My Whole Family Is Temperamental Half Temper Half Mental Don't Mess With Us T Shirt
The T Shirt is 100% cotton pre shrunk Gildan 5000 shirt. 1 Middle Weight Contender; Comfy Men’s Short Sleeve Blank Tee Shirt. 100% Cotton. Strong double needle stitched neckline and bottom hem. Shoulder-to-shoulder taping. Quarter turned. Seamless collar The Digital Printed Transfer and will be placed centered on the t shirt If there are any questions are you need any help with the design please feel free to contact us we will try our best to answer message very quickly and we would love to hear from you. If you would like bulk pricing on any of our products please let us know and we can give you special bulk pricing. Click here to buy this shirt: Yes I’m ready for the second coming of Jesus shirt Though it was something to see Simon Porte Jacquemus’s spectacular runway in a French wheatfield—all those sweeping aerial drone views—and to feel the poignant emotion as three young Italian tenors sang live at Dolce & Gabanna’s socially distanced men’s show in Milan, ultimately this season proved that there are so many more options for effective, compelling, and long-lasting ways of capturing what fashion’s all about today. Those who’ve experimented with media to say something genuine and personal during the pandemic—Gabriela Hearst’s video of riding with her sister in California and her honest spoken-word statement about sustainability stick in the memory—are for certain pointing towards a more open, intelligent, and progressive future for the way we view fashion from now on. On the whole, though, my conclusion—albeit from the privileged perspective who someone who usually gets to go to physical fashion shows—is that while digital assets can be complementary, they will not make real-life fashion shows obsolete anytime soon. Rick Owens’s decision to put himself and Tyrone Dylan Susman in his video lookbook was effective, but as we discussed it (and pesky I.T. issues) over a Zoom pre-stream, it was hard not to lament the missed the real Rick show that this replaced. Also: It was a pity that Miuccia Prada’s last solo collection was reduced to a series of videos that were perfectly fine but inadequate substitutes for what her last show would have represented. That was why when we did get to real shows, Etro and then Dolce & Gabbana (plus Jacquemus later in France), it was wonderful. Clothes are all about contact: As a wearer, you feel them on your skin, and as a watcher, you process them with your eye. The watching part can be done secondhand, but the impact will always be second to the real thing. I read some commentators in the U.S. saying, “Too soon” or “Wear a damn mask!” (which I always did), but these opinions—while valid enough—lack perspective. Milan and its surrounding region Lombardy went through what New York did but earlier. Through sagacious governmental management much more effective than that of the U.S., Italy has managed dramatically to flatten the curve across the rest of its territory. These shows—just like the reopening of flights, stores, factories, and restaurants—were symptomatic of recovery that, far from being taken for granted, is being tended to with vigilance and cherished with gratitude. The digital Fashion Weeks were better than no Fashion Weeks at all, but as an upgrade on the real thing? Nah. Like everyone, I missed the shows in the experiential sense this season. But for the first time since I began covering the collections several years ago, I didn’t miss a single brand or designer’s contribution to Paris Fashion Week. Which is to say, thanks to the Fédération’s online platform, I was able to watch every name on the haute couture and men’s calendars. This brand on-demand convenience—not to mention being spared the logistical headaches of zigzagging across the city—was pretty great. Also, everything was on time, from the films to the manner in which we filed our reviews. While efficiency can be satisfying, it’s not necessarily exciting. Ultimately, we had to accept that the focus this season wasn’t going to be the clothes but rather the brands conveying some combination of identity, process, and values. And in the absence of standardized criteria (as in, showing a minimum number of looks, specifying a time range), it was interesting to observe how heterogeneous these experiments proved to be—quasi–ad campaigns versus short films, conceptual or fantastical visions versus raw and documentary style. Indeed, some of what we saw this past week was only possible through film. I’m thinking of the special effects (Issey Miyake’s pleated flowers; Louis Vuitton’s animated Parisian adventure), the camera and editing mastery (the multiple vantage points in Rick Owens’s studio; the live action at Hermès; the styling triptychs from Y/Project; KidSuper’s