Lifestyle
Tony Hawk Hopes Enthusiasm for Vert Skating Can Bring it Back to Olympics
Tony Hawk took skateboarding to new heights in 1999 when, high above a halfpipe at the X Games, he began furiously spinning, completing two and a half turns in the air before gliding gracefully back onto the ramp.
The 900 — named for the number of degrees of rotation the move requires — had seemed impossible, but Mr. Hawk, his sport’s biggest star, had landed it, rewriting the rules of what could be done on a skateboard and exposing the sport to a far more mainstream audience.
Then, shortly after his moment of triumph, Mr. Hawk’s form of gravity-defying skating began fading away, nearly to the point of extinction. It was replaced by a street style that was more easily learned at skate parks, with an entire generation of skaters leaving the giant ramps behind.
That, however, is starting to change.
Social media has been flooded in recent months with videos of prepubescent skateboarders launching themselves off ramps and flying into the air, landing the kinds of tricks that experienced skaters have been reluctant to attempt. They are shifting the paradigm with their gravity-defying moves, and inspiring other kids around the world to try the same.
Mr. Hawk’s style of vertical skating — “vert” to those who practice it — is making a comeback, and he is desperate to turn that momentum into a return of the event at the 2028 Olympics in Los Angeles.
Vert is skateboarding in its most spectacular form. Its simplicity, combined with the pure excitement in its perilous maneuvers, makes it easy for those who don’t skate to understand.
Mr. Hawk, thanks to his 900 and the wildly popular video game that followed in its wake, “Tony Hawk’s Pro Skater,” had cemented himself as the face of the sport in the early 2000s. But, unbeknown to his new admirers, his dedication to vert was a case of clinging to the past.
“It’s still kind of considered niche,” Mr. Hawk said in an interview, discussing the current state of vert skateboarding. “That’s what’s hard for me to accept.”
The reality is that Mr. Hawk’s accomplishments on vert ramps had simply made the practice seem more popular than it was. Renton Millar, a former professional skater and the head of the Vert Skating Commission for World Skate, the sport’s governing body, said vert skaters like Mr. Hawk have typically been a minority, “who stand out because it is so rad.”
Enter people like Tom Schaar, a 25-year-old skater who many view as vert’s next big star and a potential bridge between older generations and the next one — the kids who are finding the sport through social media.
Mr. Schaar, who is signed to Mr. Hawk’s Birdhouse skateboard company, was born the year Mr. Hawk landed his first 900. He rode his first real vert ramp at age six, and later managed to land a 900 and a 1080 in the same year. He was 12 years old.
“The 900 took a lot longer,” Mr. Schaar said of learning the two difficult tricks. “Once you get over the fear of kind of doing those extra spins, they kind of all just blur together into one big spinning mess.”
Vert rewards the type of consequence-blind actions that are typical of an adolescent, and adolescents are shaping the style’s future.
“Young skaters have more resources,” Mr. Hawk said. “They have training facilities now, and children are encouraged to start skating. That wasn’t the case when we were young. Children were discouraged from skating. It was a bad influence, with no future.”
Mr. Hawk said it took him 10 years of attempting it before he landed the 900, finally achieving the feat when he was 31 years old. Now, he watches in awe as young skaters build on his accomplishments and those of his peers. Last year, Arisa Trew became the first female skater to land a 900. She was 13 years old at the time.
“Some of the kids, as soon as they start riding, they are fascinated with aerials and they know what is possible,” Mr. Hawk said. “To them, a 540 is just a starting point. A 540 wasn’t even created until I was in my teens, you know?”
Mr. Hawk, ever the evangelist, knows what he wants to happen next. The Summer Olympics are heading to Los Angeles in 2028. Southern California is the global epicenter of skateboarding, and Mr. Hawk has been, as he puts it, “hustling” to get vert added as an event. It would increase the visibility of the form and, Mr. Hawk believes, lead to more vert ramps being built. To help get things started, he’s willing to put his own equipment on the line.
