adidas Originals rescata una de sus siluetas icónicas, la Gazelle y las relanza con una colaboración con el artista Doug Abraham, más conocido como @bessnyc4 y una foto de Kate Moss cuando su rostro aún era el de una teenager. Recuperando una fotografía icónica de 1993 en la que Moss aparece con unas Gazelle, Abraham abarca un nuevo medio creativo de reapropiación de la moda y la memoria colectiva de las imágenes de la cultura popular, reinventando un nuevo concepto visual.
Abraham y su nueva obra narrativa traen de nuevo la Gazelle para crear un futuro.
“La memoria colectiva nos proporciona inspiración para crear nuestro futuro”, explica Nic Galway, vicepresidente de Diseño Global de adidas Originals. “Con el relanzamiento de Gazelle miramos a las referencias culturales originales que definen la autenticidad del estilo. Kate Moss siempre ha tenido una conexión con la marca y con la Gazelle, desde los años 90. Un testimonio de cómo la silueta se ha adaptado al estilo y la cultura del pop”, añade.
Presentada por primera vez en la década de 1960, el legado de Gazelle ha estado presente en todos los estilos culturales. Uno de los referentes más emblemáticos de esta silueta es la fotografía de 1993 de Kate Moss, en la que está inspirada esta nueva campaña, y una imagen que capta perfectamente la esencia de Gazelle.
“Gazelle era la zapatilla que todos usábamos en la década de los 90, tiene un estilo totalmente atemporal. Yo siempre he sido una chica adidas”, explica Kate Moss.
Take a look at C.R.E.O.L.E’s Spring/Summer 2026 backstage, captured by the lens of Spencer Stovell during Paris Fashion Week, in exclusive for Fucking Young!
Glenn Martens’ Maison Margiela Artisanal collection doesn’t just borrow from history, but it fractures it, reassembles it, and wears it like a second skin.
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Turn the page. Breathe deep. Your pupils are already dilating. The high is coming.
Issue 26 brings together two electrifying covers that take the dopamine dive from Sadiq Desh captured by Cris Cerdeira to multidisciplinary visual artist and photographer Tomás Pintos’ cover story, Besos hasta agotar stock (Kisses Until Sold Out), developed from the live performance creating a space where glamour
meets exhaustion.
