#michaela sachenbacher

[tr1yo]

ACRONYM® was launched as an agency in 1994. Its in-house brand debuted in 2002. This TYPE 2371 jacket, developed between 1999 and 2001, was the first commercial product. It was part of the ACRONYM FIRST EDITION KIT, which included a bag, music CD, CD-ROM, and manuals. ACRONYM® continues to redefine the category of outerwear ever since.

GORE-TEX Products Studio | ΛCRИM®

[lightresist]

ACRONYM-SS-15 | Michaela Sachenbacher X Errolson Hugh

[thaithanhbinh]

ASUS ra mắt laptop gaming thời trang, giá gần 3000 USD

ASUS mới đây đã công bố hợp tác cùng với thương hiệu thời trang nổi tiếng ACRONYM để ra mắt một phiên bản đặc biệt của dòng laptop gaming ROG có tên ROG Magic 14-ACRNM Limited Edition. Đây sẽ là một phiên bản đặc biệt được chào bàn với số lượng giới hạn, có lẽ vì thế mà mức giá của máy cũng không hề rẻ mạt, lên tới gần 3000 USD.

ROG Magic 14-ACRNM Limited Edition mang tới một cái nhìn hoàn toàn mới về các mẫu laptop gaming của ASUS. Sự kết hợp giữa phong cách thời trang hi-tech mới lạ với các thiết bị công nghệ, đặc biệt là liên quan tới mảng gaming đã biến ROG Magic 14-ACRNM trở thành một thiết bị độc đáo với giới game thủ đam mê thời trang, đồng thời như là một biểu tượng của nền văn hóa cổ truyền hiện đại.

Chiếc máy này được trang bị màn hình AniMe Matrix, một màn hình ma trận ánh sáng màu hồng độc quyền của ASUS. Mặt A của máy được làm xước phay bằng quy trình CNC, cộng thêm 6536 lỗ đục và 1215 đèn LED nhỏ để có thể hiển thị hình ảnh theo phon cách 8-bit cổ điển. Người dùng có thể tùy chỉnh nội dung hiển thị của màn hình này theo nhu cầu cá nhân.

Nhìn chung, ROG Magic 14-ACRNM Limited Edition là sự kết hợp hoàn hảo giữa phong cách thời trang hi-tech hiện đại và một thiết kế gaming hầm hố. Máy được hoàn thiện một cách cao cấp và sang trọng. Ngoài ra, đi kèm với sản phẩm cũng sẽ là một chiếc túi khí độc quyền dùng để chống sốc.

Về cấu hình phần cứng, ROG Magic 14-ACRNM được trang bị vi xử lý AMD Ryzen 9 4900HS, RAM 32GB và card đồ họa rời NVIDIA GeForce RTX 2060 Max-Q, mang tới một hiệu năng vượt trội nhất đối với một chi��c laptop gaming 14 inch.

Như đã đề cập ở trên, mức giá của phiên bản đặc biệt này lên tới 19.999 tệ, tương đương gần 70 triệu đồng. Hiện tại, người dùng có thể đặt trước phiên bản này trên các trang phân phối trực tiếp của ASUS tại thị trường Trung Quốc.

ACRONYM là một thương hiệu thời trang Đức được thành lập từ năm 1994 bởi hai người tạo mẫu thời trang độc lập là Errolson Hugh và Michaela Sachenbacher. ACRONYM tập trung vào mảng thời trang hi-tech với sự kết hợp giữa phong cách thời trang và công nghệ trong trang phục hàng ngày của người mặc. ACRONYM được nhìn nhận là hãng thời trang hi-tech dẫn đầu xu hướng hiện nay với các mẫu sản phẩm thời trang ưa nhìn thu hút giới trẻ.

