Email info@vanish.today to order any issue. Magazines are also found in select bookstores and boutiques globally.

VANISH EXISTS AT THE COLLISION POINT BETWEEN OUTDOOR AND URBAN CULTURES. FROM MOUNTAINTOPS TO FASHION WEEKS, ALPINE PASSES TO CONCRETE GRIDS, WE EXPLORE HOW THESE WORLDS INTERSECT, OVERLAP, AND RESHAPE ONE ANOTHER.

Our goal is to expand the known boundaries of “outdoor”— introducing radical ideas, visionary people, and pioneering brands that
are forging new territory where culture, nature, and the future converge. Along the way, Vanish serves as a set of cairns, guiding you forward through unfamiliar ground— markers pointing toward what’s next, and reminding you that the path is rarely a straight line.

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Three generations, two villages, one family’s mountain.

Faustine Armand, sales manager of La Maison Pinturault, met me with a smile outside Hôtel Les Peupliers on a lovely afternoon, the kind where the mountains begin to disappear into the clouds and the village turns inward. I instantly could tell that she was the right person to introduce me to a place like this. She’s been working in Courchevel for 14 years, skiing, mountain biking, embedded in the local community long before she joined La Maison a year ago, and I recognized her mountain smile from the ski towns I’ve lived in in Colorado over the last 30 years, warm without being performative, genuinely proud of Le Praz and of the family whose story she was about to share with me.

We toured the village, past the ski jumps, the Épicerie du Praz, down the alleyway to the old stable that is now L’Étable des Lys with the easy familiarity of someone who loves where they work.

After squeezing out of my helmet and ski boots, we lunched at La Table de Mon Grand-Père, and the food was exactly what is demanded after a morning shredding high speed groomers and tentatively testing the off-piste of Courchevel…generous, local, hearty. By the time we finished I was already thinking about coming back with my bike. That feeling, I’ve come to understand, is the whole point.

The gondola from Le Praz deposits you at the edge of snow in Courchevel 1850 in just about seven minutes, part of the village transportation infrastructure in fact. Up top is what most people picture when they hear the name — and the altiport made famous from the 2025 Tour de France finish, designer boutiques, five-star addresses and discotheques perched above the snowline.

Below, however, is a real village, one that was here before the ski lifts, where schoolchildren walk down the streets in the morning and year-round residents keep gardens and shop locally. Le Praz is where Courchevel’s roots are, and not coincidentally, where the Pinturault family story is alive.

The Pinturaults arrived in Courchevel in 1961, when the ski area was still finding itself. Christiane and André had the pioneering sense to build their hotel Annapurna in 1974, and it has held the highest address in the resort ever since, awarded a Michelin Key, and also ski-in/ski-out onto the Pralong lift. In 2022, the family extended their reach down the mountain to acquire Hôtel Les Peupliers in Le Praz, a historic property that has changed hands only twice in nearly a century. Together along with three private chalets in the forest above Le Praz, and a collection of restaurants across these villages, La Maison Pinturault now spans the full vertical and cultural range of the resort, from the summit to the valley floor, in a way that mirrors the family’s own breadth of connection to this place.

This is not a hospitality brand that materialized from a business plan; it is a family that has been skiing, cooking, farming, and hosting on this mountain for more than 60 years.

The Mountain They Know

If you are the kind of skier for whom Les 3 Vallées is not an aspiration but a pilgrimage, you already know what this terrain means. Six hundred kilometers of linked slopes connecting Courchevel, Méribel, Val Thorens, Saint-Martin-de-Belleville, Les Menuires, Brides-les-Bains, and Orelle — the largest ski area in the world, with 150 kilometers in Courchevel alone. The Annapurna sits directly on the slopes with access to a beginners’ area right out the door, so families with mixed abilities can all get on the hill without a production. For stronger skiers, the demanding summits and the full Les 3 Vallées circuit are a lift ride away.

The Pinturaults did not simply set up shop at the entrance to all of this, they grew up in it, which is why Alexis Pinturault’s story feels less like a footnote to the family hospitality business and more like its spiritual center. Three-time World Champion and three-time Olympic medalist: two bronzes in the giant slalom, a silver in combined. Five small crystal globes and the large one, the overall World Cup title, which only Jean-Claude Killy and Luc Alphand had won before him in French skiing history. The most decorated alpine ski racer France has ever produced, he learned to ski on these slopes, coming back to these mountains at the end of every season, and is now building his post-racing life here with his wife Romane. Their daughter Olympe arrived last year, the fourth generation.

His trophies line the walls of La Table de Mon Grand-Père in Le Praz…a genuine record of a life lived thoroughly on this mountain. He and Romane are expected to take over the Courchevel Le Praz properties when his racing career winds down. The Chalets Altaï (three eco-designed private chalets in the forest above Le Praz) were built in 2023 in part through his involvement. When serious skiers sit down to dinner in Le Praz and look at those trophies, they know exactly what they mean.

