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Vans Old Skool 36 Souvenir Blurs the Lines Between Street Art, Rebellion & Luxury: ‘Everything About the Shoe Was Custom-Made’

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Every now and then, a sneaker arrives that refuses to fit neatly into a single category. The Vans Old Skool 36 “Souvenir” is one of them — pulling direct inspiration from Chanel’s cult-classic 2015 On the Pavements Messenger (aka the Graffiti Bag), a rare piece famously worn by rappers Lil Yachty and Central Cee, to create a silhouette that exists at the crossroads of skate culture, streetwear, music, and high fashion.

Born in California’s skate scene, Vans has long been the uniform of rebels, musicians, and those who carve their own paths. Chanel, in contrast, is the epitome of Parisian refinement, structured, polished, and timeless. On paper, they are worlds apart. But in practice? The Souvenir Old Skool proves rebellion and refinement can share the same canvas.

When the bag debuted under Karl Lagerfeld in 2015, it sparked conversation. Paying thousands for a canvas messenger splashed with graffiti, enamel pins, and frayed tweed shocked luxury purists. But that was the point. It blurred the line between street and couture, between authenticity and aspiration. Fast forward ten years, and Vans has reimagined that same ethos through a skate lens, turning a once-divisive luxury statement into something both accessible and subversive.

Vans Old Skool 36 Souvenir

Chris Claxton

“The main design inspiration was centered around the idea of traveling — what you’d see while traveling to certain places, what you’d wear while traveling to these destinations, and what you’d take home with you,” says designer Greg Betty. “For this shoe, I wanted to make something that signified the end of a long journey — like a stamped-up passport or a stickered-up Rimowa — but tied to something iconic and undeniable that multiple generations of fashion lovers would get right away. The Chanel On the Pavements Messenger Bag checked multiple boxes.”

The design details make that connection undeniable. The upper features a dirty-dyed, olive-toned canvas that feels lived-in from day one. The classic Vans jazz stripe trades clean leather for frayed, multicolor tweed, a direct nod to Chanel’s signature fabric. Scattered across the upper are enamel pins that flip Chanel’s smiley-face and yin-yang motifs through Vans’ own lens, while leather accents and metal hardware elevate the finish. It’s grungy, glamorous, and grounded all at once.

“Everything about the shoe was considered and custom-made,” Betty explains. “From the colors and thickness of the tweed, to the placement of the distressing and embroidered paint splatter, to the graphic motifs on each pin… It was truly a team effort to make sure the storytelling was felt.”

The result? A sneaker that doesn’t just borrow from Chanel, it converses with it. This is luxury filtered through skate sensibility, where imperfection becomes intentional and wear tells a story. The Souvenir isn’t a souvenir from a single trip, it’s one from decades of culture converging: skaters in Southern California, models in Paris, rappers in London, and musicians in New York all intersecting through design.

Vans Old Skool 36 Souvenir

Chris Claxton

And people noticed. The Souvenir Old Skool sold out almost instantly, proving that when streetwear and luxury meet in the middle, the world pays attention. As Betty reflects, “The reception has been extremely overwhelming, beautiful, and affirming. Seeing the interest is amazing, but the discourse and educational moments that have been brought up because of this shoe has been a pleasure to witness. I think more than anything, people loved the intentionality and care behind the design.”

From a wearability standpoint, the sneaker holds up beyond its concept. The materials feel premium — sturdy canvas that softens with wear, tweed that frays with character, and enamel pins that add personality without gimmick. It fits true to size, though wide-footed wearers may prefer a half size up. This attention to quality makes it one of Vans’ most elevated offerings to date.

But what truly sets the Souvenir apart is what it represents. It’s more than a reworked Old Skool, it’s a cultural remix. In a moment where artists like Lil Yachty and Central Cee blur the line between streetwear and high fashion, Vans steps confidently into that same conversation, proving skate culture has always influenced the runway. The Souvenir isn’t chasing luxury, it’s redefining it through authenticity.