Samsung ra mắt màn hình gaming cong Odyssey G5 tại VN: Độ sắc nét 2K, tần số quét 144Hz, HDR10…

Nguồn: genk

Bài viết ASUS ra mắt laptop gaming thời trang, giá gần 3000 USD đã xuất hiện đầu tiên vào ngày Đồ Chơi Công Nghệ.

source https://dochoicongnghe.com.vn/asus-ra-mat-laptop-gaming-thoi-trang-gia-gan-3000-usd-21792.html

[bobateafanclub]

Blog #8 - Errolson Hugh

Often referred to as your favorite designer’s favorite designer, Errolson Hugh is an Canadian born Chinese who is the co-founder and principal designer of Acronym (also started the #bottlecapchallenge).  Although he is not Asian American, I find there are many similarities between Asian Americans and Asian Canadians as both groups experienced a similar background of growing up Asian in a western environment.  With a background in designing outerwear for brands such as Burton Snowboards, Hugh decided to start his own design studio with partner Michaela Sachenbacher where they could make what they wanted to make without compromise.  The brand has continued to gain new fans without any sort of marketing and has even collaborated with brands such as Stone Island and Nike.

The main focus of Acronym is the unification of style and technology when it comes to apparel.  As the creators of the “techwear” style of fashion, Acronym always pushes the boundaries of how apparel can function with features such as waterproofing, storage, ease of wear, comfort, breathability, warmth, and so much more.  Errolson always makes sure everything that is put into his design is there for a reason and not only just for looks.  Most of his apparel has a very futuristic almost cyberpunk aesthetic and the brand is most well known for its almost armor-like jackets and baggy yet fitting pants.  The baggy shape of his pants comes from his background in martial arts and how growing up he hated most pants as they restricted his movements and didn’t allow him to throw his usual karate kicks.

Errolson throwin some kicks 

Acronym’s “Escape Zip” 

Errolson also uses his platform as a place to speak out about topics that he feels strongly about.  Whether that be about social or environmental issues, he doesn’t feel the need to appeal to his customers when he retweets or posts Instagram stories about police brutality or anti-government protests.  Errolson is also a big part of the fashion industry with a focus on sustainable fashion and the problem fast fashion poses to the environment.  Acronym as a brand focuses heavily on quality of construction and usually releases their products in small batches.  Although he could choose to compromise quality for lower price and increase his profits, Errolson continues to make products that he can be proud of.  Acronym products have also been notorious for having obscenely high prices (due to the material and production), but Errolson has stated in the past that he wants customers to hopefully only buy one or two Acronym products and use them for life, instead of constantly purchasing new products from the brand.

Errolson Hugh is important part of the Asian American/Canadian community as he gives representation to creators who just happen to be Asians born in a western society and although we have some Asian influences (such as his martial arts) it shows how many of us are defined by what we do and not what we look like.  Most people have no idea that the mind behind Acronym is an Asian man due to his last name (comes from his family being Chinese-Jamaican).

Supporting designers at Acronym:

Ian Wang from Oakland

Umit Esbulan from Turkey

Although I may never be able to afford Acronym, I still admire Errolson and his uncompromising philosophy behind everything he does.  In a world of social media and constantly following whats popular, Errolson shows the value in doing what you want to do and believe in, regardless of what others think.

Also their look books are sick.

https://www.youtube.com/watch?v=0OTCVJ4Bui8

[dippedanddripped]

The right zipper or button isn’t the sort of detail you’d notice on a runway or in a street style snap; it is immediately obvious, however, when you touch and feel — and actually wear — a garment. Though not necessarily perceptible at first glance, the combination of engineering and artistry that goes into creating a single zipper can make the high prices of designer clothing far more understandable. And, in recent years, those small details and closures are also a place for menswear brands to create innovative styles unique to their labels and to display their logos; in essence, hardware is crucial for these designers to establish their brands.

That ranges from flashy pieces such as Louis Vuitton’s pin closures and chainlinks and 1017 ALYX 9SM’s signature buckle, to the small, nearly imperceptible branding details; take a close look at the cordends on an Off-White™ hoodie and you’ll see they read “METAL TIP” in tiny lettering on the bottom.

“They force us to think, to be better, to do something new, something different.”

“With menswear, they experiment more. This is where the streetwear contamination is coming aboard,” says Nantas Montonati, Group Sales & Marketing Director for Swiss manufacturer Riri, which creates everything from zippers and snap buttons to cordstoppers and eyelets at its production sites in Italy and Switzerland. Some of the company’s signature creations include the universal zipper slider and the zero snap button. “What we try to do with our zippers and our snaps, and everything is to have it look beautiful and be, really, a design element, as part of it rather than just a functioning piece,” says Ben Howell, CEO of Riri USA Inc. “Riri is the brand for the brands,” as Montonati puts it.