His sister Sandra runs the collection. She joined the Annapurna in 2013, starting as a receptionist, working through reception management and accommodations before taking over the hotel in 2019. By 2022 she had created three restaurants, including the gastronomic Alpage, which earned a Michelin star in its first season, as well as the Écotable label’s highest three-star distinction for sustainable gastronomy. Sandra is a passionate equestrian and art collector, and those sensibilities show throughout the Annapurna, fine art photography on the walls, street art she champions, room renovations in light oak and natural wool that feel intended for those who spend their summers outdoors. Since December 2023 she has helmed the full La Maison Pinturault Collection across both villages.

Le Praz: The Village First

Arriving in Courchevel, you’ll first discover Le Praz village at 1,300 meters, at the edge of the forest at Lac du Praz, facing the 1992 Olympic ski jump complex. The streets are narrow, the buildings representative of southern France, with local residents here who are not on vacation. The gondola to 1850 runs regularly to ensure a connection to the slopes above and easy access to the sport; but the pace and feeling are entirely different.

Hôtel Les Peupliers seems to anchor the village. Built by the Blanc family in 1930, taken over by the Gacon family in 1980, and purchased by the Pinturaults in 2022, only the third family to own it in nearly a century. It’s a four-star property that wears its history comfortably: a lakefront address with a south-facing terrace and the feel of a house that has always belonged to the same person. It features 18 rooms and suites in the main building, finished in stone and wood with Savoyard motifs and views of the village and lake. Across the street, a 14-room annex called La Maison sits just meters from Lac du Praz. General Manager Julien Chamoux has been here since 2023, a family friend and former Accor and Cimalpes veteran who chose Le Praz for its own sake: “the family atmosphere and the village life all year-round, where schoolchildren pass skiers in the morning.”

La Table de Mon Grand-Père is where Le Praz’s culinary soul lives. The kitchen is run by Chef Maxime Bertholle under the direction of Jean-Rémi Caillon — local, seasonal, quintessential French. Caillon describes it simply: “We dine as we gather after a day outdoors, with fresh cheeks, open hearts and hearty appetites. A mountain on a human scale.” Seasonal stews, matured cuts of beef, freshwater fish, vegetables from local growers, Trufflifette and Crozotto. Get the sharing menu. (Live music runs every first Thursday of the month.)

Tucked down a charming village alleyway, L’Étable des Lys occupies a former village stable under stone vaults decorated with old wood. Although it was closed for a private event that evening, I was told cheeses selected by Bernard Mure-Ravaud, a Meilleur Ouvrier de France, drawn from nearby farms — potchon, matouille — in a setting Caillon describes with obvious affection: “You enter as if in a friend’s house. The wood creaks, the embers crackle, and the cheese warms you.” Out front, the Kiosque does crêpes, waffles, and mulled wine. L’Épicerie du Praz, opposite the hotel and curated by grocer Thierry, stocks the same products used across La Maison’s kitchens…bread from La Marmottine, Savoyard charcuterie, fine wines, crozets, specialty coffees, plus signature items like the artisanal La Mousse du Chef beer (which I enjoyed thoroughly) and the La Maison Pinturault house coffee (which I also enjoyed upon my sad return to the United States). Their gourmet events series, Les Rencontres Gourmandes, is in its second season, bringing winemakers, cheesemakers, growers, and chocolatiers in for evenings that feel more like village life than programming.

Into the Forest: Chalets Altaï

Hidden at the end of a small alleyway leading into the forest above Le Praz, the three Chalets Altaï were completed in 2023, built by Sandra and Alexis as a statement about what responsible alpine architecture can look like. Named for a Eurasian mountain range spanning Russia, Mongolia, China, and Kazakhstan, they were constructed with eco-responsible materials, wood heating, triple glazing, thermo-brushed local wood, natural wool and regional stone, and furnished with vintage designer pieces sourced through the Selency marketplace by Atelier Giffon. Every detail, from ski pole handles in the ski room to the carefully chosen books and dishes, feels like the work of people who use these spaces.

Chalet Beloukha runs 430 square meters, sleeps eight adults and four children across four double bedrooms and a children’s dormitory with its own slide, and is ski-in. Chalet Irbis (named for the snow leopard) is a five-bedroom retreat for ten, with hammam (Turkish bath), sauna, and herbal tea room. Chalet Khoton is the flagship: 506 square meters, five bedrooms, and a 120-square-meter spa with an indoor pool, Japanese baths, hammam, sauna, a Norwegian sauna, massage room running Estime & Sens treatments, and a gym. All three receive full Hôtel Les Peupliers hotel services: shuttles, daily housekeeping, breakfast, and concierge (and access to the Estime & Sens spa). I didn’t get to tour these properties but from what I can tell, I really want to go and live there, forever.

