Adidas Brazil x JUS10H:
A World Cup Moment in NY/NJ
On July 1, 2026, the United States defeated Bosnia and Herzegovnia. Four days later, Brazil met Norway at MetLife Stadium in New Jersey. JUS10H by Justin Haynes wanted one image, turned around quickly, that placed the Adidas Brazil collection inside that week’s World Cup energy across New York and New Jersey, before the full collection campain launced.
The background is “Lady Liberty Green,” the official color assigned to New York / New Jersey matches. Brazil’s own colors include green, blue, and yellow.
On Set in Manhattan
Some viewers initially questioned whether the image was generated by AI. It was not.
Five models worked with Scott Parker Photo on set. This image features two of them: Angela and Martavious. The other three appear in the full collection.
The image was built through a type of collaboration that does not occur when someone is sitting in a dark room writing prompts. Angela, a dancer by training, an athlete, proposed the leap. She used a dancer’s sense of shape to give her body a form that read as athletic, referencing the sport, while keeping the line and silhouette a fashion image requires. Martavious took a strong pose that acted both as foundation for Angela and a casual shape that is familiar to fashion audiences. Scott framed the composition with camera angle and timed the shot with a single strobe. The jump, the timing, the pose repeated until the right shot was captured.
No AI tool generated any part of the image. No compositing joined two separate photographs into one. Two people moved in a room, a camera recorded it, one frame was selected, Photoshop fine-tuned the background color and added the logos.
The result treats athletic movement and fashion styling as one discipline rather than two forced together for a marketing moment.
On July 5, Brazil played Norway at MetLife Stadium in New Jersey. The background here is Brazil’s own green. The Adidas logo is Brazil’s yellow. One of the models on set during this shoot, Caleb, had already finished his own looks and was waiting on group shots with two other models. He asked for an apple box and if he could try a pose. I handed him the box. He set it up and balanced on it. He kept leaning back, further, further, and further, until we got this shot.
Models Adding Creative Ideas To The Project
A couple of things made this shot different than the one above. Instead of a jump, it was a slow, gradual fall to the ground. Caleb was supported by the apple box under his hips. Because the apple box was in the shot, it had to be removed with Photoshop. That’s very straight forward. Photographers have been doing this (with Photoshop) for a few decades (and in the darkroom for more than a century).
This is a fun picture. And, I want to emphasize that it grew out of a good environment on set. The brief for the day was clear. Because we scheduled a bit of extra time, it left room for some creativity. Everyone was professional. They surely could have got the job done on a tighter schedule. That little bit of extra time allowed for a more congenial work space that could create photos like this one, and the one before it.
The adidas Brazil x JUS10H collection pairs oversized silhouettes with tailored details, built to move between Tokyo's design language and Brazil's summer heat. Shot by a fashion photographer in New York, this lookbook photography session captures ten looks from designer Justin Haynes, who cuts drop shoulders, lantern sleeves, and knife pleats into pieces meant to breathe in the heat without losing shape. Cowhide patches run through nearly every look, a deliberate choice, since Haynes wanted to prove the print works year round rather than only in fall or western styling. Five models, Caleb, Martavious, Marshall, Angela, and Nisha, most meeting for the first time on set, brought the collection to life with almost no direction needed.
Caleb opens the collection in an elongated sweatsuit and short set, gray, with drop shoulders that give the whole silhouette an oversized, easy shape. Haynes built the piece around layered comfort in summer, meant to bridge what he calls the brand of Tokyo with the summer of Brazil. Diamond-shaped cowhide patches run down the sweatshirt and shorts on a diagonal, one of the collection's clearest examples of the print used deliberately rather than seasonally. Caleb wears a printed neck scarf and mismatched pink and lime sneaker laces, small details that keep the look from reading as uniform. Pale green background.
Martavious follows in a cap-sleeve shirt, cream, paired with teal shorts finished in the same cowhide print. Haynes describes the cut as intentional rather than accidental, an open cap sleeve he chose over a straight tailored seam at the armpit, giving the shoulder a different silhouette than a standard sleeve would. The knife pleats running through the shorts nod to vintage seventies and eighties tailoring, cut short enough to read as summer rather than throwback. A cow-print bow tie ties the sleeve detail back to the collar. Pale blue background.
