Our review will be posted shortly. See the complete collection by clicking the image at left.
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American Diagnostic Corporation 427 Adtemp Temple Touch, White

• Reduces the risk of cross contamination and avoids the need for costly probe covers
• Ideal for the hospital, clinic, or physician office
• Last reading memory, Dual scale (F/C), Water resistant
• Uses 2 “AAA” batteries (included)
• Auto off function conserves battery life, Audible tone when measurement is complete

The Adtemp Temple Touch Thermometer provides an accurate 6 second non-invasive temperature reading at the forehead making it ideal for pediatric patients. The cost effective design makes it ideal for institutional use. Non-invasive forehead temperature measurement using patented conductive technology delivers clinically accurate reading in about 6 seconds. Reduces the risk of cross contamination and avoids the need for costly probe covers.

List Price: $ 13.99

Price: $ 9.29

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Virgil Abloh, the multitalented ambassador of youth culture, has finally infiltrated the world of fashion. His brand Off-White started as a step in the evolution of his vision for elevated streetwear, and is now a fully developed collection with an atelier up and running in Milan. Abloh is, in his mind, a shepherd. His mission: To “carry kids down the path of more informed streetwear, a streetwear that is more sophisticated but still has the signifying details of classic.”

That is exactly what Abloh offered up for the Spring/Summer 2015 collection. The range is overflowing with ideas, mostly centered around the world of a street-savvy beach bum. Layering is key to the Off-White look: The collection’s high notes involve T-shirts and shorts as top layers; elongated mesh skirts; ponchos; and striking red, black, and white monochrome ensembles. The thicker plastisol screen-printing techniques that have been popular for the last few years—used for Abloh’s old Pyrex wears as well as previous Off-White collections—have been swapped out for softer, less perfect graphics, often appearing near hems on shirts and pants. Jeans were cut long and tapered, a fit reminiscent of Hedi Slimane’s coveted Dior Homme denim circa 2005. Rider jackets in black and ready leather and neoprene were cool enough to be must-haves for the season.

With this effort, Abloh has proven that he has an eye for color and a keen sense of how a full collection is put together, but he’s limited by his adherence to familiar ideas, relying on a few streetwear tropes that are ready to be retired—crotch prints, sweatpants, military patches. Paint splatters and fringe distressing aren’t quite convincing enough to portray the Baja-surf culture vibe Abloh’s attempting to capture.

Surely Abloh’s is a very active mind, with the potential to have influence greater than some of the very large, old fashion houses he now resides with in Milan. He made his name pushing the boundaries for what T-shirts and hoodies can be, but now that he’s in Milan bumping elbows with Prada and Gucci, he’ll have to start taking even bigger risks to stand out.
—Noah Johnson
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Our review will be posted shortly. See the complete collection by clicking the image at left.
Runway Feed

Writ small on the card on everyone’s seat at the Saint Laurent show were the words “Psych Rock’s New Rising.” A phrase pregnant with promise, and every element of the performance was exhaustively calibrated by Hedi Slimane to deliver on it. By now, we know all those elements by heart. The invitation arrives as a little black book of a California artist’s work (today, Bruce Conner). The soundtrack is a contribution from an obscure West Coast sixties-revivalist band (the wide-hatted Mystic Braves were an aural and visual complement to the new collection). The front row is a cross-legged tribe of Hedi’s Kids, wide-eyed disciples of his fashion shamanism. The set is an extravagant feat of futuristic engineering, with sci-fi lighting effects. And the clothes? Well, they’re the costumes for Slimane’s piece of theater.

Until now, it has felt like Slimane was a passionate fanboy. That passion had become quite persuasive; the sales figures are more than enough evidence. But here it all went a little predictable and chilly. There was a sense of boxes to be ticked—Little Bugle Boy jacket, poncho, sheepskin vest, army surplus, embroidered jeans, amulets, snakeskin boots, garage band—rather than an unleashing of the beast of psych rock. Of course, Slimane’s collections for Saint Laurent are notoriously divisive, so those items will no doubt have plenty of fervent admirers, too.

One member of Slimane’s cast of characters stood out for his black-suit/white-shirt garb, incongruous amid the scrawny psych rockers and their ladies of the canyon. He looked like the archetypal wheeler-dealer band manager who’d end up milking his young protégés for all they’re worth. His cynical presence added to the theatricality. So did the shine of a striped lamé jacket, the sparkle of a glittery afghan, the embroidered poppy that trailed down a jacket. It was enough to make you wish Slimane would hurry up and get to glam rock on his trawl through the annals of popular music.

Speaking of possible futures, the most intriguing thing in the designer’s cryptic show notes was a special thanks to trance-punk artist Arrington de Dionyso. Maybe Slimane has surprises in store after all.
—Tim Blanks
Runway Feed

Our review will be posted shortly. See the complete collection by clicking the image at left.
Runway Feed

Our review will be posted shortly. See the complete collection by clicking the image at left.
Runway Feed