring knitwear, playing out both sides of the fallen king – the ruler who thought himself above the Gods, and the man resigned to torturous labour.

The mythology had Rick Owens musing over the nature of unhealthy cycles:

“Does this mean unhealthy cycles and base urges are an integral part of the human condition?”

Who's to say - but Rick Owens knows as well as anyone, fashion is a Sisyphean task.

First Look: Off White FW18

Weds, 17 Jan 2018 00:00:00 GMT

Since Off-White’s runway debut in 2013, the dream has been taking streetwear to the very top, lending an authentic feeling of rebellion to the world of high fashion. ‘Business Casual’ is Abloh’s most refined vision to date, and fresh off the back of the biggest collaboration of a collab-saturated year, it’s no surprise that the witty deconstruction of classics has continued in Off-White’s mainline.

Turning his attention to the dress code that drives corporate America, the Fall 2018 runway show turns classic tailoring inside out. Opening with double-breasted suits and pinstripes, the collection is anchored with graphic detailing and casual wear classics.

More refined than putting ‘American Psycho’ in quotation marks, Abloh’s wit shone through a translucent mac, biting at high fashion’s obsession with streetwear. Watch this space for Off-White business cards.

Beastie boys graphics are reminiscent of Raf Simons' fixation with Joy Division, New order and subculture as a whole. If Simons deemed Off-White unoriginal in the past, the irony will not be lost on him now.

With an abundance of unconfirmed photos circulating online, fans of ‘The Ten’ were treated to an all-white version of the coveted Jordan 1 – confirming speculation that wherever Abloh goes, hype follows.

‘Business Casual’, until now, has never described anything about Virgil Abloh. The mix of deconstructed tailoring and streetwear stapes is a nod to the industry being turned on its head. Not so long ago, graphic print sweatshirts and ripped jeans would have caused a stir on the runway. Now, the inclusion of the traditional symbol of menswear – tailoring – is bound to cause a stir with Abloh’s Instagram following.

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Coming of Age: Nike Air Max 98 Gundam

With the legacy of iconic design in mind, we explored the impact of the silhouette on the ever-changing social landscape with seven Liverpool natives. Watch the film and hear their stories here. The Nike Air Max 98 Gundam and Tour Yellow are now SOLD OUT.

Flying colours: Y-3 FW18

In the most colourful collection in the label’s history, Yohji Yamamoto’s Y-3 AW18 runway show showcased the Japanese master’s penchant for draped silhouettes with punchy fluorescent yellows amid elegant blacks and rich navies.

Rick Owens FW18: SISYPHUS

After ending his long-running collaboration with adidas last year, SISYPHUS debuted a new footwear collection, a mix of retro-inspired runners and military boots with exaggerated translucent outsoles.

First Look: Off White FW18

With the legacy of iconic design in mind, we explored the impact of the silhouette on the ever-changing social landscape with seven Liverpool natives. Watch the film and hear their stories here.

The Nike Air Max 98 Gundam and Tour Yellow are now SOLD OUT.