Hôtel Annapurna: The Summit

The Annapurna sits at 1850 between the Jardin Alpin and the altiport, ski-in/ski-out onto the Pralong lift and into Les 3 Vallées. Christiane and André Pinturault acquired the land in 1972 and opened the hotel two years later. Claude modernized it through the 1980s, adding suites, terraces, the heated outdoor pool, spa, and a seminar room. Sandra has continued that evolution since 2019, renovating rooms and restaurants through 2023 without disturbing what her grandparents built. What they built, was soul.

The building was designed on the heliotropic principle, oriented to chase the sun across its exposures so the panoramic views of La Saulire, La Grande Casse, and L’Aiguille du Fruit are never static, light moves through the giant bay windows differently depending on your floor and the hour. Luxury on a human scale, the Pinturaults call it, authentic, warm, without the coldness that high-end alpine addresses can carry.

This winter brings significant updates. Four Junior Suites and the flagship Everest Suite (145 square meters, a terrace facing the slopes, a private sauna) have been redesigned by Atelier Giffon in light oak, wool, and natural stone. “Every year we undertake hotel renovations,” Sandra said, “incorporating wood, stone and natural colors.” The 76 rooms and suites span five categories, from compact Vallée rooms to the named suites — Annapurna, Makalu, K2 — borrowing scale from the 8,000-meter peaks they’re named for.

The spa has been redesigned this season too: more spacious hammam, new jacuzzi facing the mountains, two saunas including one with panoramic views, both indoor 15-meter and outdoor pools, and Codage treatment rooms where custom serums are formulated on-site for each guest, along with yoga, Pilates, physiotherapy, and osteopathy. For families, La Banquise des Petits handles kids three to ten with an indoor polar-themed club and a Base Camp outdoor playground including a real igloo, 21-meter slide, and fishing module. A teen room and screening room handle the rest.

The ski service is dialed: heated individual lockers, ski valet, and shop on site. A fleet of hybrid Range Rovers handles village transport…40 years of refinement look like this.

The Kitchen at the Heart of It All

Jean-Rémi Caillon is the culinary thread running through every La Maison Pinturault address. A native of Roanne who has worked on the Côte d’Azur, in Paris, and at Lake Geneva, he carries Bocuse and Escoffier alongside lessons from his travels in Japan and a love of foraging for wild herbs.

“While meat and fish remain central to my cooking,” he says, “it is essential that we give vegetables their due, ensuring that they make up at least 50 percent of the plate at every meal.” That holds across every kitchen in the collection.

At Alpage (18 seats Wednesday through Sunday evenings, one Michelin star) five and seven-course menus pay tribute to the surrounding mountains through the artisans, market gardeners, and producers of the valley. The dining room feels like a distillation of the landscape: oak from Albertville, granite from the Mont Blanc massif, ceramics by Anne Marmottan, a soundscape by Le Couturier du Son. The three Écotable macarons — the label’s highest distinction — reflect Caillon and Sandra’s rigorous commitment to local sourcing and ecological responsibility.

Restaurant La Table de l’Annapurna, the Annapurna’s main dining room, serves generous traditional French cuisine with a sunny terrace at the edge of the slopes. Head sommelier Valentin Peyrard runs weekly winemaker dinners featuring producers from Champagne, Burgundy, the Loire, Bordeaux, the Savoie, and the Côtes du Rhône, older vintages and menus from Caillon’s kitchen, roughly three hours of genuine food-and-wine immersion. (Weekly tasting workshops for four to ten guests run at €40 per person.)

La Fèrma, the hotel’s 20-seat Savoyard specialist, is where you come for raclette and fondue while the snow falls outside — cheeses selected by Bernard Mure-Ravaud, a Meilleur Ouvrier de France. The bar, where Alain Péant has been making cocktails for 40 years and this season welcomes original creations from French mixologist Jérémy LeBlanche of New York’s Thyme Bar, is the kind of room where the evening extends without asking permission.

Courchevel celebrates its 80th anniversary this season. The resort hosted the women’s slalom World Cup in December 2025 and will host the men’s super-G and downhill in March 2026. The Alps may host the 2030 Olympics, with Courchevel in the running for events. These are indications of a mountain that matters to the world.

The Pinturaults have been part of that mountain since before most of its visitors were born. Their family motto — “le partage en héritage, sharing as heritage” — may sound cliche in English, but happens to be true. What La Maison Pinturault offers across the Annapurna at 1850 and the properties in Le Praz is not a curated lifestyle product, but three generations who live, ski, cook here, and have staked their family’s identity on this particular place and have been welcoming guests into that story for more than 50 years. The fourth generation arrived last year and the mountain isn’t going anywhere.

