Grand Hoof Like Regular Grandpa But Cooler Shirts
This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: , tank top, long sleeve, sweater The ‘open brag’ is a term used by the digital generations for showing off newly-acquired luxury items and statement pieces on social media. Objects of peer envy, they’re often of an esoteric nature: shoes, bags, and garments that aren’t traditionally pleasing to the eye; a little awkward, quite subversive, or ugly-cool. Their coolness is community knowledge: if you know, you know. You can apply that methodology to a lot of the things Matthew M. Williams designs for Givenchy. His tenure at the house seems strategically targeted at Gen Z and those who mirror themselves in them—at least if last year’s social media campaign featuring the most followed celebrities in the world is anything to go by. “At the end of the day, it goes back to instinct and what I desire. I’m not so strategic. Hopefully the customer likes what I like,” he said on a phone call from Paris, but his sophomore collection seemed quite tailored to that Gen Z segment. Silhouettes were graphic and intense in a way that echoed the volumes of skate-wear in more sartorial lines; “micro-macro,” he called them—exaggerated as if made to be seen through a screen. Textures were hyper-tactile in that mesmeric way that a phone cover in faux crocodile or neon fuzz makes the brain want to reach out and touch it. And accessories had the quaint and sculptural quality about them that makes them memorable and Insta-worthy, like an out-of-place-object in an unlikely setting. It was embodied in big, furry coats and gilets with matching balaclavas—horned, like last season—and giant furry mittens like something out of a Jean M. Auel novel, but perhaps more “extra-terrestrial,” as Williams said of his hoof-like platform shoes, fit for a centaur. Presented in the industrial Paris La Défense Arena (which the designer said reminded him of his former career dressing musicians) with headlights hovering above models’ heads like they were on the run from a flying saucer, the collection was very sci-fi inferno but with the lockdown-inspired outdoorsy twist we’ve become accustomed to this season. In fact, if our grounded moment in time has turned designers’ minds to the great outdoors, this was the grave outdoors—the tougher, trendier version. Speaking of tough and trendy things, supersized Cuban chains spoke to a current social media mania, while hardware on tailoring and as embellishment on dresses continued Williams’s clash between the Givenchy ateliers and his own industrial world. He translated that same sensibility into his first big push for the red carpet, in kind of aquatic evening dresses shingled with rigid sequins, which cascaded into vivacious hems like the crashing of waves. Their lines reflected Williams’ ongoing proposal for a women’s silhouette, expressed in knitted bodycon numbers or column dresses. “They’re sensual and elegant and show female empowerment,” he said. Even over a choppy Zoom feed, Christophe Lemaire and Sarah-Linh Tran’s new studio between Rue de Turenne and Place de Vosges looked like an idyllic Parisian workspace. “We’re very excited and very happy to be here,” said Lemaire. “The team has been growing slowly and steadily and it was getting more and more complicated to work in our old place. Although we ended up doing the move in the middle of the styling and filming of this collection!” Tant pis. Because the Lemaire team should feel equally as happy and excited about a collection that added a new dimension to this already highly-evolved brand. Partially as a result of le confinement, the designers framed the development of this collection according to shifted criteria of demand: feel was as important as look, and adaptability inside and outside our front door paramount. The result was a hierarchy of layerable garments that began with a base of pajama-like pieces in cotton, silk and fine knits, in typically evocative earthy tones. These were arranged under mid-layers of Mod inspired tailoring and workwear sourced pieces, softly rendered but structured in appearance, plus Shetland knits and turtle-necks that were themselves contained within a protective carapace of excellent outerwear choices. These included a supremely livable-in reversible shearling, and greatcoats worthy of the name. Parkas and Afghans came trimmed in Mongolian wool; trenches and macs featured beautiful abstract marbled print; billowing robe-coats in down or alpaca were enveloping and arresting. Tran noted her favored heel height had been reduced in slouchy uppered boots as a result of her appetite for walking as much as possible when the opportunity presented itself, while men’s footwear included commando-soled slippers and the usual impeccable boot. Bags had a pouch cut like a mitten for double usage. Tran said: “during the confinement we were fantasizing about going out into the streets of Paris, and we were inspired by the idea of the flâneur from Baudelaire; going in the street with no special agenda in mind.” Taking pleasure in a purposeless saunter is a purpose in itself, and this was a collection beautifully built to enhance mindful loitering in every milieu. Added Lemaire: “Luxury is more about how you feel in the clothes than the image you project to others: this we have always been convinced of. And it’s more relevant than ever