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No doubt, streetwear dominated 2018. Earlier this year, Virgil Abloh was appointed men’s artistic director of Louis Vuitton, succeeding Kim Jones, who had held the position for seven years. Then, this past June, Supreme won the prestigious CFDA Menswear Designer of the Year Award—an honor that’s previously been given to the likes of Ralph Lauren, Calvin Klein, and Tom Ford. And it’s been interesting to see how the fashion industry, including luxury fashion houses, have responded. Some adopted streetwear’s drop system and designed more streetwear-friendly pieces. Others, refreshingly, stayed their own course.
But the year wasn’t just about the Supremes and the Virgils of the world. Jones presented his debut Dior Men collection during Paris Fashion Week. Pyer Moss designer Kerby Jean-Raymond captivated the fashion industry with collections that were both creative and political—earning him this year’s CFDA/Vogue Fashion Fund Award. Jerry Lorenzo, our latest cover star, is set to close out the year in a major way, releasing his much-anticipated Nike Air Fear of God collaboration, which will include his own Nike silhouette. Prada, well, was everywhere. After 12 months, nearly 365 days, here are our picks for the best brands of 2018.
Prada
No brand has benefited more from the retro ’90s aesthetic than Prada. As ground zero for the resurgence of camp collar shirts and fanny packs, Prada has undergone something of a renaissance in the last year. While the brand has always been a reliable resource for understated luxury, it’s found a way to play both sides of the coin with a selection of near-ironic patterns—like bananas and cartoonish flames that have popped up just about everywhere and been worn by the likes of Pusha-T, Jeff Goldblum, and Nick Young. Meanwhile, the brand refuses to be seen as stuffy. It has collaborated with the likes of Mr Porter and even revived Linea Rossa, its athletic-inspired sub-label that fits in perfectly with the windbreakers and tearaway pants that have gained traction of late, along with the paneled, perforated nylon and leather sneakers that were the high-end sneaker of choice in the late ’90s. And it did all of this while remaining independent of the conglomerates that dominate the space. Miuccia Prada truly is a force to be reckoned with. —Skylar Bergl
Fear of God
Jerry Lorenzo dominated the first half of 2018. His Fear of God designs—particularly the brand’s Fifth collection and basketball sneakers—were favored by everyone from celebrities (Michael B. Jordan, Justin Bieber, etc.) all the way to his younger, teenage fan base. And Lorenzo hasn’t taken his foot off the gas since.
The designer released his Sixth collection—a collection I’ve been told that his peers and even competitors are praising. And then, as if things couldn’t get any better, he unveiled the highly anticipated Nike Air Fear of God collaboration. Over the stretch of roughly two or three years, Lorenzo designed an apparel line and his own Nike silhouette—an opportunity only few Nike collaborators have had.
Time and time again, Lorenzo continues to push the boundaries of what’s possible for a self-trained designer. And, perhaps more importantly, he’s always stayed true to the Jerry Lorenzo, Fear of God aesthetics. —Karizza Sanchez
Union
Union has been a purveyor of cool since it opened its doors in NYC in 1989. For years, it’s stayed ahead of the curve and offered obscure Japanese labels and up-and-coming brands, many of which you often couldn’t find at other retailers. The goal for the shop, and its owner Chris Gibbs and his wife/Union co-owner and creative director Beth, has always been just to buy “dope shit.” No politics, no nothing. If it was good, chances are Union had it.
But then, at the end of 2017, Union took things a step further. Last November, the Gibbs launched Union’s in-house label. Inspired by Chris’ favorite pieces in his own closet, the Union brand offers a diverse mix of bold T-shirts and hoodies, as well as some serious cut-and-sew workwear with intriguing silhouettes that play on the juxtaposition of establishment and anti-establishment. But if you know anything about Union, it’s never just about cuts and silhouettes but the stories, too. Union’s spring collection had strong African-American rebellion vibes, with graphics that drew inspiration from popular historically black colleges, ’90s university gear, and cut-and-sew workwear that paid homage to Civil Rights activist Stokely Carmichael and jazz legend Charles Mingus.