stop-motion plastic people), and the decentralized locations (Reese Cooper’s river as runway; Études through the streets of the Belleville; Lanvin at the Palais Idéal). And if that palpable energy that infuses a live show was impossible to replicate, I felt a certain frisson in the storytelling and/or emotion while watching Rabih Kayrouz, Dior Men, Thom Browne, Botter, Pigalle, and Rhude, to name a few. Viktor & Rolf’s “pageant of couture 2020 loveliness” proved delightfully meta, equally relevant and irreverent. Our Zoom call actually felt like quality time compared to our rushed backstage moments. But the most normal moment of all was my visit to Officine Generale’s Pierre Mahéo in his showroom, even though at the end he offered me masks made from shirt fabric (much nicer than my generic versions, in any case). For all the people forced to skip the season, the credits that accompanied the films this week attested to sizable teams who deserve credit for working through extraordinary circumstances. It was a show-must-go-on attitude minus the shows. For years we’ve been going on criticizing the fashion shows as a boring, repetitive format, ready to expire like a milk bottle left too long in the fridge, or like a species from the Pliocene, already extinct but for some reason still breathing—a sort of living dead. Well, the zombie has proved resilient—and it’s the pandemic that it has to thank. The smorgasbord of videos replacing the live shows, no matter how artsy and clever and inclusive, has made us feel as if we were all affected by a form of ADD, severely testing our attention spans. Feelings of frustration and tedium have more often than not replaced the appreciation and respect due to the remarkable creative effort designers have made, trying to come to terms with an immaterial medium to communicate a very material art—fashion. In the end, it’s really that simple: Fashion is about clothes; clothes are about the body; the body is about the senses. As much as they are bearers of meaning and vectors for self-expression, clothes aren’t just abstract representations of a creative vision, however innovative it can be. They’re about the making and the craft that makes them come to life—an expression of human, very tangible, often superb creativity. Think of the relevance of couture. That’s why the best videos (Galliano’s Maison Margiela Artisanal obviously comes to mind, but also Dior Men and Gucci) were, in my opinion, the ones of designers opening up about their practice, revealing not only their visionary genius but the passionate, collaborative human effort that goes into bringing ideas, no matter how abstruse or hyperbolic, into reality. That’s also why IRL fashion shows won’t be replaced anytime soon: They ultimately bring about a sense of community—no matter how dysfunctional and jaded it may be. On a personal note, since here in Milan, the safe-distance protocols are still observed (masks are mandatory inside while wearing them outside has recently become optional), I’ve been able to review most of the collections in person, meeting with designers in one-on-one appointments. They all seemed more than ready to hit the fashion-show circuit again as soon as the circumstances allow it. And the Etro IRL show felt totally safe as far as health requirements were concerned and also very enjoyable. It was great to see our fashion family back together again—as we could say of a temperamental yet beloved boyfriend, “Neither with you nor without you.” Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary NowBestShirt This product belong to hieu-hoa My Whole Family Is Temperamental Half Temper Half Mental Don't Mess With Us T Shirt The T Shirt is 100% cotton pre shrunk Gildan 5000 shirt. 1 Middle Weight Contender; Comfy Men’s Short Sleeve Blank Tee Shirt. 100% Cotton. Strong double needle stitched neckline and bottom hem. Shoulder-to-shoulder taping. Quarter turned. Seamless collar The Digital Printed Transfer and will be placed centered on the t shirt If there are any questions are you need any help with the design please feel free to contact us we will try our best to answer message very quickly and we would love to hear from you. If you would like bulk pricing on any of our products please let us know and we can give you special bulk pricing. Click here to buy this shirt: Yes I’m ready for the second coming of Jesus shirt Though it was something to see Simon Porte Jacquemus’s spectacular runway in a French wheatfield—all those sweeping aerial drone views—and to feel the poignant emotion as three young Italian tenors sang live at Dolce & Gabanna’s socially distanced men’s show in Milan, ultimately this season proved that there are so many more options for effective, compelling, and long-lasting ways of capturing what fashion’s all about today. Those who’ve