So, is it a Flex, Trade or Fade? For me, this one’s a Flex — no question. The storytelling, the craftsmanship, and the symbolism all line up. It’s a sneaker that proves fashion, music, and skate culture aren’t living in separate worlds anymore — they’re sharing the same stage. The Souvenir Old Skool doesn’t just celebrate that connection; it embodies it.

But what do you think? Would you Flex, Trade, or Fade the Vans Old Skool 36 Souvenir?


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Vans Old Skool 36 Souvenir

Chris Claxton

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Anuel AA & Blessd’s ‘Pórtate Bonito’ Skyrockets to No. 1 on Latin Airplay Chart

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Anuel AA returns to the No. 1 spot on Billboard’s Latin Airplay chart with “Pórtate Bonito,” his first team-up with Blessd. The track flies 9-1 on the Nov. 8-dated list, Anuel’s first champ in over three years.

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Released August 21 on Real Hasta La Muerte, “Pórtate Bonito” was initially announced on Anuel’s Instagram account on August 6, alongside news that Blessd would join him on his RHLM 2 tour.

The collab, produced by Ovy on The Drums, surges 9-1 in its seventh week on the chart with the Greatest Gainer weekly honors, after a 32% boost in audience impressions, to 7.6 million, logged during the Oct. 24-30 tracking week, as reported by Luminate.

The new win marks Anuel’s first No. 1 in over three years, since “Ley Seca,” with Jhayco, ruled for one week in February 2022. In sum, he’s placed 11 rulers, here’s a recap of those since “Ella Quiere Beber,” with Romeo Santos, in 2019:

Title, Artist, Peak, Weeks at No. 1
“Ella Quiere Beber,” with Santos, Feb. 2, 2019, one
“Secreto,” with Karol G, May 4, 2019, one
“Baila Baila Baila,” with Ozuna, Daddy Yankee, J Balvin & Farruko, May 11, 2019, one
“Otro Trago,” with Sech, Darell, Nicky Jam, & Ozuna, Aug. 31, 2019, one
“China,” with Daddy Yankee, Karol G, Ozuna & J Balvin, Sept. 21, 2019, two
“Aventura,” with Lunay & Ozuna, Nov. 9, 2019, one
“Keii,” May 2, 2020, one
“Fútbol & Rumba,” with Enrique Iglesias, Aug. 8, 2020, one
“Location,” with Karol G & J Balvin, April 10, 2021, one
“Ley Seca,” with Jhay Cortez, Feb. 5, 2022, one
“Pórtate Bonito”” with Blessd, Nov. 8, 2025, one

Colombian star Blessd adds his third No. 1 on the overall Latin radio ranking. “Medallo,” with Justin Quiles and Lenny Tavarez, and “Si Sabe Ferxxo,” with Feid, each led for one week in 2022 and 2024, respectively.

Beyond its Latin Airplay coronation, “Pórtate Bonito” ascends 3-1 on the Latin Rhythm Airplay chart. Plus, it gains traction on the Hot Latin Rhythm Songs chart, where it narrowly misses the top 10 with an 18-11 leap.

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Flavor Flav Says He Gave Alix Earle a Lower ‘DWTS’ Score on ‘Accident’: ‘That Girl Deserved Perfect 10s’

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Alix Earle’s performance on the latest episode of Dancing With the Stars may have been a nine on Flavor Flav‘s scorecard, but in his heart, it was a 10.

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In a couple of Wednesday (Nov. 5) posts on X, the Public Enemy rapper — who served as a guest judge on the program’s broadcast the night prior — explained that he had intended to give the influencer and pro dance partner Val Chmerkovskiy a perfect score for their routine set to Bon Jovi’s “Livin’ on a Prayer.” Instead, Flav says he plugged in the number nine by mistake.

“As a judge on #DWTS,,, you hit your score on a computer first,,, then hold up the sign,” he wrote. “I accidentally hit 9 for someone and told the crew I meant to hit 10,,, and they said they can’t change it and there’s nothing I can do. That girl deserved perfect 10s.”

In a second post, Flav went on to point out that the snafu was why he’d been captured on camera “looking down at the computer confused” after punching in his score.

“Couldn’t get the words out because I was watching the computer and then couldn’t find the other paddle cuz I was ready to go with my 10,” he added. “I found [Earle] afterwards and apologized and let her know what happen , she was cool.”