today… the changes in the rhythm of life and our habits have encouraged us to be even more attentive.” Tony-nominee Jeremy O. Harris and Schiaparelli’s trailblazing designer Daniel Roseberry are two of America’s most exciting young creatives. The author of Slave Play and the mind behind Lady Gaga’s inspiring ensemble at Joe Biden’s inauguration are also firm friends, having first met in 2018 and since shared the experience of rising to sudden fame after years spent honing their respective crafts. On the eve of Roseberry’s latest ready-to-wear collection for Schiaparelli, our colleagues at Vogue Italia have published a lengthy and illuminating interview between the two: here are a few tantalizing snippets. “I remember Daniel mentioning this show that opened his eyes to the fact that Chanel was the great pattern-maker and great designer of her age. And how destabilizing it was for her to witness sort of the brutish, sort of rough design and assemblage of Schiaparelli taking France by storm—without investing in the right way to do things. And I think that my provocations come from me not caring or investing in ‘the right way’ to do things, kind of like that. So I am too Schiaparelli!! That story excites me a lot because I think my interest in the world of theater has been shaped by my disinterest in doing things the right way.” “The last couture show here was the first time that I’ve really felt seen creatively. Not fully, though: I have so much more work to do. The thing that’s hardest so far for me in this job is going from a concept to four or five months later having preserved that concept through all of the filters and all of the people that get involved and not letting it be watered down.” “I didn’t want people to leave feeling like they didn’t experience something that moved in their chest, even if what moved them was anger, or frustration, or excitement, or titillation, I wanted them to feel because so often, there is no feeling when one witnesses a fashion show or witnesses a play…. I don’t know that I want to invest my time in giving them something they can just consume. I want to give them something that blows something up inside of them when it’s when they attempt to consume it.” “That moment, I think the beauty of that moment, of her performance of the way she looked, and specifically the dove was something that I think gave us some sense of redemption. My mom has asked for that dove…” The full conversation can be found here; it makes for ideal reading material before Roseberry’s latest chapter for Schiaparelli is revealed tomorrow. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: https://almashirt.com This product belong to duc-chau Grand Hoof Like Regular Grandpa But Cooler Shirts This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: , tank top, long sleeve, sweater The ‘open brag’ is a term used by the digital generations for showing off newly-acquired luxury items and statement pieces on social media. Objects of peer envy, they’re often of an esoteric nature: shoes, bags, and garments that aren’t traditionally pleasing to the eye; a little awkward, quite subversive, or ugly-cool. Their coolness is community knowledge: if you know, you know. You can apply that methodology to a lot of the things Matthew M. Williams designs for Givenchy. His tenure at the house seems strategically targeted at Gen Z and those who mirror themselves in them—at least if last year’s social media campaign featuring the most followed celebrities in the world is anything to go by. “At the end of the day, it goes back to instinct and what I desire. I’m not so strategic. Hopefully the customer likes what I like,” he said on a phone call from Paris, but his sophomore collection seemed quite tailored to that Gen Z segment. Silhouettes were graphic and intense in a way that echoed the volumes of skate-wear in more sartorial lines; “micro-macro,” he called them—exaggerated as if made to be seen through a screen. Textures were hyper-tactile in that mesmeric way that a phone cover in faux crocodile or neon fuzz makes the brain want to reach out and touch it. And accessories had the quaint and sculptural quality about them that makes them memorable and Insta-worthy, like an out-of-place-object in an unlikely setting. It was embodied in big, furry coats and gilets with matching balaclavas—horned, like last season—and giant furry mittens like something out of a Jean M. Auel novel, but perhaps more “extra-terrestrial,” as Williams said of his hoof-like platform shoes, fit for a centaur. Presented in the industrial Paris La Défense Arena (which the designer said reminded him of his former career dressing musicians) with headlights hovering above models’ heads like they were on the run from a flying saucer, the collection was very sci-fi inferno but with the lockdown-inspired outdoorsy twist we’ve become accustomed to this season. In fact, if our grounded moment in time has turned designers’ minds to the great outdoors, this was the grave outdoors—the tougher, trendier version. Speaking of tough and trendy things, supersized Cuban chains spoke to a current social media mania, while hardware on tailoring and as embellishment on dresses continued Williams’s clash between the Givenchy ateliers and his own industrial world. He translated that same sensibility into his first big push for the red carpet, in kind of aquatic evening dresses