La Maison Pinturault: Hôtel Annapurna and restaurants open December 12 to April 12, 2026. Hôtel Les Peupliers and L’Épicerie du Praz open November 3 to April 19, 2026. Photos courtesy of the property.

–Author Aaron H. Bible is an award-winning travel and outdoors writer with more than 30 years experience covering the outdoor lifestyle industry. Follow him @DefinitelyWild.

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OTSDR is a response to the shifting landscape of outdoor culture, an exploration into the unknown, encouraging new ways of thinking, making and creating. The purpose of OTSDR is to move you closer to nature, to strengthen that connection through experiences in the natural world.

The post Brand Profile Issue Zero: OTSDR appeared first on VANISH TODAY.

And like all good start ups, Tune definitely solves some problems. The 360-lb. Tune M1 potentially raises the bar on weight-to-space ratio, comfort, and functional versatility for pick-up truck based adventurers. Founded by a team of outdoor industry and engineering veterans, Tune Outdoor is a direct-to-consumer brand launching a premium lightweight pickup truck camper to a growing market seemingly still hungry for innovation, value, and product evolution.

Tune Outdoor unveiled its innovative new entry to the growing lightweight truck camper market and we can’t wait to get out and test one. The striking Tune M1 pop-up canopy truck topper seems to blend design innovation, and simplicity. The brand said a streamlined production process delivers an industry-best weight-to-space ratio, exceptional performance, and a stylish, modern aesthetic, targeting the burgeoning vehicle-based adventure and active outdoor community.

Employing durable, lightweight materials, Tune engineers developed an intuitive design that puts the Tune M1’s base model weight starting at only 360 lbs. It also features a patented wing-wall design with flared sidewalls, a market first, and a fully vertical pop-top, providing more cubic living space than any lightweight truck camper on the market. This exceptional weight-to-space ratio broadens the Tune M1’s utility across a wide range of outdoor and offroad conditions, making it an ideal solution for comfortable camping outdoors, whether you’re fishing, surfing, climbing, kayaking, biking, snowmobiling, hunting, and more.

“We designed a canopy truck topper that hits the sweet spot of lightweight, functionality, and feel, allowing you to access your favorite backcountry places with enough space to bring your toys and gear and still camp comfortably,” says company president Sean Kepler, who has held executive leadership positions at The North Face, VF Outdoor, Reef, and Crocs. Tune’s team of outdoor industry veterans and engineers spent more than two years perfecting Tune’s design and production process.

Tune’s structure incorporates an aluminum frame, injected ultra-strong composite corner brackets, a clean polyester pop-top canopy extension, and easy-to-fit, FRP honeycomb paneling. Each camper comes with three aluminum or glass awning doors that allow for easy access from any angle, low-power interior halo lighting, and over 440 feet of universal T-track on the interior, exterior, and roof for unlimited customization. A large sleeping loft allows users to sleep sideways, while maintaining 6’4’’ to 6’10” of stand-up headroom (depending on truck model). The bed and living area can be enjoyed simultaneously, opening the entire cabin to camp living – from hanging out and cooking, to toy hauling and remote working.

“Tune has engineered a product that is affordable, highly functional, and efficient to build, which empowers outdoor enthusiasts to comfortably enjoy their favorite off-the-path places to play and stay,” adds Kepler.

The M1 is being sold direct to consumers at tuneoutdoor.com with a base model price of $12,999 with an introductory price of $10,999 for a limited time.

Tune innovated a patent-pending industrial design solution that allows the Tune M1 to assemble quickly and easily, translating to fast installation lead times and efficient after-market service. The Tune M1 camper easily integrates with nearly any pickup chassis—from Tacomas to the Ford Lightning—providing unparalleled performance and comfort without extensive modifications.

The co-founder of Tune is an old friend of mine and one of the original inventors and partners at Backcountry Access. He’s got a depth and background in the “living and playing outdoors” industry that is tough to match, along with a background in engineering and bringing real world technical products to life. Tons of respect for those guys.

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ON THE FRINGES OF THE SOUTH OF ENGLAND, IN A PLACE CALLED HARTLAND, EXISTS TWO WORLDS IN ONE: GRIFFIN STUDIO, THE PRACTICE OF JEFF AND KARINA GRIFFIN, INNOVATORS IN TECHNICAL OUTWEAR, AND THEIR HOME AND ECO-REATREAT LOVELAND FARM – A PLACE WHERE URBAN AND NATURE EXIST TOGETHER, INSPIRING A RECONNECTION TO THE VASTNESS OF NATURE AND ITS WILD DRUMBEAT.

