This weekly issue is send from somewhere between Amsterdam and Berlin, a hotel room office and a car parking spot at the A2 autobahn, on the go and on the run. Busy days. The commitment of a weekly writing is strong, and so is my ambition to deliver on point. Here we are.
That being said, let’s have a look at all the news of this week, I’ve fished from the sea of information…
Source: Supreme
Supreme has been declared dead more times than most brands could survive. And it bores me to death [sic!] The hype isn’t what it was ten or fifteen years ago, investors have changed repeatedly, and now another important figure is leaving: Erin Magee has stepped down as Chief Creative Officer after 22 years with the company, another significant change following Tremaine Emory’s departure in 2023 and Supreme’s move from VF Corporation to EssilorLuxottica.
And yet, looking at Fall/Winter 2026, Supreme still feels remarkably like Supreme. And if that surprises you, I am very surprised.
The collection moves effortlessly between the worlds the brand has always understood best: skateboarding, sportswear, workwear, art, music and New York street culture. There are technical jackets, strong denim and knitwear, jerseys, graphics and surprisingly great tailoring - including a Black Watch wool suit made with Scottish mill Lochcarron. Artist contributions range from Larry Clark and Rita Ackermann to James O’Barr, Art Dealer and Shaun Crawford, while Supreme once again digs into the stranger corners of popular culture rather than simply chasing whatever happens to be trending.
And then there are the objects and collaborations - the part of Supreme that has always made browsing a new season particularly entertaining. A ridiculously excessive Jeff Hamilton leather jacket covered in historic Box Logos (and I still believe I could rebuild it by myself with a lot of Supreme stickers), 24-karat-gold-plated Analogue Pocket hardware and even the return of Nike’s Air Max 2000 show that Supreme hasn’t suddenly become interested in behaving sensibly.
As a Supreme fan, that’s probably what makes me happiest about this collection.
I don’t need Supreme to become the centre of streetwear hype again. That moment belonged to a particular era, and trying to recreate it would probably be the least Supreme thing the brand could do. What I want is for Supreme to continue making clothes and objects that are smart, occasionally stupid, culturally informed and desirable enough to make me check the Thursday drops again.
FW26 does exactly that.
After all the changes surrounding the brand, Supreme could easily have started feeling like a company trying to imitate its own history.
Instead, this collection feels alive. And yes, there are already quite a few pieces I want. You can check them above.
➡️ Supreme
Quelle: Fugazi / SneakerFreaker
This collaboration technically doesn’t exist anymore. Which might be exactly why everybody is talking about it.
When Fugazi - the streetwear brand, not the iconic Hardcore-Punk band - teased its Vans collaboration during Paris Fashion Week, the connection immediately caused controversy. Fugazi (the band) drummer Brendan Canty called the project “tone deaf” and the clothing brand “horrendous”, while fans questioned the use of a name so closely associated with a band famous for its anti-consumerist principles. Vans eventually distanced itself from the project, publicly clarified that the two Fugazis had no connection and the collaboration was cancelled.
“Sorry for any confusion this Past week. Fugazi the Band and Fugazi the clothing Brand are not connected. I have deep respect for Ian MacKaye, his impact on music and his connection to Skateboarding . We spoke this morning and are looking at ways to support longtime skateboarders and giving back to the communities we both care deeply about.”
Steve van Doren / Vans
Normally, that would have been the end of it. Instead, Fugazi sold the shoes anyway - for $5 a pair.
Cash only. No change. Limited quantities. People lined up outside its Los Angeles and New York stores, while the shoes themselves were blurred out in the brand’s imagery, turning a cancelled collaboration into something far more interesting than another carefully orchestrated sneaker launch.
Whether you think this is clever, disrespectful or simply ridiculous probably depends on where you stand. And the criticism from Fugazi the band deserves to be taken seriously: a group that spent decades resisting conventional merchandising and corporate logic understandably doesn’t want its name - or the cultural meaning attached to it - used to help sell products.
But there’s another side to this: The move itself is incredibly Punk!
A major collaboration gets cancelled, so instead of quietly burying the product, you sell it for five dollars from the street, obscure the shoes in your own campaign and turn the entire controversy into the release mechanism.
You can dislike it. But at least something is happening.
After years in which sneaker launches increasingly started to feel like variations of the same formula - teaser, celebrity seeding, raffle, release, resale - the Fugazi situation has brought some unpredictability back into the conversation. It created tension, debate, queues and, perhaps most importantly, desire.
And that’s what makes the whole thing interesting beyond whether you actually like the shoe. Sneaker culture has spent years talking about the disappearance of hype. Maybe what disappeared wasn’t people’s love for sneakers, but the feeling that something unexpected could still happen.
This week, something did. And whether you consider it brilliant or completely wrong, you’re talking about the shoe. That alone feels refreshing. And Punk.
The funny thing is, when I’ve watched “Louder Than Fear”, the new documentary about the life of musician Travis Barker, seeing a lot of footage of the early Blink-182 days, reminded me how much influence the style of Barker had on me personally: The baggy Dickies shorts, the sleeveless shirts, the impressive belt-buckle - this overall mixture of Punk and Hip-Hop and Skateboarding influenced my early years a lot! Besides this, it’s an impressive documentary about life.
Hands down, there are few drummers who have shaped the sound and image of modern punkrock as much as Travis Barker. Filmed over almost a decade by directors Justin Krook and Michael Dwyer, the documentary traces Barker’s journey from working as a trash collector in Laguna Beach to joining The Aquabats! and Blink-182 mid-90s and becoming one of the most recognisable drummers of his generation. But music is only part of the story. At its centre is the 2008 plane crash that killed four people and left Barker severely burned, followed by years of surgeries, grief, addiction and a fear of flying that kept him out of planes for 13 years.
What makes “Louder Than Fear” work is that it doesn’t simply turn survival into another rock-star mythology. Barker speaks openly about drug abuse, trauma, loosing friends, fatherhood, sobriety and the people who helped him rebuild his life, while the film also reminds us just how obsessive his relationship with drumming has always been. Music isn’t presented as his career as much as the constant running through everything else: the discipline, therapy and purpose that kept him moving forward.
And that’s probably what I enjoyed most about it, even if you’re not particularly interested in Blink-182 or drumming. Behind one of the most recognisable figures in pop-punk is ultimately a very human story about loss, fear and learning how to live with both and even overcome it. It’s a documentary about life, and it’s worth watching.
Last but not least, get your weekly dose of great music with the ever evolving HIGHFIVESANDSTAGEDIVES playlist on Spotify and make sure to click the plus or the follow button or whatsoever to stay up to date, and then tell your family and friends and all people, who deserve listening to great music, about it. Appreciate it! You can discover some more playlists I made, too, and right here (I used to be a music editor btw):
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