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Jacques Wei Shanghai Spring 2026 Collection
Fashion

Jacques Wei Shanghai Spring 2026 Collection

by jummy84 October 14, 2025
written by jummy84

This Jacques Wei collection was made in 20 days. At a re-see in his show space at an extravagant salon atop a boutique hotel in HuangPu—Wei is one of two key names in Shanghai to show off-schedule and independently of Shanghai Fashion Week—the designer said there were two big reasons for the mad dash.

The first: Jacques Wei is H&M’s latest designer collaborator. He’s created a collection that will be available early next year across Asia-Pacific to mark the Chinese New Year. The 30-or-so pieces jibe with his opulent aesthetic, only at more accessible prices, and feature golden brooches in equine shapes commemorating the year of the horse. The second: Wei spent most of the time allotted to this collection working on his fabrics. He said that materials were a priority this time around, which made for a clever way of differentiating between his eponymous collection and what he’s made for the affordable fashion giant.

Wei works based on instinct and his general mood, and it must be said that he’s one fabulous vibe-architect. This season he looked at the 1980s, referencing colors, materials, and proportions. “It just feels like a joyful time,” he said, speaking of the look of the era. “I think we all need that, I know I do,” he explained.

True to form, he leaned into the bourgeois look of the decade. Wei used hammered silk brocades in deep midnight blue and gold, the former embellished with flower-like clusters of beads and sequins and the latter with bugle beads and shimmering paillettes. He cut these materials into mini skirts and collarless jackets with strong shoulders, which also appeared on jersey blouses with collars fit close to the neck but open in the back: “To make it more now,” he said, “it’s sexier and less covered up.”

Wei said he found jersey to be most forgiving—a promising discovery for a designer who works mostly with silks and georgettes, the kinds of fabrics that reveal every crease, pucker, and stitch. He draped and shirred it into swaying minis and frilly tops and one super flattering column gown, all with a flirtatious joie de vivre. This was a nice contrast to the excess of neutrals on the runways in Shanghai—and elsewhere—this season. If the economic landscape has subdued fashion into a state of ennui, that’s not the case chez Jacques Wei. He truly does make clothes for the nonconformist. And how fun was it to see his colors and prints in an ocean of ivory silks and black tailoring.

October 14, 2025 0 comments
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Verses GT / Nosaj Thing / Jacques Greene: Verses GT Album Review
Music

Verses GT / Nosaj Thing / Jacques Greene: Verses GT Album Review

by jummy84 September 22, 2025
written by jummy84

Let me let Verses GT introduce themselves. Longtime collaborators Jacques Greene (Philippe Aubin-Dionne) and Nosaj Thing (Jason Chung) are officially stepping out as a duo with a self-titled album centered on collaboration. “Trust is the key word and concept around this project,” says Aubin-Dionne. Verses GT isn’t just an album, it seems, but an immersive audiovisual experience (live shows, music videos, light displays—“an all encompassing banner for a new collaborative world,” trumpets their Bandcamp) painstakingly crafted across a bevy of glamorous metropolises in hot pursuit of that elusive little thing called vibe. It’s a risky proposition: A concept like this can feel a little overwrought, a little too “creative”-as-noun, a little for sale, Wales Bonner Sambas, never worn. But Aubin-Dionne and Chung are gifted producers with extensive histories of creating banger after banger, and it’s no surprise that the music ultimately speaks for itself, album rollout be damned. Verses GT focuses their chameleonic, collaborative impulses, utilizing guest features and the duo’s signature R&B influences to gratifyingly moody effect.

As solo artists, Jacques Greene and Nosaj Thing have spanned their own respectively wide sonic ranges: the former often flipping ’90s R&B samples into glimmering, levitate-off-the-dancefloor tracks, the latter incorporating features from indie stalwarts like Julianna Barwick and Panda Bear into unusually sensuous, synthy mixdowns and producing for Chance the Rapper and Blonde Redhead. Together, though, the duo’s vision shines pretty singularly: Verses GT compresses the center of their Venn diagram to a fine point, layering UKG-esque breakbeats over a relatively subdued palette of synths that throb with a mixture of anxiety and hope.

Verses GT doesn’t just succeed in pinpointing a specific feeling: The whole album pulses with a mutable, introspective quality that brings palpable life to even the most stripped-back arrangements. Album standout “Left” is a triumph in steamy subtlety, with a few well-timed gasps and dreamy piano riffs cutting through to give us glimpses through the fog. And the stark choral ambience of opener “Fragment” ramps up the tension before giving way to the distant horns and breakbeats of “Unknown,” which skitters along at a very Burial-esque frequency (if perhaps in a timeline where Burial shook more ass).

Both Aubin-Dionne and Chung are typically adept at tempering vocals to each song’s vision, which they really flex on the soft grooves of “Your Light” (feat. George Riley) and the trip-hoppy “Angels” (feat. TYSON), melding their voices as languidly into their respective tracks as ever. It’s jarring, then, to hear the stridence of “Forever” (feat. KUČKA), particularly when sandwiched between the breezily distorted “Wan” and the six-minute “Found”—which, for what it’s worth, does such an excellent job incorporating a harsh breakbeat into soft synth melodies that it never feels a second too long. “Forever” could feasibly have worked as a neon-drenched standalone in the vein of tracks like Jacques Greene’s 2023 strobelight-conjuring tech-house anthem “Believe,” but within the hyperspecific context of Verses GT, it just feels like they turned all the lights on mid-show, to party-foul effect.

September 22, 2025 0 comments
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