The post Vanish Outdoor Magazine Exclusive: Griffin Studio and Loveland Farm appeared first on VANISH TODAY.

Before there was a product, there was a piece of gear—an alpaca sweater purchased from a local artisan during a 2015 backpacking trip through the Andes, worn repeatedly, relied upon, and, in time, difficult to replace once back in the United States. What registered was not novelty, but absence: despite its performance, alpaca remained largely unknown within the broader apparel landscape. That gap between utility and recognition became the entry point.

Kris Cody went back to Peru, reconnected with the original maker, and began assembling the early structure of what would become PAKA—less a conventional supply chain than a set of relationships, anchored in place and built incrementally from the ground up.

From there, the company’s framework establishes itself quickly: alpaca, sourced from herds in the high Andes; alpaqueros, whose livelihoods are tied to those animals; and Quechua weavers, whose work translates fiber into finished form.

Where most brands smooth over these transitions, PAKA marks them. Each garment carries a handwoven Inca ID—a small textile signature identifying the individual artisan responsible for its making—a small insistence that authorship remains attached.

Growth does not alter that framework so much as test it. By 2025, the company is operating at a scale that would typically require a degree of separation: tens of thousands of kilograms of alpaca fiber moving annually through a supply chain that touches thousands of families across Peru. What distinguishes this phase is not simply volume, but the attempt to formalize what had previously been embedded—relationships becoming systems, practices becoming policy.

That transition was made explicit with the establishment of the PAKA Foundation in 2025, a registered 501(c)(3) that consolidates the brand’s social and environmental initiatives into a defined structure, funded by one percent of annual revenue and designed to extend beyond the logic of early-stage growth.

Running parallel to this, PAKA operates as a Certified B Corporation, placing its material and social commitments within an external framework that evaluates governance, environmental performance, and community impact against a defined standard. The impact report that accompanies this moment reads like a document concerned with tracing consequence as much as intent.

At the base of that accounting is the animal itself. Alpacas, adapted to one of the most severe and variable climates on the planet, produce the fiber that underwrites the entire system, yet remain vulnerable to the same environmental pressures that define their resilience: drought, disease, and limited access to veterinary infrastructure among them.

In response, PAKA’s 2025 programs focus on herd stability at scale: more than 60,000 alpacas supported through coordinated health interventions—vitaminization, parasite control, medical treatment—paired with educational workshops intended to extend that care beyond a single season. The work is incremental and technical, but its implications are cumulative. Healthier animals yield stronger fiber; stronger fiber sustains product integrity; product integrity feeds back into the economic viability of the communities that raise them.

That same logic extends into breeding. With limited access to high-quality males, many herds face reduced genetic diversity, leading to weaker animals and diminished long-term value. The distribution of 40 breeding males across participating communities, alongside training in herd management, is framed not as intervention but as a recalibration within the system as an attempt to restore balance.

If the animals represent the beginning of the chain, the alpaqueros define continuity. Working at elevations that can exceed 15,000 feet abs, these communities operate within constraints that are environmental as much as economic such as thin air, limited infrastructure, and restricted access to diverse nutrition. Alpaca farming in this context is less an industry than a condition of life, its stability subject to forces well beyond market demand.

The report outlines a set of responses that move laterally across those constraints. Year-round purchasing agreements for alpaca fiber attempt to smooth income volatility; nutritional programs address anemia and dietary imbalance; school renovations—classrooms, kitchens, sanitation—reframe education as both infrastructure and outcome. Parallel efforts, including the construction and rehabilitation of greenhouses, aim to reintroduce a measure of food security into an environment where it is otherwise difficult to sustain.

In aggregate, these initiatives reach approximately 7,300 families in 2025, accompanied by the provision of more than 16,000 meals and expanded access to fresh produce through localized agriculture. The scale is significant, but the emphasis remains grounded: not transformation in the abstract, but continuity under pressure.

Further along the chain, the fiber passes into the hands of Quechua weavers, whose work carries a different form of fragility. Here, the risk is not environmental but cultural—the gradual erosion of techniques that have historically been transmitted through practice rather than preservation.

Through its partnership with the Centro de Textiles Tradicionales del Cusco, PAKA supports a network of more than 300 female artisans, structuring their involvement in ways that bind economic stability to cultural retention. Regular work, access to materials, and incremental improvements to tools and working conditions address immediate needs, while biweekly gatherings, shared meals, collective production, the presence of children, create a space where knowledge continues to circulate.

The Inca ID, attached to each finished garment, is the visible trace of that system, but the system itself is less easily condensed: a distributed network of labor and memory, sustained not by singular intervention but by repetition.