experimented with media to say something genuine and personal during the pandemic—Gabriela Hearst’s video of riding with her sister in California and her honest spoken-word statement about sustainability stick in the memory—are for certain pointing towards a more open, intelligent, and progressive future for the way we view fashion from now on. On the whole, though, my conclusion—albeit from the privileged perspective who someone who usually gets to go to physical fashion shows—is that while digital assets can be complementary, they will not make real-life fashion shows obsolete anytime soon. Rick Owens’s decision to put himself and Tyrone Dylan Susman in his video lookbook was effective, but as we discussed it (and pesky I.T. issues) over a Zoom pre-stream, it was hard not to lament the missed the real Rick show that this replaced. Also: It was a pity that Miuccia Prada’s last solo collection was reduced to a series of videos that were perfectly fine but inadequate substitutes for what her last show would have represented. That was why when we did get to real shows, Etro and then Dolce & Gabbana (plus Jacquemus later in France), it was wonderful. Clothes are all about contact: As a wearer, you feel them on your skin, and as a watcher, you process them with your eye. The watching part can be done secondhand, but the impact will always be second to the real thing. I read some commentators in the U.S. saying, “Too soon” or “Wear a damn mask!” (which I always did), but these opinions—while valid enough—lack perspective. Milan and its surrounding region Lombardy went through what New York did but earlier. Through sagacious governmental management much more effective than that of the U.S., Italy has managed dramatically to flatten the curve across the rest of its territory. These shows—just like the reopening of flights, stores, factories, and restaurants—were symptomatic of recovery that, far from being taken for granted, is being tended to with vigilance and cherished with gratitude. The digital Fashion Weeks were better than no Fashion Weeks at all, but as an upgrade on the real thing? Nah. Like everyone, I missed the shows in the experiential sense this season. But for the first time since I began covering the collections several years ago, I didn’t miss a single brand or designer’s contribution to Paris Fashion Week. Which is to say, thanks to the Fédération’s online platform, I was able to watch every name on the haute couture and men’s calendars. This brand on-demand convenience—not to mention being spared the logistical headaches of zigzagging across the city—was pretty great. Also, everything was on time, from the films to the manner in which we filed our reviews. While efficiency can be satisfying, it’s not necessarily exciting. Ultimately, we had to accept that the focus this season wasn’t going to be the clothes but rather the brands conveying some combination of identity, process, and values. And in the absence of standardized criteria (as in, showing a minimum number of looks, specifying a time range), it was interesting to observe how heterogeneous these experiments proved to be—quasi–ad campaigns versus short films, conceptual or fantastical visions versus raw and documentary style. Indeed, some of what we saw this past week was only possible through film. I’m thinking of the special effects (Issey Miyake’s pleated flowers; Louis Vuitton’s animated Parisian adventure), the camera and editing mastery (the multiple vantage points in Rick Owens’s studio; the live action at Hermès; the styling triptychs from Y/Project; KidSuper’s stop-motion plastic people), and the decentralized locations (Reese Cooper’s river as runway; Études through the streets of the Belleville; Lanvin at the Palais Idéal). And if that palpable energy that infuses a live show was impossible to replicate, I felt a certain frisson in the storytelling and/or emotion while watching Rabih Kayrouz, Dior Men, Thom Browne, Botter, Pigalle, and Rhude, to name a few. Viktor & Rolf’s “pageant of couture 2020 loveliness” proved delightfully meta, equally relevant and irreverent. Our Zoom call actually felt like quality time compared to our rushed backstage moments. But the most normal moment of all was my visit to Officine Generale’s Pierre Mahéo in his showroom, even though at the end he offered me masks made from shirt fabric (much nicer than my generic versions, in any case). For all the people forced to skip the season, the credits that accompanied the films this week attested to sizable teams who deserve credit for working through extraordinary circumstances. It was a show-must-go-on attitude minus the shows. For years we’ve been going on criticizing the fashion shows as a boring, repetitive format, ready to expire like a milk bottle left too long in the fridge, or like a