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
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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. There were a couple of digital Fashion Week experiences that added real value to their real-time Fashion Week equivalents. A long chat with Walter Van Beirendonck in which he ran through his rationale and showed off his miniature looks was one. Mihara Yasuhiro’s thoughtful and hilarious puppet show was another. Undercover’s 3D look book pointed to the gamification of the fashion-buying business. 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 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. There is another country in the Sinosphere that you didn’t mention, and their history with their traditional clothes is similar. I am, of course, referring to Vietnam. When you think of Vietnamese traditional clothing, the first thing that comes to mind is an Ao Dai. The good news is, the Chinese have started to embrace Hanfu recently, which corresponds to China’s rapid rise in the world. You can see a lot more people wearing Hanfu today, and it is acceptable to wear on all occasions. One last thing though. Wearing of hanbok and kimono is still very much a minor thing in Korea and Japan. This is simply because T-shirts and sweatpants are just so easy to wear.
What I think we really learned was something about attention span. In the hyperspeed of social media and the onrush of Fashion Weeks, it used to be deemed that everything had to be communicated in a few over-in-a-flash seconds. John Galliano went completely against that with his riveting 50-minute film made with Nick Knight, which captured all the layers of research and development that went into the Maison Margiela Artisanal collection. Instead of a runway show, it became a form of online educational resource, deliberately designed to inspire young people and egg them on to be creative. Yes, there’s still a role for look books, so that everybody can see clothes plainly (though Galliano’s blurry, ethereal one seemed to set out to break that convention too.) But now, there’s an equal desire for an explanatio an opportunity for a creative director like Kim Jones to make his relationship with the Ghanaian artist Amoako Boafo visible in a video and interview shot with the artist in his studio in Accra. I don’t think anything like as many of the press would have had time or headspace to pay full attention to discovering Boafo’s work in that video if the hoopla of a physical Dior Men show had taken up the foreground. A nice row or two of good pearls plus matching earrings was just the traditional look. In many families, girls were given individual pearls for birthdays and other occasions so that by their weddings they had enough for a full string. The wearing of pearls as a part of formal dress made its way across the pond. The women of the wealthy Vanderbilt family were famous for their pearls. In the 1940s through the 1950s no teenage girl was without her kitten necklace of small pearls to go with her sweater set, and The Beaver’s mom notoriously kept the house in high heels and pearls. Shortly before my own wedding, my grandparents presented me with a string of lovely Japanese pearls they’d bought years prior and kept for me. While my colleagues make the expert point that fashion shows are about the clothes—as they must be at their core—for thousands of fans and followers, the clothes themselves are but a distant dream. What propels fashion-forward online is its message: What does this brand stand for? Who does it collaborate with? What value does it have why that?
That was why when we did get to reality 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. A proper kimono takes nearly an hour to put on – I’m sure most Japanese girls would much rather spend a few seconds and slip on a dress. Get survey responses from targeted consumers today.
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