The extension into education follows a similar logic, though its timeline is longer. Through the PAKA Scholars initiative, 15 university scholarships were funded in 2025, bringing the total to 24, with four graduates completing their studies that year. The focus—young women in Cusco facing structural barriers to higher education—positions the program as both corrective and generative.

The addition of an Entrepreneurial Fund in 2025, supporting graduates in the creation of their own businesses, suggests a shift outward from sustaining existing systems to enabling new forms of participation within them.

Running parallel to these social structures is a material accounting that is equally precise. In 2025, 98 percent of the fibers used in PAKA products are natural, organic, and/or recycled, with 60 percent derived from natural sources including alpaca, organic cotton, and merino wool. Traceable alpaca fiber accounts for 45.4 percent of total use, linking finished garments back to specific points of origin within the supply chain.
The remaining figures are presented with similar clarity: virgin synthetics reduced to 1.7 percent, with a stated aim of elimination as alternatives become viable; zero intentionally added PFAS across 2025 products. There is little rhetorical framing around these numbers. They function instead as boundaries—evidence of a system attempting to define its own limits.

Nearly a decade on, what PAKA has built is most akin to a set of interdependencies held in tension: animal health and material quality, cultural preservation and economic stability, growth and proximity. The company describes this as a “chain of care,” extending from the high Andes outward into everyday use.

What the 2025 impact report makes clear is that such a chain does not sustain itself. It requires structure, repetition, and, increasingly, formalization. The creation of the PAKA Foundation—and its alignment with external standards such as B Corp certification—marks that recognition, the point at which origin, no longer sufficient as narrative, is translated into something durable enough to withstand scale.

As the company approaches its ten-year mark, the underlying question remains unresolved: how to continue expanding without dissolving the relationships that give the material its meaning.

Field Notes: PAKA Founder Kris Cody

In conversation, Cody returns to the same underlying premise: building from source, and attempting to hold that position as the company expands.

On the original vision and early constraints…

“The original idea was simple: create the best alpaca gear and connect people to where their things come from. At the time, I don’t think I had a clear picture of how big that vision could evolve. As PAKA is my first-ever company and brand, I was naive when I launched the brand out of my dorm room for what this journey would require—not to mention doing something that’d never been done before. There’s a saying that most founders likely wouldn’t start a company if they fully realized the reality of the journey. Bootstrapping PAKA without investment was extremely difficult. That being said, I think it’s what has made PAKA as special as it is—staying true and honest to where we started, and doing it our way.”

On differentiation and material innovation…

“I think a big part of it is authenticity. Everything we do is rooted in a real story and relationships. We are far from the boardroom.
On the product side, we’re focused on proving that natural fibers can make the best apparel. Alpaca is still less known and relatively underutilized, and we’re continuing to push what’s possible there with products like Breathe (the first alpaca activewear) and PAKAFILL (our patented outerwear insulation made with traceable alpaca fiber). We have a lot more in the pipeline.”

On the favorites that hold up in daily use…

“My favorite pieces are the basics—Men’s Boxer Briefs, Trail ¾ Crew Socks, and Essential Tee—I wear them every single day. We worked hard to get these core pieces right, and they have a lot of engineering in the fabric most people will never even notice. They’re pieces you don’t normally think about, but once you have them there’s no going back to anything else.”

On the future of sustainable performance apparel…

“I believe the future is natural. Nature has evolved with all the performance we need, and we’ve traded that over the past century for oil-based apparel (⅔ of all clothing currently made is synthetic). At PAKA, we’re reimagining and refining natural fibers for modern use. We’re also seeing a big shift with our customers wanting materials that feel better, last longer, and have real meaning/intention behind them.”

On what he’s most proud of…

“Our community—our customers, partners, and PAKA in-house team make this a dream place. And not compromising and staying true to our values.”

On returning to source…

“Spending time at the source inspires me more than anything else. I was just down in Peru last week visiting Quechua weavers at high-altitudes in the Andes, and then traveled out to the Peruvian jungle to visit the farms and people behind our organic Pima cotton. I came back energized and inspired with ideas for both our product and brand. There’s a simplicity that we always try to honor—timeless, functional products made to discover our world and connect you to the people, place, and material. PAKA serves as a vessel to connect people to origin.”

The post PAKA: Material, Memory, and the Long Ascent from the Andes appeared first on VANISH TODAY.

As part of the recent Vanish tour of Asia, the Vanish team were lucky enough to be invited over to the Beams HQ (overseeing a diverse portfolio of more than 30 brands and creative projects) to meet the chief buyer at Beams Plus and esteemed vintage outdoor clothing collector Shigeru Kaneko.

Given a warm welcome by the Beams staff, Team Vanish were able to learn all about the brand’s incredible 50 year history thanks in part to a permanent in-house timeline exhibition.

