Philly stylists look back at boldest (and tackiest) suits from the 2003 NBA Draft

A lot has changed in the NBA over the last two decades.

There’s no longer a team in Seattle, despite the outcry from grieving Supersonic fans. A generation of “big men” have morphed into position-less perimeter threats, and the Denver Nuggets are NBA champions for the first time in franchise history. Oh, and there’s a new all-time leading scorer in LeBron James, who passed Kareem Abdul-Jabbar’s record back in February.

In the past 20 years, records have been shattered, new superstars have emerged, and college prospects are landing million-dollar brand deals before stepping into an NBA arena. But the hype around the NBA draft has remained. And on Monday, it will be 20 years since James, Carmelo Anthony, Chris Bosh, and Dwyane Wade’s names were called on draft night.

The 2003 NBA Draft is considered one of the greatest draft classes in league history. Not only were there four future Hall of Famers picked in the first five slots, but All-Star players Chris Kaman, Josh Howard, David West, Kyle Korver, and Mo Williams were also among the crop. But for all its glory, fans are convinced the ‘03 class is the worst-dressed group ever seen on draft night.

From the mountainous shoulder pads, overly buttoned suit jackets, curtain-length pants, and bulky silhouettes, Philly style blogger Sabir Peele said that year’s draft reminds him of Sunday service in the 1990s.

“The suits looked okay, but they had 16 buttons and a regular shirt collar on their jacket,” Peele said. “It was like people were dressing for what their perceived size was or something their grandfather might have worn, but not for their actual body. I don’t know who let them walk out the door thinking this was hot.”

While some fashion choices appeared inexcusable, Peele said, there were other layers worth considering: Hip-hop had a big influence in fashion during that era, and the presence of social media was largely nonexistent at the time. Neither Facebook, Twitter or Instagram existed in 2003, which likely forced the incoming rookies to rely on family members or friends for guidance. The result: “Just some big a** clothes.”

“Some of it has future application, but in terms of the actual design and cyclical-ness of the fashion, I don’t think this is going to come back,” Peele said. “Back then, there was no silhouette or shape.”

In an interview with Bleacher Report, Wade said players like Allen Iverson influenced his decision on draft night. “At the time, hip-hop culture was baggy jeans, Sean John jeans, hats to the side — that was the Allen Iverson culture,” the former Miami Heat star said. “That’s where the NBA was when we first got in.”

Even No. 10 pick Jarvis Hayes, who Peele said was dressed like a Baptist deacon, regretted the size of his draft suit. “It was the baggy suit era,” he told Bleacher Report. “I got (my suit) from a close family friend out in Georgia. I doubt if they’re still in business now if they’re still making suits like that. You wouldn’t catch me dead in a suit that size.”

Philly stylist Wayne Glassman, who owns Wayne Edwards Workshop, said the relaxed tailoring of the early 2000s was vastly different from the stylings of today, which favor more cropped, form-fitting looks with softer, more complementary colors.

“The players were just following the trends at the time,” Glassman said. “They had wide lapels with lower gorges. The pants were high-waisted, which allowed for a lot of drape, and there was fullness throughout the entire silhouette. Compared to today’s silhouettes, the trim is so much nicer.”

Looking back, Glassman said it’s easy to laugh at the suits worn by James and Anthony, but he’s seen younger athletes like Trae Young make similarly head-scratching fashion choices for the draft. “When he got drafted, (Young) wore a suit with cropped pants I’m not sure came down below his knees,” Glassman said. “He had on leather shoes and no socks.”

Glassman said certain athletes dress on the “costumey” side, while others take calculated risks to stand out. Then there are players and ex-hoopers who completely abandon the rules of fashion, he said.

Trae Young and his younger brother, Timothy, sporting their matching suits! #NBADraft pic.twitter.com/t3xt0ccQVJ

— NBA (@NBA) June 21, 2018

“Guys like Reggie Miller are pretty dapper, but if you look at someone like Charles Barkley, apparently others don’t care,” Glassman said. “Even sports broadcasters like Jeff Van Gundy, his suits look terrible. It’s really up to these athletes to put in the effort.”

With the presence of social media, and the popularity of tunnel walk photo ops, Peele said more athletes are leveling up their fashion sense. Instead of hiding their physiques under oversized jackets and lengthy trousers, players are opting for more natural-fitting garments. Some still pull out traditional suits, but the “blazer 2.0″ has become a more popular choice, he said.

“More guys want to be known as the ‘well-dressed athlete,’” Peele said. “Some come out suited, but others don’t want to be buttoned up, so they’re not wearing ties anymore. They’re thinking, ‘How can I flex and show that I’m still put together.’ I feel like that has become the thing.”