shingled with rigid sequins, which cascaded into vivacious hems like the crashing of waves. Their lines reflected Williams’ ongoing proposal for a women’s silhouette, expressed in knitted bodycon numbers or column dresses. “They’re sensual and elegant and show female empowerment,” he said. Even over a choppy Zoom feed, Christophe Lemaire and Sarah-Linh Tran’s new studio between Rue de Turenne and Place de Vosges looked like an idyllic Parisian workspace. “We’re very excited and very happy to be here,” said Lemaire. “The team has been growing slowly and steadily and it was getting more and more complicated to work in our old place. Although we ended up doing the move in the middle of the styling and filming of this collection!” Tant pis. Because the Lemaire team should feel equally as happy and excited about a collection that added a new dimension to this already highly-evolved brand. Partially as a result of le confinement, the designers framed the development of this collection according to shifted criteria of demand: feel was as important as look, and adaptability inside and outside our front door paramount. The result was a hierarchy of layerable garments that began with a base of pajama-like pieces in cotton, silk and fine knits, in typically evocative earthy tones. These were arranged under mid-layers of Mod inspired tailoring and workwear sourced pieces, softly rendered but structured in appearance, plus Shetland knits and turtle-necks that were themselves contained within a protective carapace of excellent outerwear choices. These included a supremely livable-in reversible shearling, and greatcoats worthy of the name. Parkas and Afghans came trimmed in Mongolian wool; trenches and macs featured beautiful abstract marbled print; billowing robe-coats in down or alpaca were enveloping and arresting. Tran noted her favored heel height had been reduced in slouchy uppered boots as a result of her appetite for walking as much as possible when the opportunity presented itself, while men’s footwear included commando-soled slippers and the usual impeccable boot. Bags had a pouch cut like a mitten for double usage. Tran said: “during the confinement we were fantasizing about going out into the streets of Paris, and we were inspired by the idea of the flâneur from Baudelaire; going in the street with no special agenda in mind.” Taking pleasure in a purposeless saunter is a purpose in itself, and this was a collection beautifully built to enhance mindful loitering in every milieu. Added Lemaire: “Luxury is more about how you feel in the clothes than the image you project to others: this we have always been convinced of. And it’s more relevant than ever today… the changes in the rhythm of life and our habits have encouraged us to be even more attentive.” Tony-nominee Jeremy O. Harris and Schiaparelli’s trailblazing designer Daniel Roseberry are two of America’s most exciting young creatives. The author of Slave Play and the mind behind Lady Gaga’s inspiring ensemble at Joe Biden’s inauguration are also firm friends, having first met in 2018 and since shared the experience of rising to sudden fame after years spent honing their respective crafts. On the eve of Roseberry’s latest ready-to-wear collection for Schiaparelli, our colleagues at Vogue Italia have published a lengthy and illuminating interview between the two: here are a few tantalizing snippets. “I remember Daniel mentioning this show that opened his eyes to the fact that Chanel was the great pattern-maker and great designer of her age. And how destabilizing it was for her to witness sort of the brutish, sort of rough design and assemblage of Schiaparelli taking France by storm—without investing in the right way to do things. And I think that my provocations come from me not caring or investing in ‘the right way’ to do things, kind of like that. So I am too Schiaparelli!! That story excites me a lot because I think my interest in the world of theater has been shaped by my disinterest in doing things the right way.” “The last couture show here was the first time that I’ve really felt seen creatively. Not fully, though: I have so much more work to do. The thing that’s hardest so far for me in this job is going from a concept to four or five months later having preserved that concept through all of the filters and all of the people that get involved and not letting it be watered down.” “I didn’t want people to leave feeling like they didn’t experience something that moved in their chest, even if what moved them was anger, or frustration, or excitement, or titillation, I wanted them to feel because so often, there is no feeling when one witnesses a fashion show or witnesses a play…. I don’t know that I want to invest my time in giving them something they can just consume. I want to give them something that blows something up inside of them when it’s when they attempt to consume it.” “That moment, I think the beauty of that moment, of her performance of the way she looked, and specifically the dove was something that I think gave us some sense of redemption. My mom has asked for that dove…” The full conversation can be found here; it makes for ideal reading material before Roseberry’s latest chapter for Schiaparelli is revealed tomorrow. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: https://almashirt.com This product belong to duc-chau