Though impossible to document all of their impressive achievements over the years, the products on display nonetheless provided a fascinating insight into the brand. Showcasing a number of key evolutionary moments and significant releases, from the brand’s inception in 1976 (originally called ‘American Life shop Beams’) right through to today’s globe spanning empire. Leaving us in no doubt that though Beams has been inspired by timeless looks such as American Ivy League and classic English tailoring, that their name is now equally synonymous with classic style, albeit with a signature Japanese obsession for detail and premium quality.

Following this impressive history lesson, the Vanish team met up with Shigeru Kaneko, who as well as being the chief buyer of Beams Plus, is also widely respected around the world for his seriously impressive collection of vintage outdoor clothing. Having released his Outdoor Expedition Book 99 last year (Vol. 9 in the “I AM BEAMS” series), an ongoing global exhibition tour (Expedition Club) followed.

Clearly a very busy man, Shigeru kindly took time out to pick some of his rarest and most impressive down parkas specifically for the Vanish team to check out. Consisting predominantly of North American brands from the second half of the twentieth century alongside the incredibly rare down parkas were a number of vintage Eddie Bauer down hand warmers and face masks that have now become something of a Shigeru trademark in his legendary collection. Alongside Eddie Bauer the archival outerwear included brands such as Gerry, The North Face, Pointfive, Moncler, REI, Blacks, Wilderness Experience, Snow Lion, Adventure 16 and Mountain Equipment. The latter two brands and their down jackets having both provided direct design inspiration for recent Beams Plus collaborations with END Clothing and Palace Skateboards, respectively.

Meeting Shigeru and experiencing the collection was an unforgettable experience and a particular highlight in what has been an incredible trip to one of the most exciting and design savvy cities in the world…a visit which was topped off by the always affable Shigeru donning his beloved Gerry U.S.A.F. Survival suit for us and letting us take some shots of him in this incredible piece of military expedition history from 1959.

Vanish would like to say a huge thank you to Shigeru Kaneko and Mizuki Maeda for taking time out of their busy schedules to show us around, as well as all the staff at Beams HQ and the Beams Plus store in Harajuku.

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Running is now borrowing the same ethos, but mind you gravel running isn’t trail running — it’s less technical, less gear-intensive, less committed to a specific landscape: it’s the park path, the service road, the crushed granite connector between the neighborhood and the foothills, and long country roads. Forget routes, finish lines and pace. Brands including Craft, adidas and Mount to Coast have entered the space, but Salomon — with its roots in the French Alps and fingerprints already on a gravel cycling aesthetic — is betting they can own the category.

Most running shoes are optimized for one surface type or another, and the compromise feels exactly that. But the Aero Glide 4 GRVL is Salomon’s argument that the compromise no longer has to feel like one. The shoe’s midsole is energyFOAM EVO, a supercritical TPU compound that delivers more rebound over time rather than packing out after a few hundred miles. The stack/drop is substantial — 41mm at the heel, 33mm at the forefoot, with an 8mm drop — enough to absorb the cumulative impact of a city-to-trail-and-back effort without dulling the feedback that makes a run feel alive. At 9.5 ounces for men, 8.1 for women, it carries that cushion easily.

The outsole draws its geometry from gravel bike tires, which is apt: cyclists figured out long ago that a tread pattern optimized for loose, variable surfaces still rolls cleanly on pavement. Salomon’s contaGRIP compound applies the same logic on foot — woodchips, asphalt, sandy seafront paths, dusty dirt roads — transitioning without the runner having to think about it. That last part matters. A shoe that makes you second-guess your footing is a shoe that pulls you out of the run.

The upper is where the 4 GRVL stakes its claim. A seamless construction pairs with sensiFIT technology and a padded tongue and collar to create a locked-in, glove-like hold — reinforced further by a protective mudguard and a more precise foothold than the standard road version. The quickLACE neo system, a single-pull cord with a gusseted tongue, locks it down in one motion and tucks away clean. The result is something that feels trail-worthy without the stiffness that often comes with that credential.

The gravel running movement asks a simple question: what if the run you actually take on your own on the dusty road alone is better than the one you planned and fought for? The Aero Glide 4 GRVL is built to answer…comfortable enough to run long, confident enough to run anywhere, and still compete when you want to.

$160; salomon.com

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Recognising a serious shortcoming within the manufacturing world, innovative Swedish brand Haglöfs and pioneering textile company Polartec have joined forces to to introduce ‘Standard Issue Black’. Driven by the fact that black is the most used colour in outdoor apparel yet rarely the same shade from one fabric to another, countless versions of black are developed and dyed separately, creating unnecessary complexity and impact. Which is why the brands have created a pre-dyed black standard designed in order to simplify sourcing and reduce the environmental footprint associated with fabric dyeing and colour development.