The company is tight-lipped about the brands it works with, but savvy shoppers can spot its products on garments from the likes of Louis Vuitton, Public School and Dries Van Noten. And streetwear brands in particular are helping Riri, which was founded in 1936, to push forward new ideas. “These guys coming from streetwear, they like us very much, but they have very uncommon ideas,” Montonati tells HYPEBEAST. “They force us to think, to be better, to do something new, something different. So I really appreciate them.”

In the streetwear sphere, few have made hardware as crucial to their branding as Matthew Williams, whose 1017 ALYX 9SM label has made technical gear-influenced details into a luxury good. His rollercoaster buckle has become the brand’s signature piece, appearing on everything from belts and bags to jewelry — even a poncho. Though inspired by equipment at a Six Flags theme park, the buckle makes reference to rock climbing gear, with a kiloNewton rating written on the exterior (its classic belt boasts a 24kN and 12kN rating, while the aforementioned poncho includes a 10kN and 5kN rating). Whether or not the €300 EUR belts are actually suitable for rappelling up a mountain is unclear.

Brands like Prada and Heliot Emil have followed Williams’ lead in that regard. But for his first Dior men’s show, Kim Jones went a step further and commissioned Williams to translate his signature rollercoaster buckle for the French fashion label. The new version loses the kiloNewton rating for all manner of Dior branding — not only in the form of the house’s logo, but with the CD initials transformed into the buckle’s shape. And like Williams, Jones has not shied away from adding the buckle to every accessory he can. Along with the new bee motif created by KAWS and the modernization of the house’s Oblique logo, it has become a staple of Jones’ rebranding of Dior for men.

Hardware as a form of branding isn’t attractive for all streetwear designers, however. “There’s a lot more hardware in general recently,” ACRONYM designer Errolson Hugh tells HYPEBEAST. “But this is more about a look than anything else; it’s hardware as an ornament or as an aesthetic for the most part, so it’s not really interesting for us.”

Innovative uses of hardware certainly isn’t new for ACRONYM, which Hugh founded with Michaela Sachenbacher in 1994. However the small brand’s profile has risen considerablysince Hugh was tapped to revive Nike’s ACG line, moving techwear as a whole from an underground subculture to a popular, Instagrammable style.

Hugh nonetheless remains focused on function over style, sourcing from whatever supplier can provide the quality and consistency he needs. “Material determines possibility. For example, the snap we use on our Gravity Pockets was originally engineered to last for ‘three generations.’ With this type of fatigue curve we felt confident that it could perform the way we need it to,” he says. Watching the label’s pieces in action, it’s easy to see why a high-functioning zipper or snap is so essential to making them work.

“We’re much more about the tested and true, even if we use them in unorthodox ways.”

It’s for that reason that Hugh in fact doesn’t commission any custom closures. “We’re not really fans of super brand new things in general, actually,” he explains. “We’re much more about the tested and true, even if we use them in unorthodox ways.” That attention to small details delights the brand’s devoted followers, such as the discovery that the ACRONYM x Nike Air Presto Mid includes a locking zipper. “I don’t know if they’re secrets, but there have always been non-obvious uses and functions built into ACRONYM garments,” Hugh says.

To stay ahead of the curve however, the zipper industry needs to not merely keep up with established houses, but establish close relationships with designers at the beginning of their careers. “We decided to place the showroom in London because there are three major fashion schools based in London: Central Saint Martins, London College of Fashion and Royal College of Art,” YKK PR executive Anna Stefaniak tells HYPEBEAST.

YKK’s products are found on everything from Levi’s to Yohji Yamamoto (though it too is quiet about officially confirming its client list), but its status as the number one zipper producer in the world means it is more associated with the mass market rather than bespoke production. However, in December 2015 the Japanese company opened its first ever showroom in London’s Shoreditch district, which Stefaniak says was a “revolution” for the company in allowing individual designers to interact with YKK.

“Before you had to be a big brand to place an order with us,” she says. Now freelance designers or fashion students can make an appointment and purchase small orders of YKK products. And considering it is facing increasing competition from Chinese producer SBS for the mass-market consumer, YKK is smart to showcase its more design-minded capabilities with the showroom. “It’s kind of like our dream to have this kind of showroom in every city,” Stefaniak says.