If the rapper had given Earle the score he’d intended, she and Chmerkovskiy would have received perfect numbers across the board for the first time this season. They’d also come close to the feat on last week’s episode, earning 39/40 for a performance set to Billie Eilish’s “Bury a Friend.”

Flav also spoke about the situation while still on the DWTS set, telling People, “I gave them a nine which was an accident. I really wanted to give them a 10, but they wouldn’t let me change it.”

Billboard has reached out to the TV show for comment.

Despite not getting the best possible score, Earle can still celebrate knowing that she’s advancing to the next round. This week’s episode — which had a Rock & Roll Hall of Fame theme — resulted in Danielle Fishel getting sent home, while Jen Affleck and former Taylor Swift backup dancer Jan Ravnik were eliminated the week before that.

Also still in the game are Dylan Efron, Andy Richter, Whitney Leavitt, Elaine Hendrix, Jordan Chiles and Robert Irwin. The next episode will air on Nov. 11 and celebrates the 20th anniversary of DWTS.

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Streaming Playlist That Funds Conservation Projects Is Now Accepting Submissions From All Artists

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Sounds Right, a charitable cross-DSP playlist featuring music that incorporates the sounds of nature, will now allow any artist to submit their music to the project, it was announced Wednesday (Nov. 5).

Sounds Right initially launched in April 2024 with a playlist featuring new and older tracks with sounds like bird calls, waves, wind and other greatest hits of the mother nature soundscape, woven into music by artists like David Bowie, Brian Eno, Hozier and Ellie Goulding. Royalties generated by this music, which includes 36 original songs that were added this past April, are directed to conservation efforts.

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Now, as scientists and activists from around the world gather in Belem, Brazil for the COP30 UN Climate Conference (Trump administration officials recently announced that no high-level representatives from the U.S. government will attend the event), Sounds Right has announced an update that allows artists to help fund conservation work by officially crediting “Nature” in their music and submitting it for inclusion on the playlist.

Accepted submissions will be incorporated into the Sounds Right playlist, with 50% of royalties raised from any given song going to the artist and the other 50% going to environmental causes. Submissions are open now.

This past Saturday (Nov. 1), Sounds Right announced that the project has so far raised a total of $400,000 for Indigenous and community-led conservation in the Amazon and Congo Basin regions, building on $225,000 it directed to projects in the Tropical Andes in 2024. The funds were announced on stage at Saturday’s Global Citizen Amazonia concert in Belem, which was broadcast throughout Brazil.

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Sounds Right has now added 14 new tracks to the playlist, all of which celebrate the natural world of the Amazon and Africa. The Amazonian contributions come from artists Alexia Evellyn, Pedrina, Antonio Sanchez, Chancha Via Circuito, Systema Solar and Monte (aka Simon Mejia), while the music of artists Juls, Phila Dlozi, Olivetheboy, Bien, Blinky Bill, and Lady Donli showcases the sounds of the Congo Basin region.

“This collection of tracks is a powerful expression of how artists can use their creativity to celebrate and protect the natural world at such a critical moment for our planet,” EarthPercent co-executive director Cathy Runciman tells Billboard. “From Alexia Evellyn recording the rhythms of the Amazon’s rivers and birds to Juls blending Congo Basin forest ambience into Afrobeats, and Antonio Sánchez turning birdsong into percussion, it’s inspiring to see such diverse artists uniting to honor these vital ecosystems and leading a movement to bring nature back into music and culture.”

“It’s an honor and a thrill to be part of Sounds Right,” adds the Grammy-winning Sanchez, whose contribution “Drumming with the Birds” explores the percussive rhythms of Amazonian birdlife. “I believe it’s vital to keep opening new avenues for people to connect with the importance of preserving and protecting Mother Nature. This collaboration, inspired by the Amazon and its remarkable avian life, celebrates that connection. I hope you enjoy it as much as I enjoyed creating it.”

Brazilian producer Alok will also soon release a special track for the Sounds Right project, with the artist saying in a statement that “nature has always played an essential role in music, and the time has come for it to be recognized for that.”

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