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FILA is the definition of classic: inspired by our latest brand collab, we’re dipping into the brand’s archive for a study in how their vintage styles are just as relevant today. The exclusive women’s and men’s collection brings together retro polos, tees, jackets, shorts, pants, accessories, and footwear — a blend of old and new, inspired by some of their classic staples from the last few decades, and branded with the iconic FILA logo. Above: Fila pieces at UO The brand was started by the Fila brothers in 1911 and based in Biella, a small town in northern Italy. The brothers were in the textile business and strove to create a product that blended luxury, art, and utility: much of the original inspiration came from their surroundings and the local textures, palette, and culture, and FILA was originally renowned as a high-quality knitwear line. The sports angle comes in later, and has been constantly evolving throughout the brand’s history. In the 1960s, sports — and particularly tennis — rose to a new sort of prominence, becoming “the epitome of grace, style and an example of the robust vivacity of the human spirit,” they explain. The brand then sought a new challenge: create fabric designed to mirror an athlete’s motions, “adhering smoothly to the body like a second skin yet providing a sense of total freedom.” From this came FILA’s beloved outerwear, debuting in 1972, which combined high-end materials like wool and cashmere in new ways, and established the brand with a foothold in both the world of athletics as well as high-quality essentials that could be worn by anyone. The next year, they were renamed as FILA SPORT. Throughout FILA’s history, they’ve kept a close connection with athletes, like the tennis greats Adriano Panatta, Paolo Bertolucci, and Bjorn Borg, who all wore the iconic FILA uniform (in one of the most famous photos of Borg, after he’s just won his fifth consecutive Wimbledon victory, he’s wearing a FILA polo and headband). In 1986, when Reinhold Messner reached the summit of Mt. Everest (the first to scale the mountain without additional oxygen), he wore high-tech mountain gear by FILA…and the list goes on. In other words, FILA is the definition of classic; it's never stopped being cool. Shop FILA + UO
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Shop Women's Urban Outfitters Yellow Red Size S Midi at a discounted price at Poshmark. Description: Floral midi Urban Outfitters dress, barely worn, lined, size small.. Sold by ellefir. Fast delivery, full service customer support.
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At the end of our UO Road Trip, we hit the Miami beach for a glow-in-the-dark party with our store employees and a chance to see Miami through the lens of the people who know it best. Read on to see more and find out what we used to throw our epic party! The finale of our epic UO Road Trip was in Miami, Florida where we threw a glowing pool party at the Freehand Miami pool. To keep things fun, we filled the pool with a ton of pool floats and glowing beach balls, and strung the whole place up with string lights. If you're looking to plan your own glow party, all you'll need is a pool, some snacks, and a few glowing accessories. We chose to throw our party at the Freehand because their outdoor pool is amazing, and their outdoor bar, The Broken Shaker, was a James Beard Award semi-finalist; definitely a spot worth hitting up if you ever find yourself in Miami. Above: Glow Ball Pool Float To get things glowing everywhere, use string lights outdoors. They're easy to hang, easy to take down, and will make every photo super Instagrammable. Recommended party supplies: Glow Ball Pool Float Black Corded Globe String Lights Small Glow Ball Pool Float Lilac Tinted Globe String Lights Shell Pool Float Donut Drink Holder Pool Float Set Pineapple To-Go Sipper Cup Our Snapchat contest winner Tianna also made an appearance at our glow party and snapped some pics of her own (which we're excited to share!). Stay tuned for a closer look at her time in Miami and a chance to see more behind-the-scenes from our adventure. Miami's G & T Ingredients: 2 ounces gin 1 ounce simple syrup 1/2 lemon 5-6 blackberries 4-5 mint leaves Tonic water Directions: In a mixing beaker, squeeze the juice from half a lemon, then add simple syrup, blackberries, and mint. Muddle the blackberries and mint, add gin, and strain into a glass over ice. Top off the drink with tonic and stir. If you want, get fancy and garnish with a twist of lemon and a mint leaf! To see more from US@UO, follow UO on Snapchat (@urbanout) and Instagram
Urban Outfitters is proud to present Urban Outfitters Journal issue 2, the next in a series of print publications that represent the culture and stories behind the UO Men’s Brand, coming soon to select UO Stores and online. Forty years ago, 32-year-old Hugh Holland was driving through the Hollywood Hills when he saw a head bobbing up from the side of the road. He looked closer. It was a group of kids skateboarding inside an empty drainage ditch. Holland pulled the car over, grabbed his camera, and ambled toward the scene. He watched them for hours. He couldn’t believe the stuff they were pulling off. Carving up to the lip. Cut backs. These were surfing moves—but charged with the type of raw, frenetic energy that can only be sparked when wheels hit the pavement. Words by Laura Tsunoda Photos by Hugh Holland Lead Image: A Break on the Concrete (No. 52), 1970s chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles Skatepark Construction, Montebello, 1977 chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles When the skateboarders saw Holland holding a camera, they went crazy. “There weren’t many