
New Balance explores the 2000-era of running influences with the new ABZORB 2010 and ABZORB 2000
First introduced in 1993, New Balance's ABZORB cushioning had revolutionised running technology, becoming a signature feature of several fan favourite lifestyle models.
Now, both the ABZORB 2010 and ABZORB 2000 have each turned into a fresh visual design statement that delivers exceptional comfort while honouring the brand's running heritage.
ABZORB 2010
New Balance ABZORB 2010, $219. Image courtesy of New Balance.
New Balance ABZORB 2010, $219. Image courtesy of New Balance.
Combining the excitement of an innovative, all-new style with a sense of familiarity, the ABZORB 2010 ($219) is crafted with a segmented ABZORB sole unit which features more expansive proportions, becoming the centerpiece of this design, and paired with a diamond-knit mesh upper for an updated twist on a classic look.
The New Balance ABZORB 2010 is now available at New Balance in ION Orchard, Paragon, Jewel Changi, and VivoCity, as well as online at newbalance.com.sg.
ABZORB 2000
New Balance ABZORB 2000, $239. Image courtesy of New Balance.
After its preview at Milan Design Week in early April, the new ABZORB 2000 ($239) offers a new look at visible tech where the design process is incorporated with 3D tools to help create a hyper detailed articulated sole unit, and capture curves that are not easily represented on paper.
New Balance ABZORB 2000, $239. Image courtesy of New Balance.
New Balance ABZORB 2000, $239. Image courtesy of New Balance.
The experimental design features a full-length combination of ABZORB cushioning and ABZORB SBS pods, using a distinctive feature of 2000s running-inspired classics as a focal point.
The New Balance ABZORB 2000 will be available from 12 June at New Balance ION Orchard and Paragon, as well as online at newbalance.com.sg.
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New Balance explores the 2000-era of running influences with the new ABZORB 2010 and ABZORB 2000
First introduced in 1993, New Balance's ABZORB cushioning had revolutionised running technology, becoming a signature feature of several fan favourite lifestyle models. Now, both the ABZORB 2010 and ABZORB 2000 have each turned into a fresh visual design statement that delivers exceptional comfort while honouring the brand's running heritage. ABZORB 2010 New Balance ABZORB 2010, $219. Image courtesy of New Balance. New Balance ABZORB 2010, $219. Image courtesy of New Balance. Combining the excitement of an innovative, all-new style with a sense of familiarity, the ABZORB 2010 ($219) is crafted with a segmented ABZORB sole unit which features more expansive proportions, becoming the centerpiece of this design, and paired with a diamond-knit mesh upper for an updated twist on a classic look. The New Balance ABZORB 2010 is now available at New Balance in ION Orchard, Paragon, Jewel Changi, and VivoCity, as well as online at ABZORB 2000 New Balance ABZORB 2000, $239. Image courtesy of New Balance. After its preview at Milan Design Week in early April, the new ABZORB 2000 ($239) offers a new look at visible tech where the design process is incorporated with 3D tools to help create a hyper detailed articulated sole unit, and capture curves that are not easily represented on paper. New Balance ABZORB 2000, $239. Image courtesy of New Balance. New Balance ABZORB 2000, $239. Image courtesy of New Balance. The experimental design features a full-length combination of ABZORB cushioning and ABZORB SBS pods, using a distinctive feature of 2000s running-inspired classics as a focal point. The New Balance ABZORB 2000 will be available from 12 June at New Balance ION Orchard and Paragon, as well as online at

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As you know, we cut away a part of the coloured glass so that you can see the transparent glass underneath. It is extremely difficult to carry out this casing technique, but we love the idea of a discrete and silent virtuosity.' The Casaque glasses are created through a precise cold- cutting process. Courtesy of Hermès It's a bold statement—one that feels almost like a segue from the storied maison's obsession with craft. At least, that is until you are reminded that each object on display, from the immaculately saddle- stitched tartan leather baskets to the hand-woven cashmere throw, hem-rolled by hand and threads laced with 24-carat gold, are undeniable masterpieces of craftsmanship. It's what follows the craftsmanship that Macaux Perelman and Fabry seem to increasingly be concerned with. Their utility and aesthetic aside, these objects are accompanied by an almost childlike feeling of discovery—a quest for a new layer of meaning held within. Here, the duo offers a glimpse into the creative query that shaped this year's collection, and where they think the future of object-making lies. Courtesy of Hermès 1 / 5 Beyond individual objects, what story is this year's home collection telling? Macaux Perelman: Last year, our focus was on the materiality of design— the importance of soil, land and raw materials. The materiality of an object is something you can control and work with. It is stable. This year, we are looking beyond that stability to explore the vibration an object emits, or its aura. Fabry: The question we are asking is: why do some objects have an aura while others don't? How do they emit emotions—something which is difficult to control? Courtesy of Hermès 2 / 5 The scene we are looking upon is exceptionally striking despite being very minimal. What inspired the idea for this year's scenography? Macaux Perelman: We chose to create this white setting with halos of colour on the floor, which serve to limit the space. It is a trace of abstract architecture, questioning the idea of what is full and what is empty. We highlight immateriality—something which escapes us and something you cannot calculate. This relates to the aura of an object and the presence it emits. Courtesy of Hermès 3 / 5 The Pivot d'Hermès side table by Tomás Alonso seems, to me, the ultimate exemplification of the message you are trying to drive across this year. What makes the object so special? Fabry: In this object, we indeed have a miraculous result. When you manage to place the pivoting tray in a balanced position, sometimes it's truly extreme. It feels like a tightrope walker's expertise is embodied within the object. And that is because the designer Tomás Alonso manages to marry contradictory materials—that is his special talent. Courtesy of Hermès 4 / 5 You have such different backgrounds—Charlotte from architecture and design, and Alexis from publishing and curation—but the resulting vision is ultimately cohesive. How has your creative partnership developed? Macaux Perelman: Yes, we have different backgrounds, stories and sources of inspiration. However, we agree not only aesthetically, but we also share great trust between ourselves and our teams. This is very important. We don't question each other's ideas. We have discussions, but it's always a dialogue. There's a common curiosity. Fabry: It was a great gift to allow us to carry out this job together. There was a lot of risk involved too, because we were friends first, and this could have altered our friendship. But our creative partnership has actually strengthened our friendship. We look at objects from different viewpoints. Charlotte has her viewpoint from the culture of an architect and my viewpoint is different. But we ultimately converge. Courtesy of Hermès 5 / 5 We talked earlier about what drives you to create. I do believe that in the world we are inhabiting today, true luxury is taking the time to go through the process of making something beautiful—purely for the sake of creation. Looking into the future, what continues to inspire you? Macaux Perelman: You mention time, which is indeed our best ally. Time, for Hermès, is the truest expression of luxury. We've always said that the small scale is, perhaps, even more important for us than the large-scale operation. It takes more energy and it can be extremely difficult to make, but it's very important to us to try our best to reach something absolutely unique. Fabry: We operate in the micro, not the macro. It's not a question of spectacular gestures. We look at the smallest of details. If we're dealing with a spoon, for example, we may look at varying its weight. No day is the same. We're working on infinite questionings, but always with the same intentions.