How Willy Chavarria Is Redefining American Menswear Through Latinx Heritage
When Willy Chavarria's debut collection with adidas Originals was revealed earlier this month, fans were elated. In addition to having adoration for the designer who stands up for LGBTQIA+, immigrant, and human rights, his collaboration with the international sporting brand would elevate his storytelling to the larger market. Chavarria, a proud Mexican-American, infuses his cultural identity into all of his work and this latest project was a direct reflection of that connection.
Previewed pieces from Willy Chavarría x Adidas Spring/Summer 25' had his signature black and red color palette with adidas' classic 3-striped sides. The collection also brings back to life the archival adidas Jabbar sneaker, created for Kareem Abdul Jabbar, one of the most celebrated basketball players of all time.
The collection appeals to streetwear lovers but also shows Chavarria's extensive knowledge of Chicano history and visibility in fashion. The same could be said for when he showed up the 2025 Met Gala, themed after Black dandies. Maluma and Chavarria came to the event together wearing custom suits from Chavarria with shoes from Portuguese designer Carlos Santos. Chavarria, whose father is Mexican, referenced the Pachuco style of the 1930s for the vibrant suits. Pachucos and Pachucas were a subset of Mexican Americans who, in an attempt to defy xenophobic attacks on their community, wore their own versions of Zoot suits.
'The Pachuco, as we know, is the quintessential dandy from the 30s and 40s representing Latinos and Black (people) who dressed as a form of resistance to the beauty,' Chavarría told WWD, "I hope to encapsulate that.'
Beyond the Met, Chavarria is a genius when it comes to cultural symbolism. His Chicano heritage shows up in his prints, silhouettes, casting, and runway music. He's shifting the conversations around luxury fashion inclusion in every garment he makes. He's intentional about the artists he works with like Kendrick Lamar, YG, Tokischa, and Becky G. And he's outwardly promoting credit being given where its due.
Last night, the designer was honored at the 76th Annual Parsons Benefit. Chavarria accepted his award from Executive Deputy Director of the ACLU, AJ Hikes, who made a moving speech on the importance of diversity and inclusion. But before he took to the stage, he shared what he wished more people knew about his Chicano history.
'It really started [with] the Pachuco suit in the thirties and forties, which was, as we know, outlawed; Brown people could not wear the suit,' Chavarria says. 'But that evolved into a baggy look, which went from Pachuco into more modern age Cholo, which were gang related. And the gang relations were actually a way to claim territory that had been robbed. And unfortunately, it turned into drugs and violence, but that's the way the world built us."
Adding, 'That influence in fashion, baggy clothes, has stayed around. It went from the Mexican influence to the skate culture, which immediately took that and profited off it. And we got all those brands that went to town with the baggy [clothing]. And now we see baggy everywhere. We see major luxury brands claiming it.'
Every so often, the fashion industry gets a disruptor who challenges the status quo and creates a seat at the table for those left out. Chavarria's work is not only inspiring, it's paving a path for designers to be authentic about who they are.
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Honoring Robert Altman's centennial, plus the week's best movies in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. This week, The Times published a series of articles looking at possible different futures for Los Angeles. Greg Braxton wrote two pieces, including one about Hollywood's long-standing fascination with depicting the destruction of the city, including 'Escape From L.A.' to 'Blade Runner,' 'This Is the End' and many more. Braxton noted, 'In 'Los Angeles Plays Itself,' [Thom Andersen's] 2003 documentary chronicling the portrayal of the city through cinema history, Andersen aims his own wrecking ball. The film's narrator quotes the late Mike Davis, a noted historian and urbanist, when he says that Hollywood 'takes a special pleasure in destroying Los Angeles — a guilty pleasure shared by most of its audience.'' He also specifically examined 'Miracle Mile,' Steve De Jarnatt's 1988 apocalyptic romantic adventure drama featuring the stretch of Wilshire Boulevard from La Brea to Fairfax. The UCLA Film and Television Archive is in the midst of 'Robert Altman's America: A Centennial Review,' a look at the monumental filmmaker's wildly unpredictable body of work to mark 100 years since his birth. The designated home of Altman's personal print collection, the archive will show many of the films in 35mm. Writing when Altman was to receive an honorary Oscar (an occasion that turned out to be just a few months before his death in 2006), Peter Rainer called him 'perhaps the most American of directors. But his Americanness is of a special sort and doesn't really connect up to any tradition except his own.' Comparing Altman to such filmmakers as John Ford, John Huston, Frank Capra, Sam Peckinpah, Howard Hawks and Preston Sturges, Rainer added, 'Altman, who has ranged as widely as any of these directors across the American panorama, is a more mysterious and allusive artist. He is renowned for the buzzing expansiveness of his stories, the crisscrossed plots and people, but what strikes home most of all in this sprawl is a terrible sense of aloneness. … If being an American means being rooted to the land, to a tradition, a community, then it also means being forever in fear of dispossession. Altman understands this better than any other filmmaker. It's what gives even his rowdiest comic escapades their bite of woe.' The series began last week with 'Nashville,' a movie that celebrates its 50th anniversary this year and which this column has recently discussed. 