Private First Class Brandon Aird photographed this 173rd Airborne Brigade soldier pausing under his combat load near Bashur Airfield in northern Iraq in March 2003, following the brigade's combat jump.
The Stone Island Shadow vector continues with the project's fourth seasonal capsule collection. Fueled by new reactions within the project's original conceptual core, fresh manifestations of fabric, style, detail, and interface emerge as the lightest, yet most comprehensive, offering thus far.
This unique trajectory begins, of course, at a unique point of origin — the inimitable constellation of research and development that is STONE ISLAND. Hidden detail and potential action lies at the heart of each and every Stone Island Shadow style.
Enfolding this in a simpler, softer way, a new focus can be brought to bear on both resolution of shape and fidelity of color. The goal is vibrancy and directness; stripping away the superfluous without sacrificing capability, and the lightness that can only be found by moving through one's environment with zero resistance.
Modular Performance Grid, PARSEQ is the organizational framework upon which the idea is built: PROOF, AUGMENT, RESIST, SKIN and EQUIP. All Shadow fabrics work together as part of the grid — breathable, moisture managing, skin-friendly and maintainable — chosen for their balance of performance technology and the aesthetic treatments for which Stone Island has been known since its inception.
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Stone Island’'s Navigation Series: Under the Radar by Liam MacRae examines sonar, signal, and instinct in aquatic navigation. Radar sweeps above are mirrored by sharks circling below, drawn to a submerged emblem that acts as both marker and transmission. The study observes how symbol and frequency converge—technology tracing, nature responding.
The Inspired by kumakey’s “roBa,” the moNa2 is a small wireless split keyboard developed by shakupan and pooh.polo, designed to keep a desk feeling open and unclaimed. Two compact halves sit apart with a quiet gap between them, leaving room for a notebook or tools without forcing a single, monolithic footprint.
The layout is restrained: low, close spacing with a built-in thumb-controlled ball that keeps basic navigation under the hand instead of pushing you toward a mouse. The whole object reads as light hardware rather than a centerpiece, favors packing and redeploying—such as magnets on the underside so the halves can join together for transport.
It runs wire-free and is meant to be adjusted over time rather than treated as a fixed appliance. Typical usage notes describe it lasting roughly a couple of weeks of frequent daily use before needing attention again, with the exact cadence depending on how it’s set up and used.
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Stone Island’s Navigation Series: Reinvent the Wheel, photographed by Liam MacRae, is part of the brand’s ongoing study of orientation and movement. The work frames navigation as both physical and symbolic—referencing terrain, direction, and systems of guidance. Within the series, “Reinvent the Wheel” emphasizes reinterpreting established structures of travel and perception, continuing Stone Island’s research into exploration and the mechanics of wayfinding.
This tent boasts a straightforward structure, allowing for quick and effortless setup. To assemble, lay the flysheet on the ground and firmly secure the four corners with pegs. Then, raise the center pole at the top. The remarkable simplicity of this setup is unmatched by self-supporting dome-shaped tents, and its generous overhead clearance adds to its allure.
Josef Schulz is a photographer known for capturing images of modern warehouses and factories, which are typically considered mundane industrial structures with little architectural significance. These buildings, produced worldwide, follow standardized plans and materials, lacking distinct external features to reveal their specific purposes.
Schulz's approach involves studying the essence of his craft through these photographs. He employs digital image processing to remove any elements hinting at the buildings' age, location, or surroundings, transforming them into virtual blueprints. By emphasizing colors, shapes, and symmetries, he turns the buildings into block-like structures, resembling toy architecture and presenting them as idealized versions of themselves.
In this process, Schulz blurs the line between photographic and painted reality to optimize the images. Simultaneously, he reduces the physical buildings to their design concepts and the photographic reality to its virtual representation. His intent is to diverge from the typical pursuit of making digital images appear as real as possible. This approach might leave the viewer perplexed, as they struggle to distinguish between authentic elements captured by the camera and those created through digital tools.
Nepal is home to the Apis Laboriosa, the biggest honey bee on the planet, and honey hunting plays a significant role in the local way of life. The bees build their hives on the cliffs of the country's foothills, which adds complexity to the honey hunting process. Local honey hunters use rope ladders and baskets to access the combs after driving the bees away with smoke from a fire underneath the hives. They carefully collect the honey treasure from the combs while dealing with territorial bees. The harvesting occurs once a year and begins with a harvest ritual that varies across towns, often starting with a prayer and the offering of flowers, rice, and fruits.
This unique aspect of Nepali culture is captivating, and tourists have the opportunity to witness the bravery of the honey hunters, explore the fascination of the Nepali landscape, and admire the intricate homes of the honey bees.
Text description provided by the architects. The House of Yagi is designed with the idea of an incomplete/complete form. Unlike other projects, the final stage of construction for this house was not aiming towards a finish stage, but to let the owner experience the sense of completion after living here. Interior space of the house is designed to maximize the interaction to its surrounding environment.
The Salomon Speedcross 3 Camo in Titanium/Dark Titanium/Swamp applies a muted tonal camouflage treatment to the footwear's aggressive trail-running silhouette. A grippy lugged outsole and supportive upper keep it performance-driven, while the low-contrast palette makes it feel more tactical for desert environments.
Tan pleated shorts on the street in Harajuku, Tokyo, shot for Fashionsnap in September 2012. Full, high-waisted and worn long.
Dan's Hida-Furukawa (飛騨古川) follows the Seto River canal through the preserved old town of Furukawa in Hida City, Gifu Prefecture. The photograph was taken on April 15, 2009.
WTAPS FW13 Lifist lookbook image with Tetsu Nishiyama riding a vintage motorcycle, part of the collection’s lifestyle-focused presentation.
Nike Free Woven in Khaki, Stadium Green, Hyper Blue, and Pink, with a multicolor woven upper and white Free sole. Style code 555307-236.
1980年代の名作として知られるラバドームとダンク、それぞれアウトドアとバスケットボールというカテゴリーが異なるプロダクトのデザインを組み合わせた魅惑のハイブリッド機種にニューモデルが登場。本作は、アッパー全体に天然皮革のスウェードを採用。単色のソリッドな外観に映えるカラーシューレース使いが効果的で、クラシックなアウトドアシューズの雰囲気を漂わせたルックスに仕上げられている。また、シューズ内部には高次元のクッショニング＆反発性を併せ持つ「ZOOM AIR」のソックライナーを搭載し、履きやすさにも配慮されたモダンスニーカーブーツだ。