Players are trading in classic suit pieces for tailored pants and trucker jackets, and exchanging neckties for flashy necklaces and diamond-studded pendants. And as cyclical as the fashion industry can be, Peele doesn’t see the parachute suit pants or six-button jackets making a return.

– The Philadelphia Inquirer

From pink polo shirts to weird boots: How Kanye's fashion has evolved

It’s hard to imagine a time when the masses weren’t drawn to artist and fashion designer Kanye West, a man who's spearheaded some of the biggest cultural shifts and era-defining trends since he first stepped into the industry spotlight.

But the Netflix documentary Jeen-yuhs: A Kanye Trilogy chronicles the days when West was a quietly confident producer who was known for his soul-stirring beats but fighting to land a record deal as a solo artist.

The first two episodes of the three-part film, titled “Act I: Vision” and “Act II: Purpose,” are pieced together from 20-year-old footage recorded by now-director Coodie Simmons, who gave viewers a glimpse into the recording sessions of songs that made West a household name. Simmons, who directed the project with fellow filmmaker Chike Ozah, first turned his camera to West with the belief he would ascend to rap superstardom. But even with his remarkable foresight, not even Simmons envisioned what kind of force West would become in the world of fashion.

Nobody knew — except Ye.

“LOUIS VUITTON DON”

The self-proclaimed “Louis Vuitton Don,” a nickname West first christened himself on the song “Last Call” from his debut album The College Dropout, mixed luxury brand pieces like Dior, Gucci and others with streetwear essentials — which blurred the lines of modern couture forever.

From leather kilts, Margiela masks, and Venetian shutter shades, hip-hops fans and high fashion mavens have been drawn to West's influence. And for the 44-year-old rapper, conquering the fashion industry was a goal he set from the time he signed his record deal at Roc-A-Fella Records.

“If West’s rubber BALENCIAGA RAIN BOOTS aren't evident enough, HIS STYLE has always been AGAINST THE GRAIN.”

In “Act II: Promise,” West made his intentions clear during an interview following his car accident in 2002: “I had an accident and almost died and everything, right? But I was sitting up in the hospital for the first seven days, and I’d just be watching TV and I just came to this revelation …. people are like, ‘You almost just died. What came from this?’ And I just sit back, and just decided that I’m going to be the best, the best, dressed rapper in the game because their gear was crazy whack.”

If West’s rubber Balenciaga rain boots aren't evident enough, his style has always been against the grain. On his song “Touch the Sky,” West addressed how his stylistic choices early in his rap career hindered his success: “Back when they thought pink Polos would hurt the Roc/Before Cam got the sh*t to pop/The doors was closed/I felt like Bad Boy’s street team: I couldn’t work the locks.”

In the same way he was viewed as an artist, West’s clothing style didn’t fit the mold of a “rapper,” which better aligned with the gangster rap image that loomed over the genre in the early 2000s. When everyone was wearing XXXL Mitchell & Ness jerseys, jump-rope length chains and baggy jeans in the early 2000s, he was draped in bright rugby shirts, a monogrammed ​​Louis Vuitton backpack and Ralph Lauren sweaters adorned with the "Polo Bear," later inspiring the “Dropout Bear” that was placed on his first three album covers.

Throughout the documentary, West was also spotted in Superhero and movie-themed graphic T-shirts, knit turtleneck sweaters and a retainer that was far from camera shy. While maligned at the time, a lot of the pieces West wore 15-20 years ago are touted in high fashion circles today, which is a true testament to his vision for future trends. Vintage Polo pieces and other brands West donned in his “College Dropout” days are treasured items for hype beasts and online resellers, and some pairings would even hint at future brand collaborations.

During West’s Def Poetry Jam performance of “All Falls Down” called “Self Conscious,” he wore Adidas Superstars, and even sported a Gap shirt throughout the series, foreshadowing the release of his “Yeezy Gap engineered by Balenciaga” collection in late February.

But in time, everyone would begin to rap, produce and dress like West.

RESISTANCE

Before becoming a rap superstar, West maneuvered through the industry on his own accord, using the scraps and resources he had to place his form of artistic expression at the forefront. And much was the same when it came to fashion. Even with a Louis Vuitton footwear collection, West arranged to intern for Fendi in 2009 alongside the late Virgil Abloh, who was the artistic director at Louis Vuitton's menswear collection before he passed in November 2021.