Plain and simple: Chris and Beth have great taste. It’s evident in the brands they carry at Union and Union’s in-house line, but also their collaborations with adidas, Dickie’s Construct, and, of course, Jordan. Excuse the cliché, but everything they touch turns to gold. —Nick Grant
Alyx
For a solid stretch of 2018, military-style nylon chest rigs were the most sought-after accessory just about anywhere you looked. While this souped-up fanny pack with a $700-plus price tag was the headliner for 1027 Alyx 9SM, the Milan-based label’s unique, highly functional designs and a bevy of notable collaborations (Vans, Alpha Industries, and Mackintosh) have found a broad fan base that ranges from celebrities (ASAP Rocky, Kanye West, Lil Uzi Vert, etc.) to industry insiders and mainstream shoppers. The brand’s heavy-duty buckles became a must-have accessory detail—just ask Kim Jones and Dior, who tapped designer Matthew Williams and company for the roller-coaster-style hardware used on the fashion house’s newest accessories. It also introduced a sub-label of basics made with more sustainable and eco-friendly manufacturing processes called Alyx Visual and collaborated with British raincoat company Mackintosh for a collection of upscale outerwear worthy of the legendary name. Williams’ and Alyx’s come-up over the past year has been meteoric, and it doesn’t look like it’s stopping anytime soon. —Skylar Bergl
Louis Vuitton
Earlier this year, Louis Vuitton made history by appointing Virgil Abloh its newest men’s artistic director. The Off-White creative director, cultural tour-de-force, and general polymath became one of the few black designers to lead a prominent French luxury brand—and one of the biggest names in all of fashion. And he didn’t waste any time bringing the brand’s menswear back to the forefront. With a long, multicolor runway attended by both A-listers from around the world and an additional 1,500-plus students and bookended by an emotional embrace with close friend Kanye West, Abloh’s arrival and designs have breathed freshness into a classic offering from Louis Vuitton. Calling on and updating a century-plus-old fashion empire for the 21st century isn’t easy. But with a newfound freedom to employ the world-famous monogram on menswear made for the modern world, Louis Vuitton undoubtedly had one of the most exciting years of anyone. —Skylar Bergl
Nike
Nike pretty much took no Ls in 2018. The sportswear giant has managed to tap what feels like every important designer in fashion without it feeling forced. Alyx’s Matthew Williams put a modern spin on activewear, Acronym continued its longstanding partnership with the VaporMax Moc and Presto Mids, and John Elliott designed a shoe for LeBron James. Kith, Comme des Garçons, and Supreme also worked with the brand this year. The Beaverton, Oregon, institution even contributed to fashion’s current ’90s obsession with the refocusing of its ACG line to mimic original designs from the sub-brand’s heyday. And those aren’t even Nike’s biggest projects.
Virgil Abloh added to his original “The Ten” range and, if that weren’t enough, designed a collection for Serena Williams, which the tennis legend wore during the 2018 U.S. Open. Nike is closing out the year in a big way with Jerry Lorenzo, who is set to drop a full apparel and sneaker collection that fuses Fear of God’s design ethos with callbacks to ’90s basketball, complete with his own original, much-talked-about performance sneaker. Projects with Ambush and Martine Rose are due out in the coming months as well.
But in 2018, Nike did more than release sneakers and clothing. This past September, Nike stood in solidarity with Colin Kaepernick, who was featured in the brand’s 30th anniversary “Just Do It” campaign. The controversial choice was protested by some, praised by many, and showed that the brand was not afraid to lend a voice to important issues in today’s polarizing political climate. Nike wasn’t playing around this year. —Mike DeStefano
Supreme
A lot of folks declared that Supreme’s celebrity reached its peak in 2017, a year in which it sold a 50 percent stake in the brand to private equity firm the Carlyle Group (valuing Supreme at roughly $1 billion) and released its highly successful collaboration with Louis Vuitton. But if anyone knows what Supreme is capable of, there’s always more when it comes to the “Chanel of streetwear.”
Sure, you can assume that the eclectic skate brand will introduce you to some spectacular art from some of the most influential artists of our time, like the work of late great Mike Kelly and the incredibly bold and provocative photography of Nan Goldin. And you’re likely to guess that there will be collaborations that are 100 percent worthy of the hype, like partnerships with Comme des Garçons, Rimowa, the North Face (x3), and UNDERCOVER and Public Enemy. But then, time and time again, James Jebbia proves Supreme can go even further. This past June, Supreme was awarded the prestigious CFDA Menswear Designer of the Year Award.