“I would give them my ramp,” Mr. Hawk said feverishly. “I would say ‘Here’s the terrain. Find a place for it, and it’s all yours.’ I have the best vert ramp in the world, and it’s portable. It can be assembled in a couple of hours. It’s all yours.”
The International Olympic Committee will issue its final decision on vert and other events for the 2028 Olympics at its next executive board meeting on April 9.
Many skaters believe having a vert competition is an obvious choice for the Olympics, but it was left out of the 2020 and 2024 Games, Mr. Hawk said, because of bureaucratic challenges, and an overall lack of vert skaters at the time.
Mr. Schaar, who also excels at park-style skating, took home a silver medal in that event at the 2024 Olympics. But he competes in that style out of necessity; vert remains his primary passion.
“When my grandma’s watching the Olympics, street and park are very technical for someone who doesn’t understand skating,” Mr. Schaar said.
Mr. Hawk said that at the time of the discussions to add skateboarding to the 2020 Games, he knew there were not enough vert skaters left to constitute a competitive field. As the sport’s popularity has grown, however, so has his public advocacy.
“The gap between genders and the quality of skating around the globe was big back then,” said Luca Basilico, who oversees skateboarding for World Skate. “It was another time. But we’re not there anymore.”
To get to this point, the sport has had to let go of its past.
By the time he landed the 900, Mr. Hawk and his cohort — holdovers from the 1980s when vert was the dominant style of skateboarding — were aging out of their professional careers. Very few vert skaters were coming up behind them, leaving Mr. Hawk as one of the few loud voices pushing for it to continue.
“People who skate today, especially those who are 25 and older, they will all tell you that they started skating because of Tony Hawk in some way,” said Jimmy Wilkins, a pre-eminent vert skater. “Even if that’s not the case, they probably grew up skating in a park he built for them.”
The young skaters reviving the art of vert on Instagram, however, are not so closely tied to Mr. Hawk. They were born after his big moments. Their innovation and advancement of the form is its own, new thing.
Elliot Sloan, a 36-year-old vert skater who went pro in 2008, described a “huge gap” between generational cohorts of vert skaters, which had made his own pursuit fairly lonely. He considered himself lucky to have been a part of a sport that was still alive, thanks in large part to Mr. Hawk’s successes in the late 1990s.
Mr. Hawk’s accomplishments are far in the past, however, and Mr. Wilkins and Mr. Sloan are decidedly vert elders. And the skaters coming up behind them are getting incredibly good, incredibly fast.
“I’ve just seen so many of these kids start coming up being like seven years old, and I’m thinking ‘This kid’s pretty good,’” Mr. Sloan said. “And then the next thing you know, I’m competing against him.”
“The greatest thing in the vert resurgence is the bit of groundswell that it has with the kids,” said Mr. Millar. “There’s a number of vert facilities around the world, where, in the past, there was almost none.”
While the rise of young vert skaters has shocked some veterans, it has allowed Mr. Hawk to keep pushing it back into the public eye. But no matter the era, the popularity or the visibility of the sport, it cannot be separated from the man himself, who has stuck to his old habits, despite his official retirement.
“I’ve gotta go skate,” he said at the conclusion of an interview. His friend Bucky Lasek, another legend of the 1990s, was coming over. They were going to spend the day on Mr. Hawk’s personal ramp.
In the year since his death, there has been no hard pivot at Armani. The shadow of the founder has stayed in place over the Milan HQ, where the brand seems happy to leave it. Armani is not just plumbing the past for continued inspiration, it’s reselling it.
