Some footwear looks from @windowsen ‘s “Hybrid interface project 2026” show. Loving the mix of retro-futurist aesthetic and that late 90s/ early 2000s ’ transparent tech products, at least I connect it with that. Do y’all find this as cool as I do?
Wow… Seven. Hundred. Thousand.
When I started this five years ago I really didn’t expect the page to take off like it did. I mean just to think more than half a million people enjoy my curation and support the mission of showcasing unique and quality creative projects is crazy to me, but this slowly becoming my life..? Yeah I was not expecting that.
It hasn’t even been a year since we rebranded from Crazy Kicks Wrld to We Got No Taste but that is one of the best decisions I’ve made. I love the direction in which the company is heading and can’t wait to see how far we can take it. Truly have a good feeling for 2026, it’s gonna be a great one.
I want to thank every single one of you for being a part of this. We wouldn’t be anything without you, the community. This first giveaway we’ve just kicked off is just the beginning of us showing love back to you guys. Many, many more dope things to come🫶
Yeah man. I’m lost for words. A moving ferris wheel crochet piece with lights, a full crocheted body armour, an angel set … ?? @tataykatelyn can really do it all. It was so sick to see her pieces make their way to the runway for this years London FW. We love watching amazing creatives get opportunities like that and make the best out of them and she definitely did. And I’m sure more is to come.
Nike commissioned this young Portuguese artist to revitalize and redesign aspects of Nike Kidswear. What are your thoughts on the artworks?
Lisbon-born, Tokyo-based visual artist Ema Gaspar works in coloured pencil and graphite, arranging disconnected elements into compositions that recreate the atmosphere of a memory. Growing up on anime like Cardcaptor Sakura and Digimon, she would pause episodes on VHS and copy what she saw, a habit that shaped everything that followed. Her figures merge natural forms with feminine, doll-like features, navigating vulnerability, trauma and the tension between the outside world and the self.
Every now and then, I decide to share some interesting tattoos I’ve been exposed to in the recent weeks. Usually it ends with people getting mad in the comments in my terrible selection. Enjoy.
Not necessarily loading screens, but this is what they call it. (☝️🤓). I’m not exactly sure if @max.dur started this “trend” but it definitely does seem like it. I’ve already been seeing a million other people doing this and expect many more to come. Anyways, who wants to be this guy’s friend?
I messaged @lohokur , this is how it went:
Me: Bro
Me: How do I explain what you do to my audience?
Loho Kur: Hahahah
Loho Kur: We’re a neo-fashion house, brother.
Traditional houses work forward: sample → production → campaign → world. It’s slow, outdated, and bleeds production waste.
We flip it. World first, then sample, then production.
We build through identities — not “looks” like everyone else. And every identity is coded.
The pieces in identities only become real if the culture wants it. this way we reduce sample waste whilst also expanding the worldbuilding
Loho Kur: I’m very tech heavy, built an entire system on the backend that automates this, all I have to do is live life, design and input my heart and soul into the ID builder I created
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Now you (we) know.
Glasgow-born Trisha Biggar started her career sewing costumes at a summer theatre job in Perthshire, later spending twelve years at the Citizens Theatre in Glasgow before studying at Wimbledon College of Arts.
Her work on The Young Indiana Jones Chronicles brought her to George Lucas’s attention, and he asked her to lead the costume department for the entire Star Wars prequel trilogy. Across three films she dressed Jedi, senators and bounty hunters, but her work for Padmé Amidala is what endures. Around three quarters of all Padmé’s dresses carry a touch of Scottish vintage, with fabrics sourced from Glasgow shops and silhouettes drawn from Russian folk costume and Paisley textile traditions. The wedding gown was built around a century-old Italian lace bedspread found in an Australian thrift store.
On Natalie Portman, each piece landed differently than it might have on anyone else. The elaborate headdresses and layered silks framed her features in a way that made Padmé one of the most iconic screen presences of the early 2000s, and a crush for an entire generation of Star Wars fans.
Known image credits:
Cover image: Irving Penn, 1999
2 - Irving Penn, 1999
3 - Lucasfilm Archives
4 - (likely) Keith Hamshere, 1999
5 - Still from Star Wars: Episode I – The Phantom Menace
6 - Keith Hamshere, 2005
9 - photo from Dressing a Galaxy: The Costumes of Star Wars.
10 - John Levin
11 - crop of a scene from Star Wars: Episode II - Attack of the Clones
12 - Lisa Tomasetti
14 - behind-the-scenes preparation for Padmé Amidala’s funeral in Star Wars: Episode III – Revenge of the Sith
17 - Irving Penn, 1999
*All rights remain with original creators. DM/Email for removal. Posted for educational purposes only
@kleinian_ started as a graphic designer, but pivoted to printing on rocks after discovering ai and its capabilities back in 2020. Now, his mission is fossilizing our digital culture. You could call it modern archeology. So much of media we consume nowadays it’s digital, he’s preserving the small things that are a part of our everyday lives … google maps, youtube algorithms, ig feeds and so on.
What of this will survive?
For weeks before launch of the Audemars Piguet x Swatch Royal Pop, ai-generated renders of a Royal Oak wristwatch in eight colourways were circulating as if they were leaked product shots. People lined up outside Swatch boutiques worldwide. What they got was a collection of eight Bioceramic pocket watches designed to be worn on a lanyard, clipped to a bag, or kept in a pocket. A watch that starts at $30,000 reimagined as something you clip to your tote. People are even comparing it to a Labubu.
There’s something telling about the fact that the object barely matters here. The Royal Oak’s value has always lived in its materials and finishing. Strip that away and put the name on a pocket watch, and you’re left with a question about what people were actually buying into.
I still see people grabbing these though, what do you think?
Image credits: @scarlintheshire 1-7
Video from: Monochrome/x
The sōhei were Buddhist warrior monks who rose to prominence during Japan’s Heian period (794–1185), based at Mount Hiei’s Enryaku-ji temple where religious authority and armed conflict were inseparable. Their dress combined religious vestments with battle readiness: a white hood called a kato covering the head, a black soken overgarment worn over armour, protective leg coverings called habaki, and ashida wooden clogs. Their primary weapon was the naginata halberd, carried alongside a waist-sheathed sword. Photographs documenting this dress were taken in 1916, offering one of the earliest visual records of how these monk-warriors actually looked.
*All rights remain with original creators. DM for removal. Posted for educational purposes only
