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Tag: Polo Ralph Lauren

  • Olympic Mode, Activated: The Best Winter Games Inspired Menswear

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    Every four years, the Winter Olympics remind us that athletic competition transcends the physical. It becomes a theater of national identity, where what athletes wear as they process into the stadium carries nearly as much symbolic weight as the medals they hope to bring home. The opening ceremony transforms some 3,000 competitors into walking embodiments of their countries, each delegation dressed by designers tasked with distilling centuries of cultural heritage into garments that must perform under scrutiny from billions of viewers worldwide.

    The results have ranged from the triumphant to the peculiar. Lithuania’s 1992 appearance in Barcelona in Issey Miyake‘s radical pleated capes, donated free by the designer to the newly independent nation, remains among the most audacious statements ever made on Olympic grounds. Canada’s 1988 Calgary delegation arrived in fringed red trench coats and white cowboy hats, leaning hard into the host city’s Cowtown reputation. Then there’s the eternal question of how much nationalism is too much—how literally a flag should be rendered across a lapel or intarsia knit.

    For Team USA, that question has had a consistent answer since 2008, when Ralph Lauren first partnered with the U.S. Olympic Committee for the Beijing Games. The brand’s preppy aesthetic, with navy blazers, white trousers, newsboy caps and rowing-club sensibilities, has become inextricably linked to American Olympic identity. The process begins roughly two and a half years before each Games, with the design team meeting athletes, researching host cities and building garments intended, as David Lauren puts it, to “become timeless.” 

    Milano Cortina 2026 presents what is perhaps the ultimate test: staging American athletes in one of the world’s undisputed fashion capitals, where sartorial scrutiny reaches its apex. The good news for spectators: many of these official outfitters—Ralph Lauren, Emporio Armani, Le Coq Sportif and others—make civilian versions of their Olympic gear available to the public. What follows is the best of it, from ceremony sweaters to alpine-ready puffers, for anyone who wants to channel the Winter Games from the stands or the sofa.

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    Paul Jebara

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  • A Collector’s Edit of Covetable Luxury Gifts

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    John Baldessari’s Nose/Silhouette: Green, 2020 Screenprint

    Last month, my friend Laura hosted a Dalí-themed dinner party at Main Projects, the gallery she owns with one-half of the Icy Gays duo, Eric Thomas Suwall. Between courses, an artist asked what kind of art I like, and I wasn’t sure whether he meant the art I like to see in museums, or put on walls, the art I like to experience, or simply like to think about. Whatever he meant, it didn’t matter because it was a question I have no interest answering—which I was polite about, of course. Defining art by style, medium, subject, school, technique, color or artist has always felt like a list-buiding exercise rather than providing another person with a greater understanding of who you are, which think is generally the purpose of any such question. I appreciate art that evokes an emotional response. It doesn’t need to be a fuzzy or inspiring feeling; art that makes me uncomfortable is often more compelling. With that, I’ll try to articulate how John Baldessari‘s Nose/Silhouette: Green, 2010, makes me feel and why I love it.

    My eyes like following the irregularities in the circumference of the green blob encompassing the nose—a facial feature that, unlike eyes or smiles, no human in the history of the world has ever held responsible for being the cause of love at first sight. And yet that is what Baldessari forces us to see when we aren’t doing laps around a face we’re trying to imagine. Baldessari died on January 2, 2020, and I can’t help but wonder how the generation-defining pandemic that unfolded three months after he passed would have shaped later works, had he lived through it. Baldessari’s legacy is multilayered, but the part I return to the most is that his art pushed thinking about how the meaning of an image shifts depending on the context. The world didn’t see noses for nearly year after Baldessari died (give or take, depending on your politics), which may have made some of us realize how much a nose can tell you about a person.


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    Merin Curotto

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