Developing relationships with designers early on is key for Riri as well. Though its products are likely out of most fashion students’ budgets (if you have to ask how much their zippers cost, you’re in the wrong place), the company forges connections by visiting schools like FIT to give students sample products. “We sponsor a lot of people,” Howell explains. “We need to help the industry and we need to help the young people starting out. It’s in their interest in and also in our best interest.” After all, the race for new styles never ends.

Currently, the manufacturer sees lacquered plastic as one of the trends in hardware that still poses the biggest technical challenges. As Montonati explains, lacquering plastic components in different colors can not only create a bottleneck in production, but the final product is also far more prone to chipping than the galvanic metal finishes more traditionally used in luxury products. “Durability of the lacquering, this is something we are working on a lot because it’s definitely a trend, and we have to make it much, much better,” he says. As menswear designers continue to send eye-popping colors and monochromatic looks down the runway, Riri is looking to car manufacturers to learn how to make more durable colored finishes.

Sustainability is also changing the industry; with more luxury brands going green, their partners and manufacturers need to as well. “They need to know what our carbon footprint is so they can put it into their calculations because they’re buying things from us,” Howell explains, and adds that Riri has appointed a sustainability manager to look at everything from air filters in their offices to dyeing processes in their factories. There’s also a trickle-down effect with designers using more sustainable products as a whole; according to Montonati, “green” leather can have extreme effects like oxidation on metal hardware, which means more research, more testing and more development to make products to fit with the new materials.

“The quality of product is our first step in sustainability.”

But durability — a zipper or button that will still work after thousands of uses — remains perhaps the most crucial factor in creating sustainable hardware. “The quality of product is our first step in sustainability,” Stefaniak says of YKK’s efforts in the arena, which she says have been part of its ethos since its founding in 1994. The Japanese company is also looking to accessibility as a new frontier for closures, with zippers that can be opened with one or no hands in production.

many of these details remain imperceptible for anyone but the wearer, the countless social media accounts dedicated to documenting fashion means young consumers are more discerning than ever before. “Millennials are going to Instagram. They see everything. There are some sites that, let’s say, make it evident, the difference. That’s good for us,” says Montonati.

That can influence as well how some designers choose to brand their hardware. “We have a lot of customers that rather than put their name on it would like to have the Riri name,” Howell says. For those in the know after all, the name means as much as the Louis Vuitton stamp.

[0100100100101101]

Berlin—February 1st, 2017. I am rushing through the neighborhood of Mitte, slaloming my way through icy mud piles along the streets. Google tells me the sun is setting today at 16:53. I have two more hours of daylight. Just about enough to get a few shots of Errolson Hugh, the Canadian designer behind the Berlin-based performance wear brand Acronym.

We get together at his studio in the Mitte neighborhood in former East Berlin, which is now a popular bourgeois-bohemian neighborhood. In his loft-like studio, I almost crash into one of the stacks of the hundreds of shoe boxes that dot the floor plan like Greek temple columns. “Sorry about the mess,” Errolson says in a calm voice, “all these shoes go online for sale tonight.” Inside the boxes is the Acronym Nike Air Force 1 Downtown sneaker, the latest edition of their ongoing collaboration. Like almost everything Acronym puts onto the market, it is in high demand and soon to be #VeryRare. I find out later that night that all 600 sneakers sold in less than 12 minutes online.

I look past the shoe boxes through the massive floor-to-ceiling windows. The sky is grey and darkening at the horizon. We dash out in the backyard to catch the last rays of gloomy light. Errolson grabs a couple of black jackets, among them the J1A-GT, a revamped version of Acronym’s first collection from 2002. “It’s damn cold,” I gasp, and Errolson smiles, replying, “Oh, this is nothing compared to where I come from.”

Born in Canada, Errolson grew up facing another echelon of cold winters. To keep ourselves warm, I ask him if he can show me a few martial arts moves, knowing that he has been a karate pro since he was a kid. He shortly considers, looks around the neighborhood, then says, “Yeah, why not.” Errolson tells me that he and his younger brother both started training together, when they were 10 and eight years old, respectively. The uniform, the karate gi, is a very traditional example of Japanese pattern-making, and its geometry is such that there are no restrictions to physical motion. That was the first time Errolson realized a piece of clothing could limit or enable the way the body works. “I was always driving my mom crazy trying to find pants that I could wear and kick in. Any kind of pants. I’d always be in the department stores in the changing rooms, throwing sidekicks,” he says.