The New York Times reported that the two men were making $500 a month to run errands and fetch coffees at the famed fashion house. And in a 2013 interview with former BBC Radio 1 host Zane Lowe, West reaffirmed his genius, claiming that he and Abloh introduced the idea of leather jogging pants to Fendi – a trend that would emerge in high-end circles years later.

In 2009, West enlisted industry notables such as Abloh, Don C, Kim Jones, who was Louis Vuitton’s men’s artistic director at the time, and others to establish his first clothing line in 2009: Pastelle. It wasn’t his first dive into the depths of fashion design — that was Mascotte by K West, which was scrapped in 2004, but Pastelle was his first full-fledged attempt at creating his own brand.

But after West’s outburst against Taylor Swift at the 2009 Video Music Awards, Pastelle’s LA office shut down and his plans for the brand’s flagship stores and events soon did as well, according to Complex. His frustrations were made public during an interview on Jimmy Kimmel Live!,”where West talked about the resistance he’s faced at the gates of the fashion world.

“I WANT to make the next RALPH LAUREN.”

“I spent 10,000 hours at this; I dedicated my life to this. And a lot of people say, ‘OK, you know, you have to do music.’ Imma keep doing music, but what if people told me I couldn’t rap. What would have happened? What if people told me I couldn’t perform?’” he said. “I’m only 36 years old, I have other goals and other things, and I’m going to use my platform and every platform to stand up and say, ‘I want to make something. I want to make the next Ralph Lauren.’”

While the interview was nearly a decade ago, it’s reminiscent of the moment in Jeen-yuhs when West played “All Falls Down” to a puzzled music executive, whose colleagues roamed in and out of the room, and he left the Roc-A-Fella office momentarily deflated.

YEEZY EMPIRE

After footwear deals with Louis Vuitton and Nike, West continued to push for his own clothing line and would eventually take the reins of his Yeezy brand in 2015. And in the seven years since its inception, the brand’s apparel and sneaker releases have helped boost West’s estimated $1.8 billion net worth, according to Forbes.

Yes, the numbers are astronomical, but West’s impact has been nearly unmatched because of the stylistic trends he’s set ablaze. He broke ground years ago with collaborations and footwear deals with high fashion brands, inspiring other rappers to level up their drip game and even delve into the business of fashion.

As Yeezy has generated millions of dollars — and quenched the thirst of hype beasts from around the world — he’s opened doors for others to succeed in fashion and has consistently drawn in the industry’s top talent. Designers like Heron Preston and Matthew Williams, who’s now the creative director of Givenchy women’s and men’s collections, have made their marks in fashion after working alongside West and his extended creative team.

So, while many will point to West’s polarizing statements, failed presidential campaign, thickly rubberized rain boots (for now, at least) and his antics on social media, which has half the country calling Pete Davidson “Skete,” his impact in fashion is undeniable and will remain an integral part of his legacy – just as he envisioned.

– Input Mag

'Just be a little nerdier': Austin fashion designer creates 'nerd-wear' based on science

In an industry built on creative nuance and a flair for chic stylings, Austin designer Ryan Britton has embraced the call for originality.

The El Paso-native combined his love for history and science to create the National Bureau of Product Research, a limited clothing brand that merges streetwear with scientific exploration.

Renderings of planetary surfaces, scrapped rocket blueprints, geographical landmarks and patterns of radio beacons, radiation detector dials, and other tech are placed throughout his clothing pieces.

Interwoven into each garment, which range from $69 to $1,000 in price, are stories that unfold like a paperback, with texts and images detailing the inspiration behind Britton's designs and where they come from – an element he says is missing from fashion and the world at large. 

"I feel like The National Bureau can push things forward a bit by advocating for everybody to have a little more nerd in them – to look at our shared reality a little more empirically," the 49-yar-old designer said.

Described as "nerd wear," the brand's designs are directly drawn from decades-old documents from the National Aeronautics and Space Administration that Britton archived following his days as a science reporter. 

On the brand's "Trippy Trajectory" T-shirt, Britton stitches in a graphic that details a mission NASA developed in 1966 to test its ability to dock two ships in space at the same time. 

The inside of the shirt reads: "The graphic on your shirt illustrates the approach angle the Gemini 12 Spacecraft took in its rendezvous and docking with the unmanned Gemini Agena Target Vehicle. A major objective of the Gemini project was to learn how to dock and tether space vehicles together. The Gemini Spacecraft and Agena Target Vehicle left the Earth's surface on different rockets at different times to successfully meet in low Earth orbit. At the mission's conclusion, Gemini 12 (and its two astronauts) parachuted down and landed safely in the ocean. Everything else burned to a crisp in the atmosphere :-D."