Today, Giorgio Armani is announcing Archivio, a grouping of 13 men’s and women’s looks, plucked from the brand’s back catalog and remade for today. (And, yes, at today’s prices.) There’s a jacket in pinstriped alpaca of 1979 vintage; a buttery one-and-a-half breasted jacket with a maitre d’s flair that first appeared in 1987; and an unstructured silk-linen suit that will activate ’90s flashbacks for die-hard Armani clients and those who want to capture that era’s nostalgia. The advertising campaign was shot and styled by Eli Russell Linnetz, who has his own label, ERL, but always seems to be the first call brands make when they want sultry photos with the aura of Details magazine circa 1995. (He did a similar thing for Guess recently.)
Linnetz’s images are a reminder of how Armani’s work still reverberates decades later.
Archivio is also a canny recognition of what shoppers crave now. On the resale market, Armani wares are as coveted as can be. Every week it seems as if I get an email from Ndwc0, a British vintage store, announcing a new drop of meaty-shouldered ’90s Armani power suits. They sell for less than $500. At Sorbara’s in Brooklyn, you can buy a tan Giorgio Armani vest for $225.
That vintage-mad audience is in Armani’s sights: To introduce the collection, it’s staging an installation, opening today, at Giorgio Armani’s Milan boutique. It will feature the hosts of “Throwing Fits,” a New York-based podcast whose hosts wear vintage Armani button-ups and shout out stores like Sorbara’s.
It’s prudent, if a bit disconnected. Part of the charm of old Armani is that it can be found on the cheap. I’m wearing a pair of vintage Giorgio Armani corduroys as I write this. I bought them for $76 on eBay. Archivio is reverent, but its prices, which range from $1,025 to $12,000, may scare off shoppers willing to do the searching themselves.
If you ask me, the next frontier of this archive fixation is that a brand — and a big one — will release a mountain of genuine vintage pieces. J. Crew and Banana Republic have tried this at a small scale, but a luxury house like Armani hasn’t gone there. Yet. Eventually, Armani (or a brand like it) is going to grab hold of the market that exists around its brand, but through which it gets no cut.
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Lifestyle
The story behind this rare architectural speaker from cult Japanese fashion brand TheSoloist
This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.
You hear it before you see it.
Turning the corner of the 15th floor corridor of the historic American Cement Building, a low thrum of electronic sounds seeps through the door of Archived, an L.A. luxury vintage curator. Inside, standing 43 inches tall, a silver speaker from Takahiro Miyashita’s brand TheSoloist vibrates high fidelity through the showroom.
Constructed of 3D-printed polycarbonate resin and aluminum, with a wide amp frequency range of 20Hz to 25KHz, the object looks less like a speaker and more like a relic of time. It is an artifact set in concrete, chiseled away to reveal a replica of the Flatiron Building in New York City. Containing seven audio channels and two bass speakers, its vibrations can be felt against the skin.
Dream Liu, along with his partner Marquel Williams, founded Archived in 2019 to resell rare vintage collectibles. Their designer wardrobe houses some of the most sought after pieces in the industry — like a 1990 Chrome Hearts biker jacket— but the collection of homeware, including a Giovanni Tommaso Garattoni glass chair or a Saint Laurent arcade machine, is what greets you when you walk in. “That’s one way we stand out from all the other archival brands,” Liu says. “We’re very much deep into everything design-related, not just fashion.”
Liu first encountered TheSoloist speaker a few years ago at the home of a friend, a lighting designer working in music who he admired. The speaker, he says, lived at the back of his mind ever since. Archived eventually sourced it directly through TheSoloist’s manufacturer, now acting as an intermediary seller. Only a few hundred of the silver color-way, on display in the showroom, were produced. Even fewer exist of the black, for sale on their website for $9,500.
Miyashita, the cult Japanese designer behind early-2000s punk label Number (N)ine and later TheSoloist, is known for fusing meticulous Japanese craftsmanship with distinctly American motifs. The speaker, for instance, pays homage to New York City, where he opened his original store. Without even seeing a single garment, his style is clear: avant-garde, grunge and very rock ’n’ roll.