This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: , tank top, long sleeve, sweater The ‘open brag’ is a term used by the digital generations for showing off newly-acquired luxury items and statement pieces on social media. Objects of peer envy, they’re often of an esoteric nature: shoes, bags, and garments that aren’t traditionally pleasing to the eye; a little awkward, quite subversive, or ugly-cool. Their coolness is community knowledge: if you know, you know. You can apply that methodology to a lot of the things Matthew M. Williams designs for Givenchy. His tenure at the house seems strategically targeted at Gen Z and those who mirror themselves in them—at least if last year’s social media campaign featuring the most followed celebrities in the world is anything to go by. “At the end of the day, it goes back to instinct and what I desire. I’m not so strategic. Hopefully the customer likes what I like,” he said on a phone call from Paris, but his sophomore collection seemed quite tailored to that Gen Z segment. Silhouettes were graphic and intense in a way that echoed the volumes of skate-wear in more sartorial lines; “micro-macro,” he called them—exaggerated as if made to be seen through a screen. Textures were hyper-tactile in that mesmeric way that a phone cover in faux crocodile or neon fuzz makes the brain want to reach out and touch it. And accessories had the quaint and sculptural quality about them that makes them memorable and Insta-worthy, like an out-of-place-object in an unlikely setting. It was embodied in big, furry coats and gilets with matching balaclavas—horned, like last season—and giant furry mittens like something out of a Jean M. Auel novel, but perhaps more “extra-terrestrial,” as Williams said of his hoof-like platform shoes, fit for a centaur. Presented in the industrial Paris La Défense Arena (which the designer said reminded him of his former career dressing musicians) with headlights hovering above models’ heads like they were on the run from a flying saucer, the collection was very sci-fi inferno but with the lockdown-inspired outdoorsy twist we’ve become accustomed to this season. In fact, if our grounded moment in time has turned designers’ minds to the great outdoors, this was the grave outdoors—the tougher, trendier version. Speaking of tough and trendy things, supersized Cuban chains spoke to a current social media mania, while hardware on tailoring and as embellishment on dresses continued Williams’s clash between the Givenchy ateliers and his own industrial world. He translated that same sensibility into his first big push for the red carpet, in kind of aquatic evening dresses shingled with rigid sequins, which cascaded into vivacious hems like the crashing of waves. Their lines reflected Williams’ ongoing proposal for a women’s silhouette, expressed in knitted bodycon numbers or column dresses. “They’re sensual and elegant and show female empowerment,” he said. Even over a choppy Zoom feed, Christophe Lemaire and Sarah-Linh Tran’s new studio between Rue de Turenne and Place de Vosges looked like an idyllic Parisian workspace. “We’re very excited and very happy to be here,” said Lemaire. “The team has been growing slowly and steadily and it was getting more and more complicated to work in our old place. Although we ended up doing the move in the middle of the styling and filming of this collection!” Tant pis. Because the Lemaire team should feel equally as happy and excited about a collection that added a new dimension to this already highly-evolved brand. Partially as a result of le confinement, the designers framed the development of this collection according to shifted criteria of demand: feel was as important as look, and adaptability inside and outside our front door paramount. The result was a hierarchy of layerable garments that began with a base of pajama-like pieces in cotton, silk and fine knits, in typically evocative earthy tones. These were arranged under mid-layers of Mod inspired tailoring and workwear sourced pieces, softly rendered but structured in appearance, plus Shetland knits and turtle-necks that were themselves contained within a protective carapace of excellent outerwear choices. These included a supremely livable-in reversible shearling, and greatcoats worthy of the name. Parkas and Afghans came trimmed in Mongolian wool; trenches and macs featured beautiful abstract marbled print; billowing robe-coats in down or alpaca were enveloping and arresting. Tran noted her favored heel height had been reduced in slouchy uppered boots as a result of her appetite for walking as much as possible when the opportunity presented itself, while men’s footwear included commando-soled slippers and the usual impeccable boot. Bags had a pouch cut like a mitten for double usage. Tran said: “during the confinement we were fantasizing about going out into the streets of Paris, and we were inspired by the idea of the flâneur from Baudelaire; going in the street with no special agenda in mind.” Taking pleasure in a purposeless saunter is a purpose in itself, and this was a collection beautifully built to enhance mindful loitering in every milieu. Added Lemaire: “Luxury is more about how you feel in the clothes than the image you project to others: this we have always been convinced of. And it’s more relevant than ever today… the changes in the rhythm of life and our habits have encouraged us to be