Errolson is dressed in his own collection, wearing black P25-CH pants, exactly those ones he dreamt of as a kid—pants you can move in freely, stay outside in, and practice karate. I ask him what he learned from karate apart from how to do a badass axe kick. “Martial arts fosters self-reliance, and you learn to trust your own judgment. You realize, in a very real, physical way, that you can do more than you think you can. The whole mind over matter thing, mastering situations, all of that has real world application, particularly if you’re an entrepreneur or you’re in a super competitive industry, like fashion.“

Only much later would the designer apply the merits of karate to his work process, design, and brand. Errolson’s parents, Chinese-Jamaicans, moved from the tropical Caribbean to the woodlands of Alberta to study architecture. After graduating, they worked together all over Canada, moving around to wherever the jobs would take them. “For me, Canada was the feeling of alienation and total isolation,“ Errolson says about his up-bringing, “Growing up there was myself, my brother, maybe one other Asian kid at school, one black kid. People wanted to grow up and be hockey players or work in the oil industry, that’s kind of all there was, so being a designer was about as realistic as becoming an astronaut.”

Nobody knew anything about fashion. Errolson remembers one shop, which had a copy of The Face and i-D, that was like a message from outer space. “I think it was my guitar teacher who first gave me an issue of The Face,” Errolson remembers, “That blew me away. Then my dad gave me a copy of Interview magazine at Christmas in 1985. Madonna was on the cover, along with handmade pencil drawings. It was this giant newsprint magazine. I still remember spending the entire day reading. I knew every single page of that magazine by like a week later.” With no internet, those rare magazines were the only channel to see what was going on outside of Alberta.

In 1989, Errolson enrolled at Ryerson Polytechnic University. He graduated, but it was a bumpy road. “They tried to kick me out, twice. I was a horrible student—very disruptive and not respectful,“ he confesses. I ask him if it had to do with his karate mentality, the idea of being self-reliant and one’s own boss. “Yeah, there had always been that outsider perspective,” he answers. “It is still that way with my brand.”

In 1999, Errolson registered the brand Acronym with his partner and former girlfriend Michaela Sachenbacher. From the start it focused on experimenting at the edges of what apparel can be. “Acronym is conceptual,” the designer says, “You take something and make it compact and useable. You express something very complex in a compact way, which is similar to everything we’re trying to do with apparel.”

Michaela and Errolson are both trained as designers. She now runs all of the legal, production, and finances of the company from Brooklyn, while Errolson does all of the Acronym studio work, collaborations with Nike or Stone Island, rotating between Berlin, Milan, and Tokyo. They both design Acronym together. “I’m the visible part, but Michaela is equally strong as far as aesthetics, and Acronym definitely wouldn’t look the same if she wasn’t co-owner,” Errolson says, “She is the person I’ve probably learned more from than anyone else in my life. I’ve known her since we were 18.”

Before establishing Acronym as a fashion brand, Michaela and Errolson had a creative agency in Munich. They were designing and art directing mostly active sportswear, for mountain bike or snowboard brands like Burton. Both picked up on the technology that was there and through friends came across military and industrial apparel, which at some point led to the question, “Why can’t we have all of this for everyday use?” The couple realized that what they were looking for in clothes was not yet on the market. “People were like, ‘Oh that sounds terrible, it’s so difficult, it’s expensive, why would you want to do that?’ So we started Acronym almost out of frustration. We said, ‘Alright, if you don’t want to do it, we’ll do it.’ At first, people didn’t care. It was like five to six years before anybody was interested.”

Errolson is well-connected in the fashion world, having lived in Los Angeles, Tokyo, and New York, but for years the brand remained something like an outsider, a well-hidden secret. Another reason Acronym stayed detached from the fashion system is the way the company and the studio work. “We operate in parallel with it, and sometimes we intersect with it,” the designer says about the industry at large, “but for the most part our process and the way we work has almost nothing to do with the way everyone else works. This is our strength and it’s also obviously our weakness. The strength of it is being so outside of the system you develop your own independent way of doing things, and it really gives you an individual approach and a fingerprint. Then the negative part obviously is to interface with the system at play. You’re not limited by the limitations of the system, but you also don’t get to benefit from the advantages of being in the system.”