species from the Pliocene, already extinct but for some reason still breathing—a sort of living dead. Well, the zombie has proved resilient—and it’s the pandemic that it has to thank. The smorgasbord of videos replacing the live shows, no matter how artsy and clever and inclusive, has made us feel as if we were all affected by a form of ADD, severely testing our attention spans. Feelings of frustration and tedium have more often than not replaced the appreciation and respect due to the remarkable creative effort designers have made, trying to come to terms with an immaterial medium to communicate a very material art—fashion. In the end, it’s really that simple: Fashion is about clothes; clothes are about the body; the body is about the senses. As much as they are bearers of meaning and vectors for self-expression, clothes aren’t just abstract representations of a creative vision, however innovative it can be. They’re about the making and the craft that makes them come to life—an expression of human, very tangible, often superb creativity. Think of the relevance of couture. That’s why the best videos (Galliano’s Maison Margiela Artisanal obviously comes to mind, but also Dior Men and Gucci) were, in my opinion, the ones of designers opening up about their practice, revealing not only their visionary genius but the passionate, collaborative human effort that goes into bringing ideas, no matter how abstruse or hyperbolic, into reality. That’s also why IRL fashion shows won’t be replaced anytime soon: They ultimately bring about a sense of community—no matter how dysfunctional and jaded it may be. On a personal note, since here in Milan, the safe-distance protocols are still observed (masks are mandatory inside while wearing them outside has recently become optional), I’ve been able to review most of the collections in person, meeting with designers in one-on-one appointments. They all seemed more than ready to hit the fashion-show circuit again as soon as the circumstances allow it. And the Etro IRL show felt totally safe as far as health requirements were concerned and also very enjoyable. It was great to see our fashion family back together again—as we could say of a temperamental yet beloved boyfriend, “Neither with you nor without you.” Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary NowBestShirt This product belong to hieu-hoa
The T Shirt is 100% cotton pre shrunk Gildan 5000 shirt. 1 Middle Weight Contender; Comfy Men’s Short Sleeve Blank Tee Shirt. 100% Cotton. Strong double needle stitched neckline and bottom hem. Shoulder-to-shoulder taping. Quarter turned. Seamless collar The Digital Printed Transfer and will be placed centered on the t shirt If there are any questions are you need any help with the design please feel free to contact us we will try our best to answer message very quickly and we would love to hear from you. If you would like bulk pricing on any of our products please let us know and we can give you special bulk pricing. Click here to buy this shirt: Yes I’m ready for the second coming of Jesus shirt Though it was something to see Simon Porte Jacquemus’s spectacular runway in a French wheatfield—all those sweeping aerial drone views—and to feel the poignant emotion as three young Italian tenors sang live at Dolce & Gabanna’s socially distanced men’s show in Milan, ultimately this season proved that there are so many more options for effective, compelling, and long-lasting ways of capturing what fashion’s all about today. Those who’ve experimented with media to say something genuine and personal during the pandemic—Gabriela Hearst’s video of riding with her sister in California and her honest spoken-word statement about sustainability stick in the memory—are for certain pointing towards a more open, intelligent, and progressive future for the way we view fashion from now on. On the whole, though, my conclusion—albeit from the privileged perspective who someone who usually gets to go to physical fashion shows—is that while digital assets can be complementary, they will not make real-life fashion shows obsolete anytime soon. Rick Owens’s decision to put himself and Tyrone Dylan Susman in his video lookbook was effective, but as we discussed it (and pesky I.T. issues) over a Zoom pre-stream, it was hard not to lament the missed the real Rick show that this replaced. Also: It was a pity that Miuccia Prada’s last solo collection was reduced to a series of videos that were perfectly fine but inadequate substitutes for what her last show would have represented. That was why when we did get to real shows, Etro and then Dolce & Gabbana (plus Jacquemus later in France), it was wonderful. Clothes are all about contact: As a wearer, you feel them on your skin, and as a watcher, you process them with your eye. The watching part can