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When Minnesota Timberwolves star Anthony Edwards steps onto the NBA All-Star court in Los Angeles with the leagues best players, there will be cameras following his every move. But it wont just be NBC clocking the action. Edwardss own Three-Fifths Media will be there for his ongoing unscripted show, Year Six. Its the second season chronicling the daily grind of his NBA exploits, building on last years Year Five. Three-Fifths Media started in 2019, with Justin Holland, Edwardss business partner and manager. They signed a production deal with Wheelhouse in 2024 to collaborate on projects like Year Six. So far, Three-Fifths has produced Serious Business, an unscripted show on Prime Video that challenges celebrities and athletes in their own domains, Year Five, and now Year Six, and the inaugural Believe That Awards, which aired in October on YouTube and had 167 million views across platforms in its first 48 hours. On the side, Edwards also produced a hip-hop album featuring heavyweights Pusha T, Quavo, and Wale. The 24-year-old Edwards is methodically building his own content and entertainment business clearly influenced by the success some of his on-court heroes have had over the past decade, like Kevin Durant with Boardroom and LeBron James with Fulwell Entertainment (formerly the SpringHill Co.). Of course, there is no guaranteed blueprintwitness SpringHill’s financial struggles, despite strong productions, that led to its merger with Fulwell last year. The two common threads among Three-Fifths Medias projects is that they shine a spotlight on a real and (largely) unfiltered Anthony Edwards, and are at least partly owned by the NBA star. Holland says thats not only at the core of their content, but the overall business strategy. We’ve leaned into being authentic in every room we walk into, and prioritize ownership over exposure, says Holland, who has been working with Edwards since 2016. Not just looking for deals because of dollar amounts or because they’re cute, but also really leaning into brands that we really can take ownership in, allow us to keep that authenticity, and also look for opportunities where we can actually own our IP. Just like Edwardss on-court career, its been an impressive start, and shows potential to help redefine athlete-owned media. Believe That Okay, picture this: A remake of the 2001 film Training Day, starring Timothée Chalamet as Ethan Hawkes character opposite NBA star Anthony Edwards in Denzel Washingtons spot. It sounds crazy, obviously, but Chalamet and Edwards actually talked about it in October when Edwards awarded the actor his White Boy of the Year honor as part of the satirical Believe That Awards show. View this post on Instagram The show didnt feature a red carpet, nor was it drenched in celebritythough Chalamet and Candace Parker made Zoom appearances. It was shot in Edwardss actual basement, and had the feel of a Saturday night hang-out with him and his friends. That ability to seamlessly jump from highly produced work like Year Five, to more street-level, vlogger-style content is perhaps Edwardss biggest media strength. You have guys that impact culture, and then you have guys that create, says Holland. Ant’s one of those guys that creates culture. So everything that we do, we’re intentional about not trying to follow the standard, and aim to actually be innovative in our creative process. Theres a reason the vibe of hanging with Edwards and his friends permeates so much of his work (his best friend, Nick Maddox, stars in many of his Adidas spots) its because thats whats really happening. It is actually pretty easy when you have a guy like Anthony and our crew, says Holland. We keep everything really tailored to our core group and just want to make sure that we continue to build from there. Brand consistent Holland says that, as a young up-and-coming NBA star, early in his career brands would try to fit him into their box or version of him they wanted. The work they’ve done with partners like Adidas, Sprite, Bose, and Prada represent those that have not only steered away from the old hold-the-product-and-smile approach, but encouraged Edwards to take ownership of the creative. Most modern athletes will talk about authentic connection with both brands and fans, but tend to serve up only the most curated and choreographed version of it. What makes Edwards work most unique is how it makes fans feel a part of that inner circle, whether in a social post or a big time sneaker ad. We try to stay away from just brand endorsements and we really like to be in business with people that really understand who we are and then actually want to collaborate with us, says Holland. That translates to having Maddox starring in Adidas ads, or Edwardss brothers music featured in a Bose campaign. It also brings Edwardss natural affinity for trash talk to his brand work. Brands typically shy away from controversy, but Adidas has embraced Edwardss approach wholeheartedly. They turned heads last year, launching his first signature shoe with ads that called out other pro shoe models and social media trolls by name. In a spot called Top Dog for his AE2 shoe, he beats video game caricatures of his biggest rivalsLuka Dončić, Victor Wembanyama, and Shai Gilgeous-Alexander, among others. Holland says getting brand partners to embrace Edwardss authentic self was tougher at first, but the results speak for themselves. We talk to our partners about our overall picture, looking at it from a wide lens of how we want to operate, he says. Now those conversations are a lot easier. They see how we move and how the public actually reacts to the authenticity, and how it resonates, because it just makes all the work that much more relatable.
