The 名簿（に載せる）／表（にあげる）: 50 指名するs in the Boardroom
Boardroom スポットライトs 50 競技者s, arti sts, leaders, and more who defined 2025 and will 形態／調整 2026, featured in our December Cover Story.
The December Cover Story スポットライトs what we’re calling “The 50 指名するs in the Boardroom.” It’s not a 最高位の of the most powerful people, or the most successful or famous people. We 適用するd the same filter and レンズ we use as a brand on the daily to decide what’s 関連した to BOARDROOM to curate our end-of-year 名簿（に載せる）／表（にあげる）. The 指名するs （期間が）わたる 競技者s, designers, musicians, entrepreneurs, (n)役員／(a)執行力のあるs, directors, actors, and restaurateurs.
There’s no 詳細な計画 to success. Everyone’s path is different. You could take every 選び出す／独身 step another person took on their way to the 最高の，を越す and still not 勝利，勝つd up where you want to be. It’s just not the same. You could 注意する every 警告, listen to every bit of advice―there’s just no 保証（人）. The only thing that is 保証（人）d to work is doing the work. As Thomas Edison once said, “Our greatest 証拠不十分 lies in giving up. The most 確かな way to 後継する is always to try just one more time.” Or, put another way, the only way to make it is not to give up.
That’s what connects everyone in this feature. Yes, each of the 50 people featured here is exceptionally talented and has 人物／姿／数字d out how to rise to the 最高の，を越す of their field. They’ve each also had a hell of a 2025 or are gearing up to have a crazy 2026. But, more than their actual 生産（高） and the things they’ve 与える／捧げるd to 商売／仕事, culture, and the world 捕まらないで, everyone here 固執するd. They didn’t settle with the ground they’ve covered or the 勝利，勝つs they’ve notched. They 押し進めるd and 押し進めるd some more.
Whether it’s Coco Gauff winning the French Open and then fighting her way through other majors, or Napheesa Collier 開始する，打ち上げるing a 完全に new basketball league to go up against the juggernaut that is the WNBA. Or the Safdie Brothers deciding to 支店 off and make separate movies for the first time, both of which have 獲得するd a トン of 批判的な acclaim. Or it’s Jerry Lorenzo not 存在 満足させるd with his adidas 共同 and の近くにing 取引，協定s with the NBA and NFL for his 必須のs collections. Their stories are pretty much all the same. They all decided somewhere on their 旅行 that 失敗 wasn’t an 選択.
To bring this 事業／計画（する） to life, we partnered with artist Neil Jamieson to create the illustrations and printed 1,000 限られた／立憲的な-版 問題／発行するs. Next year, we’re really betting on print. The ability to touch and feel something has more value today than it has in １０年間s. We hope you enjoy what we’ve put together and 株 our pride in the 選択s that の近くに out a wild year in a wild world.
SHOHEI OHTANI: The Living Legend
The thing about Shohei Ohtani is that he doesn’t compete with other players; he competes with history. Ohtani is what happens when mastery stops わびるing for its ambition. When the love of the （手先の）技術 becomes so total, it transcends translation. He’s not just baseball’s greatest living 実験 ― he’s its final 進化.
十分な story here on Ohtani here.
NAPHEESA COLLIER: The Changemaker
The story of 2025 women’s basketball starts with a simple truth: Napheesa Collier stopped asking for 許可. While everyone else 審議d how to “grow the game,” she bounced and built a new one. Her dominance feels different from flashier 星／主役にするs. She’s cerebral, economical, 正確な. You can see it in the way she operates in the high 地位，任命する: 患者, composed, 調査するing defenders the way a CEO 調査するs a balance sheet.
BAD BUNNY: The Superstar
Every 世代 gets one artist who rewrites what a genre means. For 2025, that artist is Bad Bunny. The numbers tell part of it: a 記録，記録的な／記録する-breaking world 小旅行する, 12 Latin Grammy 指名／任命s, another Billboard 200 No. 1. But numbers can’t 手段 gravity. Benito has become something larger, a frequency that everything else in pop now tunes itself to.
ANTHONY EDWARDS: The 栄冠を与える Prince
If basketball were 非難する, Anthony Edwards would be the SoundCloud king turned 全世界の headliner. His rise didn’t follow the usual 産業 計画（する） ― no slow build, no polished rollout. He arrived loud, raw, 確信して, and by 2025, unstoppable. Every 時代 needs its 声明 player. Jordan had fury. Kobe had obsession. LeBron had 計算／見積り. Edwards has 有罪の判決 ― the 肉親，親類d that turns 可能性のある into prophecy.
PAIGE BUECKERS: The 未来
Every 復帰 story sounds 劇の until you remember Paige Bueckers never left ― she was just waiting for her 団体／死体 to catch up with her spirit. 2025 became the year the myth met the moment. Bueckers isn’t the next anything. She’s the proof of 概念 for what’s possible when talent, タイミング, and tenacity finally sync.
HAILEY BIEBER: The Influencer
影響（力） has changed 劇的な over the past １０年間. Instead of resulting in vibes, follows, and maybe a 後援, it can now result in 公正，普通株主権. Very few have exemplified that better than Hailey Bieber. 2025 was the year she made the cleanest 出口 in the creator economy: selling her skincare brand, Rhode, to e.l.f. Beauty for a 報告（する）／憶測d one billion dollars and 保持するing her 役割 as 長，指導者 creative officer. The girl who once just modeled （選挙などの）運動をするs became the （選挙などの）運動をする itself.
SAFDIE BROTHER: The Auteurs
No one films 緊張 like the Safdies. It isn’t 演劇; it’s adrenaline disguised as narrative. 2025 was the year their 大混乱 theory went 全世界の. Two films ― one neon noir 発射 in Queens, one sun-bleached thriller 始める，決める in Miami ― each pulled perfect 得点する／非難する／２０s and polarizing think pieces. Together, they 再確認するd what Uncut Gems hinted at: the Safdies aren’t just directors; they’re stylists of 強調する／ストレス.
More on the Safdie Brothers here.
MICHAEL B. JORDAN: The 主要な Man
Fame goes quick. 見通し doesn’t. Michael B. Jordan spent 2025 証明するing that distinction 事柄s. For years, he’s been the guy who 配達するd box-office gravity with the polish of a 主要な man. But this year, he turned precision into authorship. That’s what makes him singular. He’s learned how to 扱う／治療する 業績／成果 like 生産／産物, image like 組織／基盤／下部構造. The old 星／主役にするs chased immortality. Jordan’s chasing 支配（する）／統制する. And 支配（する）／統制する, as he keeps showing, looks a lot like freedom.