be done secondhand, but the impact will always be second to the real thing. I read some commentators in the U.S. saying, “Too soon” or “Wear a damn mask!” (which I always did), but these opinions—while valid enough—lack perspective. Milan and its surrounding region Lombardy went through what New York did but earlier. Through sagacious governmental management much more effective than that of the U.S., Italy has managed dramatically to flatten the curve across the rest of its territory. These shows—just like the reopening of flights, stores, factories, and restaurants—were symptomatic of recovery that, far from being taken for granted, is being tended to with vigilance and cherished with gratitude. The digital Fashion Weeks were better than no Fashion Weeks at all, but as an upgrade on the real thing? Nah. Like everyone, I missed the shows in the experiential sense this season. But for the first time since I began covering the collections several years ago, I didn’t miss a single brand or designer’s contribution to Paris Fashion Week. Which is to say, thanks to the Fédération’s online platform, I was able to watch every name on the haute couture and men’s calendars. This brand on-demand convenience—not to mention being spared the logistical headaches of zigzagging across the city—was pretty great. Also, everything was on time, from the films to the manner in which we filed our reviews. While efficiency can be satisfying, it’s not necessarily exciting. Ultimately, we had to accept that the focus this season wasn’t going to be the clothes but rather the brands conveying some combination of identity, process, and values. And in the absence of standardized criteria (as in, showing a minimum number of looks, specifying a time range), it was interesting to observe how heterogeneous these experiments proved to be—quasi–ad campaigns versus short films, conceptual or fantastical visions versus raw and documentary style. Indeed, some of what we saw this past week was only possible through film. I’m thinking of the special effects (Issey Miyake’s pleated flowers; Louis Vuitton’s animated Parisian adventure), the camera and editing mastery (the multiple vantage points in Rick Owens’s studio; the live action at Hermès; the styling triptychs from Y/Project; KidSuper’s stop-motion plastic people), and the decentralized locations (Reese Cooper’s river as runway; Études through the streets of the Belleville; Lanvin at the Palais Idéal). And if that palpable energy that infuses a live show was impossible to replicate, I felt a certain frisson in the storytelling and/or emotion while watching Rabih Kayrouz, Dior Men, Thom Browne, Botter, Pigalle, and Rhude, to name a few. Viktor & Rolf’s “pageant of couture 2020 loveliness” proved delightfully meta, equally relevant and irreverent. Our Zoom call actually felt like quality time compared to our rushed backstage moments. But the most normal moment of all was my visit to Officine Generale’s Pierre Mahéo in his showroom, even though at the end he offered me masks made from shirt fabric (much nicer than my generic versions, in any case). For all the people forced to skip the season, the credits that accompanied the films this week attested to sizable teams who deserve credit for working through extraordinary circumstances. It was a show-must-go-on attitude minus the shows. For years we’ve been going on criticizing the fashion shows as a boring, repetitive format, ready to expire like a milk bottle left too long in the fridge, or like a species from the Pliocene, already extinct but for some reason still breathing—a sort of living dead. Well, the zombie has proved resilient—and it’s the pandemic that it has to thank. The smorgasbord of videos replacing the live shows, no matter how artsy and clever and inclusive, has made us feel as if we were all affected by a form of ADD, severely testing our attention spans. Feelings of frustration and tedium have more often than not replaced the appreciation and respect due to the remarkable creative effort designers have made, trying to come to terms with an immaterial medium to communicate a very material art—fashion. In the end, it’s really that simple: Fashion is about clothes; clothes are about the body; the body is about the senses. As much as they are bearers of meaning and vectors for self-expression, clothes aren’t just abstract representations of a creative vision, however innovative it can be. They’re about the making and the craft that makes them come to life—an expression of human, very tangible, often superb creativity. Think of the relevance of couture. That’s why the best videos (Galliano’s Maison Margiela Artisanal obviously comes to mind, but also Dior Men and Gucci) were, in my opinion, the ones of designers opening up about their practice, revealing not only their