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No matter how much you like your coworkers, youre going to have some conflicts with them. Most of those conflicts involve differences of opinion or approach. A colleague may do something that irks you or causes difficulties for the work youre doing. While those conflicts may lead to tension for some period, you typically get beyond those difficulties and may even wind up with a closer relationship to them later. But, there are some colleagues where anger hardens into resentment. That can cause real workplace problems, because youre going to have to engage with that colleague which can get in the way of a projects success. Plus, no matter how good you think you are at hiding your resentments, chances are your feelings for that person shine through in your engagements with them as well as your conversations about them. Not only will those resentments make projects harder to do, they can also stand in the way of your success in your organization. After all, most promotions involve moving up in leadership. Companies like to promote individuals they think will bring people together rather than dividing them. Your resentments mark you as a source of division rather than unity. So, how can you get over a resentment? After all, you cant just wave a magic wand and have your feelings go away. Talk it out The best strategy for dealing with resentments is to talk about it with your colleague. When someone has done something that continues to bother you, it can be valuable to clear the air. Conversations like this arent always an option, but if they are the can be quite effective in moving your relationship forward (even if they are uncomfortable in the moment). Invite your colleague out for coffee. Your colleague might be surprised by this invitation, because (chances are) they know that you are annoyed at them. Let them know that what they did, how it affected you, and why you are still upset about it. Before you have that conversation, you should actually practice saying all of this so that you have words to describe it clearly. Dont wing it. This strategy can be helpful for a few reasons. First, there are times where you say your grievance it out loud when practicing it and then realize that the problem here is you. That is, you may discover that you have been making a bigger deal out of something than it is worth. Second, there are times when the other party doesnt realize the impact their actions had on you. This conversation may help them to better recognize the impact of what they do on others. Third, this conversation is likely to help you to see the event from a different perspective. When you talk out a complicated interaction, you may find that the other persons actions were completely sensible from their perspective, while you had been feeling like they had bad intent. Forgive (and forget) Another powerful tool for dealing with resentment is to forgive the other person. That resentment youre carrying is fundamentally about your reaction to that person as a result of your reaction to them. When you see them or think about them, you are reminded of what they did, and the bad feeling wells up again. When you forgive someone else, you are acknowledging what they did and the bad impact it had, and then you are accepting that action. Research suggests that forgiveness primarily benefits the forgiver. In particular, when you forgive someone, it dampens the negative emotions you experience later. It also makes some of the details of what the other person did less memorable. So, by forgiving the other person, you are taking an important step toward enabling that resentment to have less impact on your behavior in the future than it does now. Look in the mirror If you find yourself unable to talk with the other person or to forgive them, it is time to take a look at yourself. No matter how good a person you are or how much you strive to be a good colleague, you have probably had some moments where your actions harmed someone else. Because you like to think of yourself as a good person, you probably focus less on your bad moments than on your good ones. As a result, you may not remember some of the times that your actions had a negative impact on others. When you call to mind a few instances of your own less-than-stellar behavior, it can sometimes open you up to forgiving someone else. It can be particularly helpful if you think about times that other people have forgiven you for something you did. Imagine what your life would be like if everyone resented you for things you did in your worst moments. Recognize that your own career and success is owed in part to the willingness of others to forgive you. Finally, just because you forgive someone or let go of a resentment doesnt mean you have to trust them blindly. If someone has treated you badly in the past and you are not convinced that they are reformed, you should still be vigilant when you work with them in the future. You can be careful in your engagements with a colleague while still treating them cordially and respectfully.