even more attentive.” Tony-nominee Jeremy O. Harris and Schiaparelli’s trailblazing designer Daniel Roseberry are two of America’s most exciting young creatives. The author of Slave Play and the mind behind Lady Gaga’s inspiring ensemble at Joe Biden’s inauguration are also firm friends, having first met in 2018 and since shared the experience of rising to sudden fame after years spent honing their respective crafts. On the eve of Roseberry’s latest ready-to-wear collection for Schiaparelli, our colleagues at Vogue Italia have published a lengthy and illuminating interview between the two: here are a few tantalizing snippets. “I remember Daniel mentioning this show that opened his eyes to the fact that Chanel was the great pattern-maker and great designer of her age. And how destabilizing it was for her to witness sort of the brutish, sort of rough design and assemblage of Schiaparelli taking France by storm—without investing in the right way to do things. And I think that my provocations come from me not caring or investing in ‘the right way’ to do things, kind of like that. So I am too Schiaparelli!! That story excites me a lot because I think my interest in the world of theater has been shaped by my disinterest in doing things the right way.” “The last couture show here was the first time that I’ve really felt seen creatively. Not fully, though: I have so much more work to do. The thing that’s hardest so far for me in this job is going from a concept to four or five months later having preserved that concept through all of the filters and all of the people that get involved and not letting it be watered down.” “I didn’t want people to leave feeling like they didn’t experience something that moved in their chest, even if what moved them was anger, or frustration, or excitement, or titillation, I wanted them to feel because so often, there is no feeling when one witnesses a fashion show or witnesses a play…. I don’t know that I want to invest my time in giving them something they can just consume. I want to give them something that blows something up inside of them when it’s when they attempt to consume it.” “That moment, I think the beauty of that moment, of her performance of the way she looked, and specifically the dove was something that I think gave us some sense of redemption. My mom has asked for that dove…” The full conversation can be found here; it makes for ideal reading material before Roseberry’s latest chapter for Schiaparelli is revealed tomorrow. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: https://almashirt.com This product belong to duc-chau Grand Hoof Like Regular Grandpa But Cooler Shirts This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: , tank top, long sleeve, sweater The ‘open brag’ is a term used by the digital generations for showing off newly-acquired luxury items and statement pieces on social media. Objects of peer envy, they’re often of an esoteric nature: shoes, bags, and garments that aren’t traditionally pleasing to the eye; a little awkward, quite subversive, or ugly-cool. Their coolness is community knowledge: if you know, you know. You can apply that methodology to a lot of the things Matthew M. Williams designs for Givenchy. His tenure at the house seems strategically targeted at Gen Z and those who mirror themselves in them—at least if last year’s social media campaign featuring the most followed celebrities in the world is anything to go by. “At the end of the day, it goes back to instinct and what I desire. I’m not so strategic. Hopefully the customer likes what I like,” he said on a phone call from Paris, but his sophomore collection seemed quite tailored to that Gen Z segment. Silhouettes were graphic and intense in a way that echoed the volumes of skate-wear in more sartorial lines; “micro-macro,” he called them—exaggerated as if made to be seen through a screen. Textures were hyper-tactile in that mesmeric way that a phone cover in faux crocodile or neon fuzz makes the brain want to reach out and touch it. And accessories had the quaint and sculptural quality about them that makes them memorable and Insta-worthy, like an out-of-place-object in an unlikely setting. It was embodied in big, furry coats and gilets with matching balaclavas—horned, like last season—and giant furry mittens like something out of a Jean M. Auel novel, but perhaps more “extra-terrestrial,” as Williams said of his hoof-like platform shoes, fit for a centaur. Presented in the industrial Paris La Défense Arena (which the designer said reminded him of his former career dressing musicians) with headlights hovering above models’ heads like they were on the run from a flying saucer, the collection was very sci-fi inferno but with the lockdown-inspired outdoorsy twist we’ve become accustomed to this season. In fact, if our grounded moment in time has turned designers’ minds to the great outdoors, this was the grave outdoors—the tougher, trendier version. Speaking of tough and trendy things, supersized Cuban chains spoke to a current social media mania, while hardware on tailoring and as embellishment on dresses continued Williams’s clash between the Givenchy ateliers and his own industrial world. He translated that same sensibility into his first big push for the red carpet, in kind of aquatic evening dresses shingled with rigid sequins, which cascaded into vivacious hems like the crashing