visionary genius but the passionate, collaborative human effort that goes into bringing ideas, no matter how abstruse or hyperbolic, into reality. That’s also why IRL fashion shows won’t be replaced anytime soon: They ultimately bring about a sense of community—no matter how dysfunctional and jaded it may be. On a personal note, since here in Milan, the safe-distance protocols are still observed (masks are mandatory inside while wearing them outside has recently become optional), I’ve been able to review most of the collections in person, meeting with designers in one-on-one appointments. They all seemed more than ready to hit the fashion-show circuit again as soon as the circumstances allow it. And the Etro IRL show felt totally safe as far as health requirements were concerned and also very enjoyable. It was great to see our fashion family back together again—as we could say of a temperamental yet beloved boyfriend, “Neither with you nor without you.” Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary NowBestShirt This product belong to hieu-hoa My Whole Family Is Temperamental Half Temper Half Mental Don't Mess With Us T Shirt The T Shirt is 100% cotton pre shrunk Gildan 5000 shirt. 1 Middle Weight Contender; Comfy Men’s Short Sleeve Blank Tee Shirt. 100% Cotton. Strong double needle stitched neckline and bottom hem. Shoulder-to-shoulder taping. Quarter turned. Seamless collar The Digital Printed Transfer and will be placed centered on the t shirt If there are any questions are you need any help with the design please feel free to contact us we will try our best to answer message very quickly and we would love to hear from you. If you would like bulk pricing on any of our products please let us know and we can give you special bulk pricing. Click here to buy this shirt: Yes I’m ready for the second coming of Jesus shirt Though it was something to see Simon Porte Jacquemus’s spectacular runway in a French wheatfield—all those sweeping aerial drone views—and to feel the poignant emotion as three young Italian tenors sang live at Dolce & Gabanna’s socially distanced men’s show in Milan, ultimately this season proved that there are so many more options for effective, compelling, and long-lasting ways of capturing what fashion’s all about today. Those who’ve experimented with media to say something genuine and personal during the pandemic—Gabriela Hearst’s video of riding with her sister in California and her honest spoken-word statement about sustainability stick in the memory—are for certain pointing towards a more open, intelligent, and progressive future for the way we view fashion from now on. On the whole, though, my conclusion—albeit from the privileged perspective who someone who usually gets to go to physical fashion shows—is that while digital assets can be complementary, they will not make real-life fashion shows obsolete anytime soon. Rick Owens’s decision to put himself and Tyrone Dylan Susman in his video lookbook was effective, but as we discussed it (and pesky I.T. issues) over a Zoom pre-stream, it was hard not to lament the missed the real Rick show that this replaced. Also: It was a pity that Miuccia Prada’s last solo collection was reduced to a series of videos that were perfectly fine but inadequate substitutes for what her last show would have represented. That was why when we did get to real shows, Etro and then Dolce & Gabbana (plus Jacquemus later in France), it was wonderful. Clothes are all about contact: As a wearer, you feel them on your skin, and as a watcher, you process them with your eye. The watching part can be done secondhand, but the impact will always be second to the real thing. I read some commentators in the U.S. saying, “Too soon” or “Wear a damn mask!” (which I always did), but these opinions—while valid enough—lack perspective. Milan and its surrounding region Lombardy went through what New York did but earlier. Through sagacious governmental management much more effective than that of the U.S., Italy has managed dramatically to flatten the curve across the rest of its territory. These shows—just like the reopening of flights, stores, factories, and restaurants—were symptomatic of recovery that, far from being taken for granted, is being tended to with vigilance and cherished with gratitude. The digital Fashion Weeks were better than no Fashion Weeks at all, but as an upgrade on the real thing? Nah. Like everyone, I missed the shows in the experiential sense this season. But for the first time since I began covering the collections several years ago, I didn’t miss a single brand or designer’s contribution to Paris Fashion Week. Which is to say, thanks to the Fédération’s online platform, I was able to watch every name on the haute couture and men’s calendars. This brand on-demand convenience—not to mention