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Marks & Spencer is one of the latest U.K. high-street brands to launch a skiwear collection. Even supermarket Lidl is in on the action, with items in its ski range priced at less than 5 pounds (roughly $6.75). This follows earlier moves by fast-fashion retailers such as Topshop, which launched SNO in the mid 2010s, and Zaras imaginatively titled Zara Ski collection, which launched in 2023. Fast-fashion brand PrettyLittleThings Apres Ski edit (a collection of clothes chosen for a specific theme) tells potential shoppers that going skiing is not necessarily essential, which is good, because many of the products in the collection are listed as athleisure, not sportswear. Its not just the high street. Kim Kardashians shapewear brand Skims has recently collaborated with the North Face and has dressed Team USA for the 2026 Winter Olympicsthough these are strictly designed to serve the athletes during downtime, not for the piste. Alongside dedicated skiwear lines, the apres-ski aesthetic has become a recurring seasonal trend over recent years, expanding well beyond the slopes. You may have noticed the slew of ski-themed sweatshirts across the market. One of these, an Abercrombie & Fitch sweatshirt, went viral in January after a buyer noticed that the depicted resort was actually Val Thorens, Francenot Aspen, Colorado, as the text printed on the garment claimed. View this post on Instagram A post shared by kt (@outdoorkatelyn) It is not only the quality of ski-themed fashion products that is a cause for concern, but also those designed for the slope. Many of these high-street collections have received criticism from consumers, with some claiming that the garments are not fit for purpose. Meanwhile, many influencers have taken to social media to warn their followers to avoid skiing in garments from fast-fashion brands. Such were the complaints that Zara Ski reportedly renamed its products water resistant instead of waterproof. These collections respond, in part, to a genuine need for womens sportswear that is practical, fashionable, and, most critically, affordable. Ski and performance wear in general is costly, and such collections being both fashionable and relatively low-cost make for an attractive prospect. And yet, if these garments are so poorly suited to skiing, then what are they for? The visual allure of skiing Despite sports playing a key role in challenging gender ideology and perceptions of female physicality, the perceived importance of femininity and how women look while doing sports has lingered. Images of sportswomen frequently fixate on gender difference and femininity is foregrounded over athleticism. Here, the glamorous image of skiing has much to account for. Glamour relies on distance and difference to conjure a feeling of longing. For many, the novelty of eating fondue at 3,000 feet is out of reach, as is the ever-increasing price of a lift pass. Throughout the 20th century, the glamour of skiing has been defined by womens fashion. In the 1920s, Vogue magazine featured illustrations of elongated skiing women on their covers. Designer Puccis aerodynamic one-piece ski suit premiered in Harpers Bazaar magazine in 1947, while Monclers ski anoraksphotographed on Jackie Kennedy in 1966gave birth to a vision of American ski cool. Changing ski fashions were recorded in photographer Slim Aaronss resort photography, capturing the leisure class on and off piste between the 1950s and 1980s. [Image: Vogue Archive] Womens fashionable skiwear has taken many forms since the activity first became popular in the 1920s. It was during this decade that skiing became a marker of affluence. Leather, gaberdine, fur, and wool were popular materials in early womens skiwear and were selected for their natural properties; water-repellence, insulation, breathability. By the mid-century, womens skiwear became more focused on silhouette and excess fabric was considered unfeminine. Equally, skiwear gradually became more colourful, and in the fashion press women were even encouraged to match their lipstick to their ski ensemble. By the 1980s, skiwear aligned with the fashionable wedge silhouette; causing the shoulders of ski jackets to widen and salopettes (ski trousers with shoulder braces) to draw even tighter. These historic developments parallel todays aesthetic ski trend where fashion and image arguably comes before function. For example, PrettyLittleThings models are photographed on fake slopes, holding vintage skis. The glamorous image of the skiing woman lies not only in the clothing but in her stasis. The suggestion is that ski culture does not necessarily require skiing at all: It may simply involve occupying the most visible terrace, Aperol in hand. No wonder then, that so many fast-fashion ski lines for women are deeply impracticalthey appear designed less for physical exertion than for visual consumption. They sell women on the alluring glamour of skiing, while leaving them out in the cold. There is an additional irony here: Climate change means that skiing is becoming increasingly exclusive. Lower-level resorts are closing as the snow line moves up, meaning fewer options and increased demand. In this sense, the image of skiing looks to become even more glamorous via increasing inaccessibility and therefore distance. Fast-fashion has a negative impact on the environment, and the ski aesthetic risks damaging the very thing it claims to celebrate. This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org. If you click on one of the links and go on to buy something from bookshop.org, The Conversation UK may earn a commission. Tamsin Johnson is a PhD candidate in visual cultures at Nottingham Trent University. This article is republished from The Conversation under a Creative Cmmons license. Read the original article.
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