During a joint material review, Haglöfs and Polartec identified more than twenty visually similar black variations in active use within Polartec’s bestselling original technical fleece series. With each requiring their own dyeing process, production volumes and resources, despite the end results appearing to be virtually identical.

Addressing this inefficiency at scale when compared to traditional piece-dyed black fabrics, Standard Issue Black reduces water use in production by over 50% and saves a minimum of 20% energy usage compared to traditional piece-dyed black fabrics, based on internal production assessment. This offers a more resource-efficient approach to one of the most widely used colours in outdoor apparel.

The initiative between Haglöfs and Polartec has been showcased by a Black Capsule — a limited collection created using existing Polartec leftover fabrics in multiple black variations. Rather than creating something new, the capsule brings these variations together to make the implications of today’s fragmented approach to black visible, whilst also allowing this partnership to set the context for a shared standard going forward.

“By standardising something as fundamental as black, we can reduce unnecessary steps in production and make better use of shared resources,” says Ramesh Kesh, SVP at Milliken & Company and Business Manager at Polartec. “Standard Issue Black™ is intentionally open to the entire industry. Our aim is to contribute to a broader shift towards shared standards in how colour is developed and produced.” Whilst for Haglöfs, the initiative also reflects a long-term approach to design and product development, where early decisions play a key role in reducing complexity and extending product lifespan.

“Colour choices have long-term consequences,” says Eva Weiss, Head of Design at Haglöfs. “We approach colour with great attention to detail, understanding how materials and construction influence a shade. By working towards a clear standard, we reduce unnecessary variation while maintaining design integrity. It’s precision with purpose, supporting longevity in both function and expression.”

Following years of successful collaboration, the two companies see Standard Issue Black as a starting point for continued dialogue and cooperation across the industry — demonstrating how shared standards can help reduce complexity, conserve resources and support more responsible product development over time. Standard Issue Black will enter production for the first time in Haglöfs’ FW26 season, marking the transition from concept to implementation.

The Black Capsule collection will be available online at haglofs.com and in selected Haglöfs stores in Stockholm, Gothenburg, Helsinki, and Åre from March 13th.

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What is PandaPrank?

PandaPrank consistently pushes the boundaries of traditional design, focusing on crafting one-of-a-kind custom sneakers and unlocking infinite possibilities in sneaker re-creation. We are the first custom sneaker brand in China to receive authorization from Vibram. The sneaker industry produces billions of new shoes annually, while countless wearable pairs are discarded. We challenge this cycle by giving pre-loved sneakers a bold second life. Through deconstruction and hand crafted redesign, we merge streetwear aesthetics with eco-conscious practices – striking a perfect balance between professionalism and innovation, adding profound meaning to sneaker customization.

Why Sneakers?

Using sneakers as a medium, we connect with and engage those passionate about creativity and outdoor culture through outdoor activities. During this process, we noticed that many shoes are discarded due to damaged soles; moreover, some popular models lack outdoor functionality yet are still used in such activities. The sole is not only a crucial component of a shoe but also determines its lifespan. Therefore, we have introduced the PTS system, designed to extend their lifespan, and enhance their functionality. Whether for hiking, climbing, sports, or pairing with everyday outfits, PTS meets your diverse needs.

“Creation Is Creed”

What is the PTS system?

PTS, full name Pro Trekking System, is a set of highperformance structure replacement systems. This system
consists of the Vibram professional outdoor outsole, Anti-Collision toe cap, shock-absorbing insoles, Stable-heel
stability system, Quicklace system, Ultra Rebound lightweight midsole, all originally designed by PandaPrank®. It is
compatible with the uppers of most mainstream brands and is suitable for outdoor and urban environments, ensuring safety and functionality, while also having both comfort and fashion sense.

What’s the process?

Guided by the core philosophy of “Make Some Changes” we consistently push the boundaries of traditional design, focusing on crafting one-of-a-kind custom sneakers and unlocking infinite possibilities in sneaker re-creation. We delve into the richness of local culture, collaborating with hidden masters of intangible cultural heritage to seamlessly blend traditional craftsmanship with modern aesthetics, creating works of elevated value. By partnering with renowned domestic and international brands, PandaPrank conveys its distinctive design philosophy through every creation, presenting meticulously crafted, unforgettable designs.

Explain the connection to nature and sneakers?

Our design inspiration is deeply rooted in outdoor culture, with each custom collection taking outdoor sports as its creative starting point. Whether it’s the visual aesthetics or the selection of customized materials, every element is meticulously crafted to harmonize with nature. For each collection’s campaign shoot, we venture into distinctive outdoor locations, fully showcasing the intrinsic connection between our design craftsmanship and the natural world.

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