Caleb returns wearing the same shorts from his first look, this time with a white button shirt cropped short enough to wear untucked and a gray sweater draped over the shoulders rather than worn as a top layer. Haynes ties the styling choice to a broader shift in menswear, men tying sweaters and hoodies around the neck the way it used to read as mostly a women's style, calling it simply non gendered now. The cream tote bag Caleb carries, patched in the same cowhide print, works as its own piece of content library fashion photography, useful in campaign and lookbook use alike. Pale green background.
Martavious's second look leans further into the windbreaker jumpsuit idea Haynes built into the collection, a cream pullover top with what he specifically calls a lantern sleeve, dropped and gathered at the cuff, paired with a short drawn in with elastic at the hem. Haynes ties the oversized fit again to Tokyo, while the pink cap and pearl necklace soften the silhouette. Haynes names this one of his own favorites in the collection. Pale blue background.
Marshall wears a boxier, kimono-cut top in pink, one of the more directly referential pieces in the collection. Haynes calls the cut a nod to Japanese tailoring, with three to four pleats set into each side and a front drape he wanted to hold rather than fall flat. Paired with pleated taupe shorts and the collection's recurring cowhide patch, the look sits at the intersection Haynes keeps returning to across this fashion photographer producer creative director collaboration, oversized volume built from a genuinely tailored foundation. Pale green background.
Angela wears the collection's windbreaker coverall, a piece Haynes designed as a simple, throw-on layer for summer or the beach, something that works over a swimsuit or a tank top and shorts just as easily as it works on its own. The elastic gathered at the hem rather than only the waist is a deliberate detail Haynes points to directly, proof, in his words, that the band doesn't always have to sit at the bottom. Two patch pockets, a small detail Haynes says gave Angela more to work with in front of the camera, round out one of the more relaxed silhouettes in this lookbook photographer's full set. Pale blue background.
Marshall's second look carries the collection's most overt reference, a wide, exaggerated collar Haynes ties directly to the munchkins and the lollipop kid from The Wizard of Oz, paired here with a cropped pink top and gray shorts. Haynes describes the lantern sleeve and oversized shoulder as paying homage to that same silhouette, reworked, in his words, as a lollipop kid that went to Tokyo and landed in summertime Brazil. The shorts are cut from a lighter, more nylon-leaning windbreaker fabric than the trouser-weight pieces seen elsewhere in the collection. Pale green background.
Nisha wears a cowl-neck top built with intentionally asymmetrical sleeves, one long and one short, a detail Haynes says he first used in his own work in the early two thousands and wanted to bring back. The buttons at the collar are purely decorative, meant to suggest a polo-style neckline without actually functioning as one, so the piece pulls on rather than buttons closed. Below it, a flared skirt gathers at the hem with the same elastic banding used throughout the collection, another quiet callback to the vintage sweatsuit running through Haynes's design choices. Pale green background.
Martavious and Angela appear together here, each in looks already seen on their own, his lantern-sleeve windbreaker set against her coverall. Haynes calls this shot, and the group work from the same day, some of the strongest content to come out of the shoot, work he says exceeded what he expected walking into casting. Pale blue background.
Caleb, Nisha, and Marshall close the lookbook together, each in looks already introduced individually, styled here as a trio despite meeting each other for the first time on set. Haynes singles out this exact grouping in his own account of the shoot, noting that the three of them, by coincidence wearing the same sneaker, vibed well enough that he never had to direct them into a pose. It is, in his words, proof that a model does not have to do too much to build a great photograph, personality carries the rest. Pale green background.
"This collection is about giving both worlds in one look. Oversized meets tailored. Tokyo meets summertime Brazil. Cowhide doesn't have to be a fall or western statement. It can live year round, it just depends on how you put it into the season. When I cast, I look for personality first, who can be diverse and who can segue into a group like this. This group raised the bar. I don't think we could have picked a better group to bring together."
Justin Haynes, JUS10H