From the beginning, Acronym was focused on soft and light shell fabrics like Gore-Tex, a lightweight, waterproof, breathable fabric membrane designed for all-weather use. A lot of what Acronym does is taking an unattractive or not obviously stylish fabric and finding a way to make it look good. It always starts with the function of the apparel. There is a lot of thought that goes into each design and an obsession with details. The architectural influence from his parents comes into play with Errolson’s approach to materials. “The whole form follows function thing, fitness to purpose, all of those broad architectural concepts. My brother and I grew up with those all around us, and so it was very natural for me to apply that to apparel.”

Acronym’s collections never have more than 15 pieces, an indication of the painstaking detail that goes into each design. It took three years to work on the brand’s first collection, named Kit-1. It was released in 2002 in an edition of 120, consisting of a jacket, a bag, and accessories. The industry noticed, liked it, and the Fall/Winter 2003 collection was picked up by concept stores like Colette in Paris.

There is a misconception in the fashion world that Acronym limits its number of pieces on purpose to create artificial scarcity. In fact, there is so little of Acronym because it is so hard to make. It is very difficult to find a factory that can meet the technical criteria to produce it, Errolson explains to me while pouring himself a glass of Coca Cola. “There’s always a very specific reason for the things that we put in, and those things happen to be expensive, and that’s why it’s expensive. We’re not trying to create something purposefully scarce or purposefully luxurious, we’re just trying to make the best possible thing we can. It’s not a marketing strategy.”

Until 2009, Errolson and Michaela were the company’s only employees. They got so used to working by themselves and for themselves that when people started knocking at their door, they were surprised. Errolson wondered, “Wow, where did people get our number? Why do you call us?“ Even today, it is still kind of like that. There is no PR, no marketing, hardly any events. It was not simple to reach Errolson as he travels and focuses more on work than doing publicity. Yet the team has grown slowly over the years. “I basically hired all of my friends. We joked that all of the lost children of Berlin end up in our office. In other cities, people talk about being cool, because it’s actually a bankable commodity. The way they describe it, that kind of cool actually exists in Berlin as a real thing. People are legitimately cool here, and it’s not about knowing it. I think that also comes because it’s the least materialistic city I have ever lived in. People just aren’t about money. They just don’t care. I think that’s super healthy.”

Only in the past few years has the visibility of Acronym increased. One factor being the cultural shift in the industry in favor of their aesthetic and the rise of high fashion performance wear. Acronym pioneered the introduction of technology as its own category of design aesthetic, and their moves have paved the way for many brands’ ready-to-wear collections in recent seasons. Today, technology is one of the industry’s big trends, blending traditional sportswear with high fashion. Dubbed athleisure, active wear, or performance wear, it is casual clothing designed to be worn both for exercising and for day-to-day use in the cityscape. Fitness and athleticism has become one of the defining cultural paradigms of contemporary urban life, similar to the powers of street culture, that has turned the fashion world upside down in the last decade.

When I ask Errolson about his relationship to streetwear, he says it is hard for him to have an objective view on that, because he knows those guys, and through his work with Burton snowboards, way back in the day, met a lot of the people who invented what everybody calls streetwear today. In Tokyo, he met people like Nigo, Jun Takahashi, and Hiroshi Fujiwara. “Everything we take for granted as streetwear today,” the designer says, “started there organically. They’re all friends. They worked together. They invented the idea of collaboration.”

Acronym itself slowly began working with very carefully selected partners. After five to six years, they realized that trying to do it all by themselves was not possible. “You can’t change the industry as a single brand,” Errolson admits. Among the collaborations are well-established sportswear and streetwear brands that were part of Acronym’s growth. When Paul Harvey retired from his job as creative director at Stone Island, the Italian brand approached Errolson to be a part of that team, a partnership that gave birth to Stone Island Shadow Project. “That’s been super amazing because we get to do things ourselves,” Errolson says. “That’s the only collection we’ve ever worked on where you get to design not only the pieces but also the fabric of those pieces in the collection. They’re so up for trying different things, difficult things, and stuff no one else would even attempt. They’re like, ‘Yeah, let’s add these three processes on top of it and see what happens.’ And you just don’t get that anywhere else.“

Since 2013, Acronym has had another mutually successful partnership with Nike. Both brands worked together to create iconic sneakers, among them the Lunar Force 1 and recently the Presto Air, which has helped Nike develop an avant-garde feel and reach out to the premium menswear segment of the sneaker market. Both companies also worked together on another line, relaunching ACG (All Conditions Gear), Nike’s iconic mountaineering-inspired offering. “It’s the first time we’re really able to work at a scale where we can take an idea and put it on the street in a way that’s much more accessible to more people than we would with Acronym,” Errolson reflects. “Working with Nike means that you’re really working with pop culture. It’s not just a product or a collection. It’s so ingrained into so many people’s histories.”