An untraditional path to fashion

Britton's path to becoming a designer is as unique as his aero-inspired motifs. 

Before launching National Bureau, he worked as a journalist for Earth & Sky, a daily radio series focused on science and nature. The company began broadcasting in 1991 and eventually switched its operations to online-only. 

While at Earth & Sky, Britton's admiration for astrogeology was at its highest. He began collecting vintage blueprints, drawings and graphics from past projects and interviews with industry scientists from NASA and other organizations, and soon built a database filled with keepsakes.

Britton developed the archive in 2013, and instead of naming the catalog "Ryan's Database," he settled on the National Bureau of Product Research. 

At the time, he didn't know what purpose the catalog would serve, but he knew he wanted to put the valuable relics to use. 

It wasn't until a friend suggested placing one of the graphics on a T-shirt that he considered getting into fashion. And from there, the concept of the clothing line was born. 

"(Fashion) wasn't really a new thing for me," Britton said.

"It was just me kind of in the middle of my career thinking" no one in fashion was telling stories like his, he said. 

"The idea for a fashion brand was so big in my head, I almost felt obligated to do it," he said. "If I didn't do it, I would just be carrying this idea in my head."

Where to eat on Valentine's Day: Austin restaurants with special menus

Beyond creating basic print designs, Britton wants to give his consumers an inside look into his clothing brand and embrace the pursuit of knowledge and truth through his designs and the stories they carry. 

"The goal is to create a brand but also a community," he said. "There's value in digging a little bit and understanding truth, like real truth, and understanding the value of scientific method and scientific inquiry.

"Let's just be a little nerdier and our world will benefit."

Education at center of the brand

After some time selling his initial designs, Britton decided to join the first cohort of the Austin Community College Fashion Incubator in October 2020, where he remains a designer-in-residence. He'll have access to the program's space until October this year. 

The Fashion Incubator is housed inside the former Highland Mall – Austin's first suburban shopping mall that closed its doors in 2011 and has been transformed into a campus for Austin Community College.

The fashion design school is now housed inside a 7,500-square-foot space, where aspiring designers and entrepreneurs have access to  $13 million of Gerber Technology, business coaches, networking opportunities and other resources to sharpen their skills. 

The year-long program helped Britton hatch his plans for The National Bureau.

Director and fashion designer Nina Means said Britton quickly refined his concept and learned to compose his intricate designs in a way that celebrates the power of education. 

While niche, National Bureau has everything a brand needs to grow into a successful business, Means said.

"I think Ryan is on to something with The National Bureau, and he's tapped into the archival space and into a customer that's also obsessed with learning," said Means, 41, who worked for American Eagle and other brands before taking on her role at ACC.

Science and innovation are next

Before launching the first National Bureau capsule last year, Britton said it was hard for other designers to grasp his concept.

"Before I actually had clothes made, people just didn't get it," he said. "It's taken some education, drawings and things like that to explain what it is I want to do. But when I hand over a T-shirt, people just get it."

Fellow designer Lord Justice Canton was immediately drawn to the brand after a conversation with Britton in a Los Angeles clothing store. 

Canton, 28, said Britton, a "nerdy, 6-foot white guy with glasses," didn't look like a typical designer, but once he saw the vibrant colors and aero-inspired patterns he created, the Queens-native said he knew Britton and the brand were worth exploring.

"(Britton) is definitely a needle in the haystack," said Canton, who works as a store manager for the LA location of the streetwear brand The Hundreds. "I know a lot of creatives, but a lot of people don't push the boundaries. When I first met him, I knew he was doing something most people don't take the time to do."

Since connecting in LA, Canton has helped Britton drive the creative direction of the National Bureau. From social media posts to public appearances in different pieces, he wants to inspire other lovers of streetwear to put the brand name on their back. 

"It's' going to take some time, but I think he's going to go really far," Canton said. "I think (Britton's) biggest contribution to fashion is his previous work history – going from that to designing. He's also teaching people within the garment. A lot of people that own brands are just not that innovative."

While the first capsule serves as a nod to space exploration, Britton said he's placing computer science and innovation at the center for the next National Bureau line set to release in late May or June. 

So far, the geometric patterns of vintage computer circuit boards are already in play. But above all, Britton said he plans to continue encouraging the world to be a little nerdier.

– Austin American-Statesman

Celebrating Black joy: Columbus artist teams with Abercrombie & Fitch for new collection

In the aftermath of George Floyd's death in May 2020, a moment that sparked widespread protest and a call for solidarity, visual artist Francesca Miller cast her artistic gifts to adorn Downtown Columbus with messages of hope. 