people taking pictures in those days.” Holland says on the phone, “And these guys, ‘the wild boys’ as I call them, they wanted to have their pictures taken. I remember them screaming at me, ‘Get this! Hey, camera man! Get this!’” The wild boys were neighborhood kids, locals. And even though they ranged from 13 to 20 years old, they were all at the pinnacle of youth. Tan and lean with tangled manes of hair. On the board, they were stupendously over- confident—barefooted, sans helmet—pushing the boundaries of gravity, and starting to go vertical. For the next three years (1975-78), Holland was immersed in their world. Every day after work, he would drive the wild boys to whichever canyon, parking lot or swimming pool they’d heard about. And on weekends, someone’s mom might drive them all to Orange County or San Diego for a skate contest. Fast forward to 2005. Holland’s skateboarding photos have been crammed into boxes in his attic. “For 30 years, I’d hardly seen them at all,” he says. “It’s a long story, but I was showing some photos at a small gallery in San Francisco, and included a few skateboarding photos from that period.” They resonated. In 2012, Holland compiled them into a book called Locals Only. Now you see them everywhere—blown up as billboards, curated in art books, and frequently invoked in lifestyle magazines. Picture Los Angeles in the ‘70s: You’re probably seeing one of Holland’s photos in your brain right now. Holland says he remembers each shot vividly. But even if he didn’t, the year it was taken is obvious. “There were immense changes in the way people dressed. At the start they were barefoot. No kneepads, no shirts, just bare. Then they started wearing safety gear.” Holland laughs as he remembers lying vulnerable at the bottom of the bowl with his camera as skateboards fly over his head. Safety is great and all, but photographs are better without all that gear, “especially when they have logos printed on the front of their shirts.” Arthur’s Attitude (Arthur Lake), Kenter Canyon Elementary, 1976 chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles Riding to Ride, Highway 80, 1977chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles “At the time, I was in heaven. It was great to be able to shoot this.” Holland had just started getting into photography when he stumbled into the canyon. “I wasn’t thinking it was anything for future posterity, not at all. Just having fun and enjoying creating.” There is a particular golden haze effect found in many of his photographs. “People always ask about the light,” he muses. “For one thing, there was more smog in the air then. And for another thing, I took the pictures around sunset because it’s when I got off work. But the big thing was all these pictures, [with a couple exceptions] were shot on movie film instead of kodachrome.” Movie film was repackaged into cassettes for still cameras and sold cheaply. “For the price of processing, I could get both negatives and slides to show to everyone. The soft, warm effect, well it’s just a different kind of film.” As for their subject, he says, “Style was everything. That’s what skateboarding was. It was style.” Holland explains, “It was a movement and a ballet. Dancing on concrete and asphalt.” It’s worth remembering that no matter how beautiful the movement, there’s no getting around the fact that photography is a static medium. You can’t capture a skateboard trick. But Holland had a trick of his own: To work stasis in his favor. To isolate and suspend the move with the inhalation of a shutter-flash. Holland’s photos eschew motion and instead become about the human form. An adolescent body could look caught in “an awkward phase” in another context, but frozen in frame on a skateboard, it looks perfectly graceful and free. Holland says that knowing which moment to suspend is an instinct, one he learned in the three years of shooting the wild boys. “I learned how to compose… [and the] instantaneous composition of the camera.” Cool Spectator, 1975 chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles Red Skater at Rest, 1975 chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles Holland started to lose interest in skateboard photography after 1978, when the sport started to see a change. The sundrenched rebellion of the mid-‘70s was giving way to a feeding frenzy of commercialization in the ‘80s. Plus, three yearsis a long time for any youth-driven movement. The wild boys moved on to careers and families. Some of them, like Stacey Peralta, rose to fame and ushered the skateboarding industry into the mainstream. Solo, Kenter Canyon Elementary, 1976 chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles Today, whenever Holland finds himself driving down Laurel Canyon Boulevard, he looks for that one drainage ditch, the site of his discovery. “I look but never find it. Perhaps it’s behind some shrubbery, or maybe just gone.” Like any location, California is a fixed space, but it’s constantly changing. Subdivisions turn over, strip malls build up and out, neighborhoods get sliced up and re-zoned. At any given time, some part of Los Angeles is getting a facelift. Perhaps we lose some history. But for each iteration of Los Angeles topography, there’s a group of wild boys figuring out a way to skate it. Feeling the grain and resistance of the asphalt, carving new lines, learning every angle and grade until they’ve claimed the city as their own, if only for one instant. South Bay Gang, 1975 chromogenic print © Hugh Holland, Courtesy M+B Gallery, Los Angeles Shop UO Journal Issue 2Head to UO’s Space 15 Twenty at 1520 N. Cahuenga Blvd in Los Angeles, CA on February 25th to celebrate the launch of UO Journal issue 2 and the second release of our ongoing Artist Editions series.