No doubt, streetwear has become more mainstream in the last couple of years. And Supreme continues to push the boundaries of what constitutes “streetwear” while churning out hits even when it could conceivably rest on it hype-filled laurels. —Nick Grant
Comme des Garçons
I’ll be the first to admit that it’s strange to add Comme des Garçons to any “best of the year” lists. Rei Kawakubo is a genius, one of the greatest to ever do it, and in many ways above these types of lists. But that said, there’s no denying the impact and output she and the brand had in 2018.
There’s the runway stuff—baggy glitter shorts (Comme des Garçons Homme Plus Spring 2018) and suit jackets with Superman cartoon prints (Comme des Garçons Homme Plus Fall 2018), for instance—that is so expertly designed and goes deeper than just clothes (Kawakubo’s collections often explore various messages). And then there’s the more mainstream pieces—an insanely hyped collaboration with Supreme, the ubiquitous CdG x Nike Air Max 180s, the launch of its CDG line, and the brand’s take on the Nike ACG Mowabb. Even if you didn’t know who Kawakubo was (smh), chances are you copped something with the Comme des Garçons label. Like I said, Rei is a master at her craft. —Karizza Sanchez
Pyer Moss
Social injustice and institutional racism have been major topics of conversation in the fashion industry for the better part of the 21st century. But few have come off as authentic and have put forth the effort to place these issues at the forefront of the discussion, taking it beyond “just fashion,” quite like Pyer Moss has. Especially in 2018.
Designer Kerby Jean-Raymond was a busy man this year. In addition to relaunching Pyer Moss’ website and e-commerce platform, he presented a few awe-inspiring collections showcased in settings that truly embodied the everyday aspects of life for black men and women. His collections infused arresting messages like “Stop Calling 911 on the Culture” and “See Us Now?” with pure design artistry. His Fall 2018 collection was complete with modernized westernwear that paid homage to the oft-forgotten black cowboys. Spring/Summer 2019 celebrated black culture in the city, including strong collaborations with FUBU and Reebok. This work, which is probably only a fraction of what Jean-Raymond had his hand in this year, did not go without recognition; this past November, Pyer Moss won the CFDA/Vogue Fashion Fund Award—an award given to help emerging American design talent find continued success in the business of fashion.
As magnificent as the clothes were, Pyer Moss is one of the best brands this year because of the strength and devotion Jean-Raymond put forth to create these collections. The synergy between his designs and the manner in which they were introduced combined for something that truly had everyone talking. —Nick Grant
Dior Men
Kim Jones brought streetwear to the forefront of luxury menswear as a designer at Louis Vuitton, leaning into the term’s sportswear origins. Now, as the artistic director for Dior Men, Jones has been approaching the term “streetwear” more literally, making impeccably tailored clothes that could be easily worn on the street. And thus pushing menswear forward yet again.
His debut Spring 2019 collection imagined the possibility of romance for menswear, looking to Dior’s couture archives for inspiration and even working with the renowned ateliers. There were pastel hits, handmade beading, and a KAWS statue of Monsieur Dior made of 70,000 pink flowers. His most recent Pre-Fall 2019 Dior Men collection imagined the future—well, the future according to Jones. On display were top-notch tailoring, Dior grey, a collaboration with Japanese artist Hajime Sorayama (including a massive statue in the middle of the show venue), and tons of metallic.
What makes Kim Jones one of the most important designers of our time? He’s a true designer. He’s able to look to the past and create his own interpretation of it. The result is setting forward-thinking trends that feel indelible, enhancing the way that we wear clothes. —Tahirah Hairston
Kith
Ronnie Fieg continued to build upon his already impressive resume in 2018. The collaborations—with Coca-Cola, Bergdorf Goodman, Mitchell & Ness, etc.—were plenty. The fashion shows were unlike anything you’ve seen; this year’s Kith Park had bleachers that moved from set to set, each one dedicated to collaborations with heavyweights like Versace and Greg Lauren. The celeb co-signs pile up by the day (the Biebers are big supporters, and Kith campaigns have featured the likes of Allen Iverson). In just seven years, Kith has transformed from a small, dimly lit boutique in the back of Atrium in New York to a worldwide streetwear empire. But if you know Fieg, the possibilities seem to have become limitless, which means it’s always exciting to see what he’ll cook up next. —Mike DeStefano