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The cast includes Richard Dreyfuss, Melinda Dillon, Teri Garr, Bob Balaban and François Truffaut. In his original review of the film, Charles Champlin wrote, 'The special effects conceived by Spielberg and executed by Douglas Trumbull and a staff that seems to number in the hundreds are dazzling and wondrous. That's not surprising: The surprise is that 'Close Encounters' is so well leavened with humor. … 'Close Encounters' stays light on its legs, mystical and reverential but not solemn. It is a warm celebration, positive and pleasurable. The humor is folksy and slapstick rather than cerebral, as if to confirm that our encounter is with a populist vehicle.' 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'We called it 'Jersey corrido,' ' Armenta says proudly. 'In our search for the perfect harmony between house and EDM, we found this rhythm where we can play it with a tololoche [a Mexican folk instrument that is a variant of the double bass] and finish it off with charchetas. All the folklore that this song carries is very beautiful, and it really opened our eyes to the fact that the sky is the limit.' Frank Rio A fan of the stripped-down melodic approach to regional Mexican music, Rio was eager to experiment with the style, but 'I didn't want to force it on anyone,' he says, having previously worked mainly with non-regional Mexican acts like and Jhayco. Then he met Ivan Cornejo and they instantly connected. 'We're emo boys,' Rio says with a laugh. Cornejo's stirring vocal delivery meshed perfectly with Rio's equally emotional production style. 'When I'm part of a record from start to finish, there's definitely a lot of emotion,' says Rio, 32. 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But when he joined Fuerza Regida four years ago and got in the studio with the band, he saw producers create a song from start to finish and thought: 'I can do that and I want my credit, too.' While his career as a producer is only just starting — the 22-year-old was initially brought on as the band's tololoche player and officially became one of its producers two years ago — López is already leaving a mark on regional Mexican thanks to his work on Fuerza Regida's 2025 album, 111XPANTIA, which peaked at No. 2 on the Billboard 200, becoming the highest-charting Spanish-language album by a duo or group ever. 'Building a song from scratch is like a puzzle,' says López, who gets animated talking about his work in the studio. 'The goal for me is always to experiment and find what the next big sound or wave will be but also keeping our corridos roots.' Fuerza's producing crew — which also includes frontman Jesús Ortiz Paz — took it a bit further this time around, incorporating synths behind instruments for a punchier sound. It also did something the band had never done before: 'We added samples from other genres,' López says. 'In 'Tu Sancho,' you'll hear Ellie Goulding's 'Don't Say a Word.' We realized it was time to add samples to our music, which will mark a major shift in our genre.' This story appears in the Aug. 16, 2025, issue of Billboard. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart Solve the daily Crossword
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Tokischa Is Finally Ready To Release An Album To ‘Let It All Out' — And It Won't Be What You Expect
Tokischa's hair spikes out like jagged rays of an eccentric sun, bleached in a shade of unapologetic, brassy yellow. The hairdo — teased in the dual music video for her tracks 'Miami' and 'Celos,' released in June — is intentionally loud. It's a technicolor warning that something seismic is coming, a glimpse into a new phase that the Dominican star has been meticulously planning. 'The hair is key in the world of the album,' Tokischa teases of her forthcoming debut. The look itself is a callback to Tokischa's 2021 music video for the frenetic 'Tukuntazo,' one of her early breakout hits, where she wrapped her curls in aluminum foil to construct the jagged shapes. 'Now that I have access to wigs and a hairdresser, I can really use that hair concept and develop a character with that aesthetic, which is a rocker,' she says. More from Billboard Addison Rae & Her Producers on the 'Different Energy' of Their 'Magic' All-Women Studio Sessions Meet the Producers Making Regional Mexican Music Explode Here's What Mariah Carey Really Thinks About the Billboard Charts Tokischa, the 29-year-old artist who helped turn dembow into a global sound — and has repeatedly fueled controversy with her sexually charged lyrics and provocative stage antics, including kneeling onstage to eat and drink from a dog dish — has built her career around bold, ever-evolving personas. From 2023's Popola Presidente (the 'president' of a fictional political party, PPL: Partido por la Libertad, with a platform of love, freedom and LGBTQ+ advocacy) to just Popola (Dominican slang for vagina), her work symbolizes empowerment through no-holds-barred femininity and subversion. Now in her Popola Super Saiyan era, she connects her spiked blond hairstyle to a futuristic, rebellious persona that matches her musical evolution. 