(Archived)
Six months ago, Archived opened its MacArthur Park showroom, a brightly lit loft with exposed beams, floor-to-ceiling windows and a panoramic view of downtown. Today they are a team of about six people. Distinctive objects like TheSoloist speaker are an extension of not only the brand’s imprint, but the architecture that houses it. “The speaker fits perfectly into this space.”
Archived, whose clientele consists mostly of celebrities and high-profile curators such as Timothée Chalamet, Travis Scott and Don Toliver, sources its pieces through consignments from sellers and endless hours spent hunting across international marketplaces. When it comes to selecting which piece makes it to the floor, Liu looks for collectible items and whatever fits the brand’s taste, which can be described as minimal avant-garde with a touch of fine craftsmanship.
“Nothing is random,” Liu says. Every item at Archived has a story, from the Giseok Kim aluminum shelf where an unworn pair of 2005 reconstructed Nike Dunks are displayed, to the Marc Newson racks which archival Rick Owens hangs off.
The speaker is valuable, Liu admits, because of Miyashita’s reputation as one of the greats, placing him alongside designers like Jun Takahashi and Yohji Yamamoto. “Our audience knows his designs and all of his great collections,” he says. “So the speaker itself speaks volumes.”
Originally from West Palm Beach, Fla., Liu moved to California to study fashion merchandising at FIDM in San Diego. Before that, he had dabbled in architecture. “It’s always been in the back of my mind,” he says.
Liu said he recognizes that designers, after a time, get fatigued with profit-driven conglomerates and begin to delve into other art forms. “Fashion is just another art form, and I think eventually, when [designers] tire of making clothes — Helmut Lang as an example, even Tom Ford — they transition to art.”
If the nature of design is building upon and taking from existing works, then creating an archival space is collecting pieces of history. “Everything is a reference point,” Liu says. “Every piece here has made an impact on the current climate of fashion.”
To Liu, items like the speaker are worthy of preservation because some of them are only getting rarer and rarer to find. “Pieces like this deserve to be presented properly, and be in spaces that reflect the caliber of the clothing,” he says. “You can put random objects in a beautiful space and that object becomes important.”
The scene recalled the frenzy that unfolds backstage during fashion week: On a recent Monday, in a room full of clothing racks, the stylist Micaela Erlanger was working alongside a team of tailors and assistants. But they were not preparing for your average fashion show.
Ms. Erlanger and the group had assembled at her studio in Manhattan to prepare looks for the actress Meryl Streep, Ms. Erlanger’s client of 11 years, to wear during the press tour for “The Devil Wears Prada 2,” the buzzy sequel to a beloved film set at a fictionalized version of a certain glossy fashion magazine.
In the sequel, Ms. Streep steps back into the stilettos of Miranda Priestly, the publication’s glamorous editor in chief. She stars alongside Anne Hathaway and Emily Blunt, who also reprise their roles as Andrea Sachs and Emily Charlton, characters who served as Miranda’s assistants in the original film. Based on a novel and released in 2006, it has become a cult favorite among serious and casual followers of fashion alike.
To prime fans for the sequel, Ms. Streep has appeared on the cover of Vogue and, along with some of her co-stars, has traveled to Mexico, South Korea, China and Japan in recent weeks for premieres. On Monday, cast members appeared in New York, and they will travel to London for more events before “The Devil Wears Prada 2” is widely released on May 1.
Each affair has offered the cast members a chance to turn heads in finery on par with the clothing worn by the characters they play in the movie. Balenciaga, Chanel, Valentino and — yes — Prada are just some of the labels they have sported as they have traveled the globe.
To pull off this fashion feat — and to avoid any style faux pas — Ms. Erlanger, 40, has been in constant communication with Erin Walsh, 43, Ms. Hathaway’s stylist of seven years, and Jessica Paster, 60, who has been styling Ms. Blunt for going on two decades. The women have been operating as something of a hive mind for months, sharing details of the actresses’ looks — the brands, the accessories, the color palettes — in group chats, calls and conversations on the sidelines of runway shows.