being spared the logistical headaches of zigzagging across the city—was pretty great. Also, everything was on time, from the films to the manner in which we filed our reviews. While efficiency can be satisfying, it’s not necessarily exciting. Ultimately, we had to accept that the focus this season wasn’t going to be the clothes but rather the brands conveying some combination of identity, process, and values. And in the absence of standardized criteria (as in, showing a minimum number of looks, specifying a time range), it was interesting to observe how heterogeneous these experiments proved to be—quasi–ad campaigns versus short films, conceptual or fantastical visions versus raw and documentary style. Indeed, some of what we saw this past week was only possible through film. I’m thinking of the special effects (Issey Miyake’s pleated flowers; Louis Vuitton’s animated Parisian adventure), the camera and editing mastery (the multiple vantage points in Rick Owens’s studio; the live action at Hermès; the styling triptychs from Y/Project; KidSuper’s stop-motion plastic people), and the decentralized locations (Reese Cooper’s river as runway; Études through the streets of the Belleville; Lanvin at the Palais Idéal). And if that palpable energy that infuses a live show was impossible to replicate, I felt a certain frisson in the storytelling and/or emotion while watching Rabih Kayrouz, Dior Men, Thom Browne, Botter, Pigalle, and Rhude, to name a few. Viktor & Rolf’s “pageant of couture 2020 loveliness” proved delightfully meta, equally relevant and irreverent. Our Zoom call actually felt like quality time compared to our rushed backstage moments. But the most normal moment of all was my visit to Officine Generale’s Pierre Mahéo in his showroom, even though at the end he offered me masks made from shirt fabric (much nicer than my generic versions, in any case). For all the people forced to skip the season, the credits that accompanied the films this week attested to sizable teams who deserve credit for working through extraordinary circumstances. It was a show-must-go-on attitude minus the shows. For years we’ve been going on criticizing the fashion shows as a boring, repetitive format, ready to expire like a milk bottle left too long in the fridge, or like a species from the Pliocene, already extinct but for some reason still breathing—a sort of living dead. Well, the zombie has proved resilient—and it’s the pandemic that it has to thank. The smorgasbord of videos replacing the live shows, no matter how artsy and clever and inclusive, has made us feel as if we were all affected by a form of ADD, severely testing our attention spans. Feelings of frustration and tedium have more often than not replaced the appreciation and respect due to the remarkable creative effort designers have made, trying to come to terms with an immaterial medium to communicate a very material art—fashion. In the end, it’s really that simple: Fashion is about clothes; clothes are about the body; the body is about the senses. As much as they are bearers of meaning and vectors for self-expression, clothes aren’t just abstract representations of a creative vision, however innovative it can be. They’re about the making and the craft that makes them come to life—an expression of human, very tangible, often superb creativity. Think of the relevance of couture. That’s why the best videos (Galliano’s Maison Margiela Artisanal obviously comes to mind, but also Dior Men and Gucci) were, in my opinion, the ones of designers opening up about their practice, revealing not only their visionary genius but the passionate, collaborative human effort that goes into bringing ideas, no matter how abstruse or hyperbolic, into reality. That’s also why IRL fashion shows won’t be replaced anytime soon: They ultimately bring about a sense of community—no matter how dysfunctional and jaded it may be. On a personal note, since here in Milan, the safe-distance protocols are still observed (masks are mandatory inside while wearing them outside has recently become optional), I’ve been able to review most of the collections in person, meeting with designers in one-on-one appointments. They all seemed more than ready to hit the fashion-show circuit again as soon as the circumstances allow it. And the Etro IRL show felt totally safe as far as health requirements were concerned and also very enjoyable. It was great to see our fashion family back together again—as we could say of a temperamental yet beloved boyfriend, “Neither with you nor without you.” Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary NowBestShirt This product belong to hieu-hoa
Shop now: https://sugarandcotton.info/product/my-whole-family-is-temperamental-half-temper-half-mental-dont-mess-with-us-t-shirt/
Không có nhận xét nào:
Đăng nhận xét