Tested for the Wild, Taken to the Ice

“The goal wasn’t to bring ACG back as something new,” Ozcan said. “It was to bring it back to what it originally stood for. Outdoors, yes, but with wild energy. With joy. With fun.

It’s not just about getting to the top of the hill or finishing a 50K. It’s about doing it while having fun. That’s the true ACG spirit. That’s what makes us different.”

That mix of seriousness and play is exactly what drew Meirow in. “It’s goofy meets fierce,” he said. “We’re not just racing races - we’re racing a car for hot chocolate at nearly 8,000 feet. There’s humor in it, but there’s also real performance thinking behind it. Spikes, traction, altitude. All of it matters.”

That same respect-for-craft mindset extended behind the scenes. As Ferdi Porsche put it, “Porsche is one of the coolest brands in the world. Growing up around it, you learn how to build something lasting. I try to treat the name with that respect, and beyond that, just be a person.”

“For me, cars are the ultimate product,” he added. “You take friends with you, listen to music, have sex, go from A to B. You express taste through color and design. Cars start conversations.”

On the ice, Meirow ran fully dialed in, dressed head to toe in ACG with custom spiked Ultrafly runners built for frozen ground. What unfolded felt less like a conventional race and more like a joyful breakdown of categories.

For some, the main event was runner versus car. For others, the real race lived between machines tearing around the track. Elsewhere, spectators hovered for close-up looks at tuned engines while the whole scene doubled as an unexpected showcase of winter resort fashion in the middle of America.

For Don Toliver, the race was about style, speed, and feeling it all. “You wanna look good, the car gotta look good, and you gotta feel it,” he said. “I make music, I test it in the car. You gotta hear it, live it, move with it. Everything connects.”

Running culture and car culture didn’t merge neatly. They collided. And in that chaos - speed, ice, style, and pure joy - ACG turned contradiction into spectacle.

Culture

10 Years of office

April 30, 2026

A monumental coffee-table book documenting the first decade of office magazine. Spanning 368 pages, this large-format volume (380 × 280 mm) fully archives Issues 1–21, meticulously scanned and reproduced to preserve the raw energy, visual experimentation, and unfiltered spirit that define office.

More than a retrospective, the book is a record of a creative community: fashion, art, and culture seen through original personalities, unconventional lives, and instinctive expression. From early DIY moments to fully realized editorial worlds, each issue reflects Office’s commitment to risk, individuality, and visual impact.

Printed in Europe and art directed by Ole Lund, this limited-run edition is designed as an object, bold, tactile, and unapologetic, intended to live on a table, not a shelf.

A definitive archive of office magazine’s first ten years.

The book is on display May 1st through May 3rd, 10am - 3pm daily at WSA, 161 Water St, 6th floor.

The archival book is available for purchase here. Free black office tote bag with every purchase.

Culture

Stephen Jones: In-focus

How do you see the evolution of how people see and wear hats throughout your career?

SJ: It’s very different, hats used to be very much occasion wear and now they have polarised it to be fantasy or totally functional as a beanie on a Monday morning.

Tell us about your design process. Where do you start? How do you think about the hat and the body?

SJ: I live my life and put it into a hat, so I never really stop designing in my head it’s just occasionally those ideas are put down on paper and become hats. I always think about the hat with the body because a hat is not a separate object it needs to become a part of the person

Tell us about your ability to bring other designers' vision to life. How are you able to be so creatively adaptable through your numerous collaborations and long-spanning relationships?

SJ: It’s really about bringing their imagination to life, it’s what we create together. That’s the key they couldn’t do it themselves and I couldn’t do it myself, it’s something we do together. I have to get inside their mind which is very unusual for an outsider.

" I live my life and put it into a hat. "

Tell us about your mentorship with Shirley Hex. How do you see the importance of learning the rules before you break them?

SJ: My time with Shirley Hex was extraordinary and she taught me the main principals of millinery, however after a couple of years she forced me out the nest and encouraged me to develop my own style in my own way.

How does British, London, and/or Paris culture influence your work?

SJ: Completely; British culture is a weird dichotomy of something that is very aristocratic or something that is very punk, but Paris brings something which is coquettish and mannered.

" It’s really about bringing their imagination to life, it’s what we create together. "

You've experimented with so many unconventional materials, how do you decide a material is meaningful to transform into a hat?

SJ: Well it has to serve the purpose of what the hat is trying to be, but also when you are making it, the hat serves the purpose of the fabric.

The Palais Galliera devoted a full retrospective to your work, what was it like seeing your work in this presentation? What do you want your legacy to be?

SJ: Number 1 it is an extraordinary honour to be included there. I could see my work, almost in the 3rd person, I didn’t see it as being uniquely personal but saw it as it being presented to others and I could analyse it quite dryly. My legacy to be that the pursuit of dressing can be a wonderful extension either of your character or who you want to be.

What do you think is a misconception about hats and the process of creating them?

SJ: That they are quick and easy, it’s very laborious because they are 3d objects.

Do you feel your design process is more learned or instinctual?

SJ: I think it’s a conversation of the two. I love learning about a particular subject and trying to transform that into a hat, but at the same time spontaneous expression is important because it looks fresh.

What other mediums of art inspire your hats the most?

SJ: I would probably say the most is architecture but nature as well as painting and sculpture, but the form of everything and everything, whether it’s an Opera or an apple, they tell a specific story.

SJ: Is there a hat you would never wear?

I would try everything, but not wear things which I didn’t feel were convincing i.e. a cowboy hat

What made the environment and culture of The Blitz a fertile ground for creativity?

SJ: Because it filled the vacuum that had been left by punk.

Do you have any favorite young milliners?

SJ: As the Chairman of the British Hat Guild, I am not allowed to say whether I do have or not

Where do you think people's fear around wearing hats comes from?

SJ: Sometimes it’s the fear of standing out too much and therefore assuming a greater importance than they feel they should have but often you can hide underneath hats too and hats can be the conversation for you.

Is there a hat that got away? An idea you've wanted to create but haven't yet actualized?

SJ: Yes I am always looking for that hat around the corner.

Culture

Secret Teahouse Serves High-Frequencies on Brutalist Penthouse

April 27, 2026

Inside the Terre Velasca’s 25th floor hides the CROMO’s Secret Teahouse. The reflective tent, designed by Bogdan Martoiu, is based on the Vietnamese Rong House, a ceremonial space for cultural gatherings. Inside the temporary teahouse, a tea tasting session guides the guest experience of CROMO’s Cyborg Beauty, a Moroccan Mint Tea. Outside, a mini matcha bar served the event’s exclusive Double Tea - a mix of jasmine, matcha, and Oatly. The pop-up event is Milan’s first of many, leading up to the permanent opening later this year. The space was supported through the private membership club Madison House, also home to Terre Velasca in late 2026. Together, the immersive and thoughtful concept reshapes how tea can be integrated into contemporary markets, design, and culture.

CROMO values the ritual and intention behind tea, recognizing it as the ultimate wellness elixir. Tea attributes the radical notion of slowing down in lieu of the modern hustle culture, regulating a previously tense nervous system. The collection of nine high frequency teas are designed to heighten the physical and mental state. Ethically sourced from China, Japan, Kenya and made with low-impact methods, tea takes its purest form here, uniting craft and character across continents. The nomadic teahouse and all who were involved celebrate the present moment by elevating ancient tools for cultivating connection with the self, each other, and nature.