When Errolson says this, we both glance at the hundreds of shoe boxes in the studio, holding the latest much-anticipated collaboration between Acronym and Nike. By the time the interview ends, the sun is down, leaving this part of the studio in the shade. It is hard to imagine that all the sneakers will be gone soon. Other parts of the studio show pieces of older Acronym collections and accessories, most of them designed from black materials. I ask him if that color is a fetish. “According to my dad, I used to wear all black when I was 10, which is kind of strange to me because that’s before Yohji and Comme des Garçons, which I never would have heard about anyways. He thinks it’s from being influenced by Arata Isozaki, who is a Japanese architect, which kind of makes more sense because there were definitely a lot more architecture books around. But with Acronym later, and the size of production that we used to do, black was the only color that all of the suppliers would have on stock, and that you could order and expect to look sort of okay. That’s why everything is black.”

Besides the underlying constants of dark colors, select materials, and a focus on functionality, in recent seasons, Acronym started to concentrate on pattern-making and how the garments move on the body. As with everything, Acronym takes its time. It’s a culture of methodical tactility. When Errolson mentions this shift, I am reminded of his karate gi and how it sensitized his perception of fashion and empowered him to become a better fighter. “That’s why fashion is so powerful,” Errolson says. “It’s that intersection of design, communication, and identity. It’s a large part of who you are, how you define yourself, how you present yourself to the world. So people definitely get attached to that. Plus, it’s just hard to find a pair of pants that fit you perfectly. It’s actually quite difficult.”

Before leaving his studio, I ask Errolson what was the last mind-opening thing he learned from someone. He tells me about his daughter and seeing her grow up: “It’s amazing to see somebody discover everything for the first time and it’s a good reminder that there can be magic in the most banal things.”

[ryuuyu]

S-CP2F

[tr1yo]

BEINGHUNTED. / NET.WORK

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ACRONYM® puso a la venta la primera entrega de su colección FW21

ACRONYM® puso a la venta la primera entrega de su colección FW21

[soliloquy id=”88605″]

La excelsa marca germana ACRONYM®, la etiqueta de culto fundada por Errolson Hugh y Michaela Sachenbacher en los albores de este siglo reveló la colección inaugural de la temporada, correspondiente al próximo invierno boreal, que como acostumbran destaca porsu diseño con detalles de alta funcionalidad realizada a partir de materiales técnicos siempre con una visión…

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ACRONYM® presenta el lookbook de su colección S:S2019 Part. 1

ACRONYM® presenta el lookbook de su colección S:S2019 Part. 1

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Continuando de alguna manera con el concepto de sus ultimas colecciones donde solo se limitó a renovar algunos de sus clásicos cambiando sus materiales y colores, ACRONYM® presentó el lookbook de la primer parte de su colección S:S2019.

La casa fundada por Errolson Hugh y Michaela Sachenbacher para la primavera/verano 2019 presentan tres piezas de archivo y dos nuevas. Las

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Stone Island Shadow Project presenta una colección iridiscente para su 10mo Aniversario

Stone Island Shadow Project presenta una colección iridiscente para su 10mo Aniversario

Stone Island Shadow Project – el spin off tech de la marca italiana – presenta su colección conmemorativa de su 10mo aniversario. Marcando una década de colaboraciones entre el dueño de la compañía y director creativo Carlo Rivetti y Errolson Hugh con Michaela Sachenbacher de ACRONYM®,  esta colección – la número 21 – bautizada con el acostumbrado codigo 6919 sirve como una oda ala división…

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Relax Magazine JP ΛCRИM Article (2002)

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E. Hugh (2001) ΛCRИM Type 2371 | 3A-1

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M. Sachenbacher | S. Manshuk | E. Hugh

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ΛCRИM 

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ΛCRИM L-J2