of waves. Their lines reflected Williams’ ongoing proposal for a women’s silhouette, expressed in knitted bodycon numbers or column dresses. “They’re sensual and elegant and show female empowerment,” he said. Even over a choppy Zoom feed, Christophe Lemaire and Sarah-Linh Tran’s new studio between Rue de Turenne and Place de Vosges looked like an idyllic Parisian workspace. “We’re very excited and very happy to be here,” said Lemaire. “The team has been growing slowly and steadily and it was getting more and more complicated to work in our old place. Although we ended up doing the move in the middle of the styling and filming of this collection!” Tant pis. Because the Lemaire team should feel equally as happy and excited about a collection that added a new dimension to this already highly-evolved brand. Partially as a result of le confinement, the designers framed the development of this collection according to shifted criteria of demand: feel was as important as look, and adaptability inside and outside our front door paramount. The result was a hierarchy of layerable garments that began with a base of pajama-like pieces in cotton, silk and fine knits, in typically evocative earthy tones. These were arranged under mid-layers of Mod inspired tailoring and workwear sourced pieces, softly rendered but structured in appearance, plus Shetland knits and turtle-necks that were themselves contained within a protective carapace of excellent outerwear choices. These included a supremely livable-in reversible shearling, and greatcoats worthy of the name. Parkas and Afghans came trimmed in Mongolian wool; trenches and macs featured beautiful abstract marbled print; billowing robe-coats in down or alpaca were enveloping and arresting. Tran noted her favored heel height had been reduced in slouchy uppered boots as a result of her appetite for walking as much as possible when the opportunity presented itself, while men’s footwear included commando-soled slippers and the usual impeccable boot. Bags had a pouch cut like a mitten for double usage. Tran said: “during the confinement we were fantasizing about going out into the streets of Paris, and we were inspired by the idea of the flâneur from Baudelaire; going in the street with no special agenda in mind.” Taking pleasure in a purposeless saunter is a purpose in itself, and this was a collection beautifully built to enhance mindful loitering in every milieu. Added Lemaire: “Luxury is more about how you feel in the clothes than the image you project to others: this we have always been convinced of. And it’s more relevant than ever today… the changes in the rhythm of life and our habits have encouraged us to be even more attentive.” Tony-nominee Jeremy O. Harris and Schiaparelli’s trailblazing designer Daniel Roseberry are two of America’s most exciting young creatives. The author of Slave Play and the mind behind Lady Gaga’s inspiring ensemble at Joe Biden’s inauguration are also firm friends, having first met in 2018 and since shared the experience of rising to sudden fame after years spent honing their respective crafts. On the eve of Roseberry’s latest ready-to-wear collection for Schiaparelli, our colleagues at Vogue Italia have published a lengthy and illuminating interview between the two: here are a few tantalizing snippets. “I remember Daniel mentioning this show that opened his eyes to the fact that Chanel was the great pattern-maker and great designer of her age. And how destabilizing it was for her to witness sort of the brutish, sort of rough design and assemblage of Schiaparelli taking France by storm—without investing in the right way to do things. And I think that my provocations come from me not caring or investing in ‘the right way’ to do things, kind of like that. So I am too Schiaparelli!! That story excites me a lot because I think my interest in the world of theater has been shaped by my disinterest in doing things the right way.” “The last couture show here was the first time that I’ve really felt seen creatively. Not fully, though: I have so much more work to do. The thing that’s hardest so far for me in this job is going from a concept to four or five months later having preserved that concept through all of the filters and all of the people that get involved and not letting it be watered down.” “I didn’t want people to leave feeling like they didn’t experience something that moved in their chest, even if what moved them was anger, or frustration, or excitement, or titillation, I wanted them to feel because so often, there is no feeling when one witnesses a fashion show or witnesses a play…. I don’t know that I want to invest my time in giving them something they can just consume. I want to give them something that blows something up inside of them when it’s when they attempt to consume it.” “That moment, I think the beauty of that moment, of her performance of the way she looked, and specifically the dove was something that I think gave us some sense of redemption. My mom has asked for that dove…” The full conversation can be found here; it makes for ideal reading material before Roseberry’s latest chapter for Schiaparelli is revealed tomorrow. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: https://almashirt.com This product belong to duc-chau
Shop now: https://dzeetee.info/grand-hoof-like-regular-grandpa-but-cooler-shirts/
No comments:
Post a Comment