'Miami' and 'Celos' were an introduction to her debut, due in mid-October, and offered a glimpse at how Tokischa is evolving within the genre. While both tracks stay rooted in her signature dembow sound, produced by longtime collaborator Leo RD, they push into new conceptual territory: 'Miami' captures euphoric liberation, while 'Celos' explores themes of jealousy and betrayal with sharp lyrical interplay and emotional rawness. Though the style remains familiar, the double release serves as a precursor to the alternative, rock and electro-pop influences woven into her full-length, whose title remains under wraps for now. Growing up in Los Frailes, a working-class neighborhood in Santo Domingo, the artist born Tokischa Altagracia Peralta was surrounded by bachata, salsa and merengue. 'When I was a little girl, I listened to a lot of romantic music, Mexican ballads, because that was what the adults in the neighborhood listened to most,' she recalls. As reggaetón and Dominican dembow began to explode in the mid- to late 2010s, she gravitated toward the street music filling the city's corners. Her mother, Tokischa's biggest inspiration, introduced her to international culture, style and the limitless possibilities of self-reinvention. When she relocated to the United States early in Tokischa's childhood to pursue a better life, she would send issues of Vogue and words of encouragement for her daughter to dream boldly. ' 'Life in the United States is very different,' ' Tokischa recalls her mother telling her. ' 'Learn English, learn to be yourself, be unique.' ' That advice shaped Tokischa's understanding that artistic expression was never about following rules. From her early beginnings dabbling in rock, trap and rap, she was always drawn to unexpected sonic hybrids while staying rooted in Dominican street sounds. 'Ever since I started making music, I started making trap because it was the closest thing to rock,' she says. 'Rock has always been one of my favorite genres.' That versatility has helped Tokischa score major collaborations: In 2021, she teamed with Rosalía on the risqué reggaetón-flamenco 'Linda' (becoming her first appearance on Billboard's Hot Latin Songs chart); that same year, she sparked global controversy with J Balvin on the provocative 'Perra' (which means 'b–ch' or 'female dog'). The music video depicted the Colombian superstar walking two Afro Latina women on leashes, while Tokischa posed on all fours inside a doghouse. (The video, which was widely criticized for dehumanizing and objectifying Black women, was eventually removed following widespread backlash; Tokischa later said in an interview that she was 'truly sorry that people felt offended. But at the same time, art is expression.') In 2022, the Dominican provocateur was heating up clubs with a remix of Madonna's 'Hung Up' titled 'Hung Up on Tokischa,' featuring the pop icon, which they performed in New York complete with an onstage kiss that sent the crowd into a frenzy. And in 2023, she paired with Sexyy Red for the raunchy house track 'Daddy.' Next, Tokischa will join A$AP Rocky on 'Flackito Jodye' — which he has been teasing online — from his upcoming album, Don't Be Dumb. To date, she has released over 60 singles as a lead artist and a collaborator, including five entries on Hot Latin Songs — but never an album, or even an EP. Yet, she's now embracing the album format with a debut crafted around a contained narrative. 'This album really tells a very special story for me, a very difficult time in my life that shaped me and brought me to where I am now,' she reveals. 'It's like a diary where I recount certain experiences that I've never talked about before. I feel like this was the best concept for a debut album — where I can let it all out.' Her album will arrive on Tokischa's own label, SOL, which she and her manager, Angelica Piche, co-founded in 2024 in partnership with Warner Music Latina with support from Atlantic Records. Designed as a platform for misunderstood artists, SOL reflects Tokischa's own journey. 'What drew me to Tokischa was her unapologetic authenticity and her ability to connect with global audiences through her music,' Warner Music Latina president Alejandro Duque says. 'Tokischa is in a phase of creative renewal, with expansive energy.' With SOL, Tokischa is empowering the next wave of countercultural voices while aiming to cement herself at the forefront. 'Lately, I've been a workaholic, focused on making sure everything turns out perfect so that it reflects the vision I want to share,' she says of her debut. For an artist who has long been building a world entirely her own, come October, she'll finally invite others in. This story appears in the Aug. 16, 2025, issue of Billboard. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart Solve the daily Crossword