“I got to see Erin and Micaela at fashion shows,” Ms. Paster said. “We would whisper: ‘I like that. I like that. I like this. I like that.’”
In a conversation that has been edited and condensed, Ms. Paster, Ms. Erlanger and Ms. Walsh discussed their collaborative relationship, the stakes of styling press tours and the ways they have used fashion to build hype for “The Devil Wears Prada 2.”
How have you each approached dressing your client for the press tour?
MICAELA ERLANGER With Meryl, we leaned into this idea of powerful silhouettes and shapes that you haven’t necessarily seen her in. This is a fashion movie — we’re leaning into it. I would say that there are a lot of references that the fashion community will appreciate and enjoy. We have not just been referencing the first film, but referencing references within the film. I call it “meta dressing.”
JESSICA PASTER You have to remember that Emily Charlton was an assistant 20 years ago. She has evolved. So I’m approaching her as a little stronger — a girl with power. She doesn’t need to borrow clothes anymore. Designers are now giving her the clothes, and she’s out buying clothes.
ERIN WALSH I guess I am hesitant to tell you a theme. I don’t want to encapsulate it. Ultimately, it’s always about how we make a person feel their very best.
You said you communicate via group text. What are you saying to one another?
ERLANGER We have been, from logistics to creative, kind of strategizing among ourselves. What look works best here or there? What’s the other person wearing? Will they look great together?
PASTER I remember one text among us was like: “I’m thinking red. I’m thinking a little burgundy red. And I’m thinking red, too. Is it weird that they’re all wearing red?” I said, “No, let’s lean into that, and let’s do it all in red.”
What we do is make a picture more beautiful. If we have two people who are wearing red, and one is wearing white or purple or black, that is the girl that should be in the middle of a photo. It’s not about, “My girl needs to be in the middle.” If something goes viral, it’s going to help Erin; it’s going to help me; it’s going to help Micaela; and it’s going to help the movie because it gets everyone buzzing and excited.
WALSH With our job, there are always curveballs thrown your way. By working together, we can better navigate any kind of situation in a joyful way without having breakdowns.
Styling has a competitive aspect, in that there are only so many looks, and everyone can’t always get what she wants. How are you navigating that together?
PASTER There are a lot of stories about stylists competing with each other. We’re not. We are so busy. We do not have time. Micaela is calling me because she needs something. I have so many questions to ask Erin and Micaela. If one of these two girls needs me, I will be there for them.
WALSH Removing anything competitive or not collaborative from the equation makes us stronger. It makes our work better.
ERLANGER Collaboration also benefits our clients. Everybody wins when we are aligned.
I’m curious, where were you in your careers when the original “The Devil Wears Prada” premiered?
ERLANGER We have stages of our careers that directly relate back to the first movie. I was an intern at Condé Nast, the company that owns Vogue.
WALSH I was an assistant at Vogue when it came out. I watched Anne onscreen. “The Devil Wears Prada” I knew, you know, in my skin.
PASTER I was a stylist, and, in fact, I was trying to get Emily Blunt as a client.
Modern press tours can involve several premieres in addition to other events. How has that changed how you work?
ERLANGER Social media has made every moment a photo op. Even if it is a junket day when your clients are sitting in a room for on-camera interviews, those pictures get picked up. So every single moment has become press-worthy. And, therefore, there’s more intentionality behind what clients are wearing.
PASTER People forget that we just can’t bring in a dress or two, bust out a look and call it a day. Micaela and Erin are going with nine suitcases all over the world to fit their girls, and I have two trips of fittings in Ireland.
What clothes have you been wearing during the press tour?
WALSH You’ve got to look the part. I tend to, in these situations, reach for more empowering pieces, like a shoulder pad and heels. I don’t work in flats.
ERLANGER I need a flat, and I kind of want to be more comfortable. I’m in jeans and a blazer and a button down and a flat.
PASTER I’m working in sweats and with my hair in a bun.
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