Instead of illustrating the pain felt within the Black community, Miller decorated building walls and wooden panels with images representative of Black beauty, strength and resilience. 

Less than a year later, the Bexley resident would lend her creativity to help spearhead Abercrombie & Fitch's latest capsule, "For Justice, For Joy Collection," a clothing collection that celebrates Black joy and showcases its visual forms with a selection of distinct pieces. 

Considering the brand's recognition, Miller, 24, said she was shocked when the American retail giant emailed her for the project.

"I was like this is a spam email," she said. "When they reached out I was like this has to be a joke. I was completely shocked, I really was."

Miller acknowledges that she's never actually shopped at the retail giant, but after several conversations with company executives, the brand gave her the creative reins while providing the platform to convey her artistic message.

"It was refreshing to be working with such a big name company and you could tell it was genuine," she said. "You can tell they wanted to help with the movement.

"They could've worked with other artists who work with other brands, but they chose local, which speaks volumes about how intentional they're being."

Corey Robinson, senior vice president and head of Design & Merchandising, said the brand decided to contact Miller after several employees came across her work while marching in Downtown Columbus last summer. He said the vibrant imagery and messages of joy depicted in her work on the walls of the Columbus Commons and Ohio Theatre were in line with the company's goal to support people of color. 

"There was magic in her expressive use of color and the way people smiled when seeing her work, even during such tough times," Robinson said. "We reached out to (Miller) in hopes that we could spread that same message through this capsule, which aligns with our company’s ongoing goal to support and uplift the BIPOC community, and we’re ecstatic with the results. She, and her artwork, radiate joy and we couldn’t be happier to have partnered with her."

The Miller-led capsule was launched on July 8 after about six months of preparation, and is currently available in Abercrombie & Fitch stores across the country and online for international purchase.

The collection includes three T-shirts; one filled with the words "Beauty, Brilliance and Resilience" on the front and Black women angelically dancing on the back. ; the second shirt has the name of the collection on the chest area and a small painting of two figures on the back; and the last shirt has a painting of Columbus artist CarolineINSPIRES Bennett placed at its center, who served as a major influence for the collection. 

"I'm very intentional and love when everything gets connected, so I was really intentional about who and what I chose to reference for the designed pieces and shirts," Miller said.

Like Miller, Bennett, 27, said she was shocked but thrilled to find out one of her images would be used for the collection. And even in the weeks since its release, the singer and poet said, "I'm still on cloud 10,000."

Following Floyd's death, Miller joined other artists to paint murals that veered away from images of anger and protest, but instead, highlighted the joy and fearlessness Black families and communities embody. 

"I just really wanted to highlight that our story goes beyond oppression and trauma and anger," Miller said. "That definitely is a part of our story and it is necessary to keep telling, but I just want to highlight that we're more than that. We do more than cry, march and protest. We laugh. We dream. We love."

As Miller spent months working on the collection, she wanted to promote the same messaging. Rather than place outward signs of jubilance, she pictured how elation comes in different forms — stillness, calm and silence. 

"We, as people of color, need to be reminded of our side of the story," she said. "Joy is available to us. We can laugh and love despite what we experience in this world. That's probably a top priority in my art in general."

Since the collection's release, Robinson said customers and those who follow the brand, have enjoyed the project. More important, the collection has fostered deeper discussions inside and outside the company about the importance of telling similarly holistic stories.

"The purpose and intention of the collection is to spark discussion and it’s heartwarming that people have truly taken that intention to heart," he said.

Bennett said it's also a great opportunity to enlighten and educate those outside the Black community, as they are often unfairly misrepresented in other mediums. The Tulsa-born artist said the next step is for Abercrombie & Fitch to utilize more people of color in its projects.

"My hope that it continues and people begin to see more Black and (Latino) faces in A&F because, why not?" she said. "And the fact (Miller) was able to use me, some Black chocolate girl with big nostrils and blue hair, that's not celebrated in the world. That's why I'm honored."

In time, Robinson said the "For Justice" collection will continue incorporating new voices and serve as a vessel for further perspectives to be shared with the world. 

Going forward, Miller said she's looking forward to collaborating with other international brands and to continue showcasing the various layers that makeup people of color.

"My goal with my art is to work with businesses, organizations and create art for them," Miller said. "I love painting people's grandmas, but if feels like I'm serving a greater purpose when I get into the commercial art world. It's exciting to me. I love collaboration and team building. For so long, people acted like art doesn't have a place in that space."

– The Columbus Dispatch