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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Thus far, the shows this week have been a series of experiences. There’s been a bat mitzvah, a supper club performance by Janelle Monáe (with an invite stating a black-and-white dress code, no less), and a moving gospel choir performance inside one of Brooklyn’s oldest, most storied theaters. Some on the circuit is already ringing the death knell for the traditional runway show format, and frankly, the differentiation has helped spice things up on the newly condensed calendar. Private Policy, a label based between Shanghai and New York from Chinese designers Haoran Li and Siying Qu, did the same, opting to show their Spring 2020 unisex label with a live model presentation at a SoHo gallery alongside a series of portraits photographed by Shxpir Huang. After Fashion Week, space will turn into a pop-up shop. The images feature real Asian-American families who all styled themselves in the latest Private Policy lineup, which includes their signature checkered pattern applied to the lapels of baby pink and seafoam green skirt- and short-suit sets. There were cool, raver-Esque harness tops and ring-detailed slip dresses, along with Li and Qu’s usual streetwear tees. They’ve titled their collection “Family Dinner,” and the idea was to highlight the often emotionally intense experience of an Asian-American family gathering around food. More forward-thinking youth will sometimes clash with the elders who are tied to their generational, conservative ideologies. The portraits of the families are meant to showcase just how varied Asian-American families can be: They can have older kids, both the mother and father can work, or two Asian men can get married and start their own family together. That last example is of great importance to Li and Qu, as they want to challenge gender bias and LGBTQ discrimination in their own culture, both at home and in America. I admire Catherine re-wearing so many beautiful dresses. She even has her children wearing hand-me-downs, which is wonderful and practical, but I love the times when all the men and ladies bring out their finest clothes and have their hair styled and royalty exudes a brilliance that Hollywood cannot recreate. Those State dinners are full of glitz and glam, and watching the royals wear their sashes and special pins, which are full of meaning, is otherworldly, almost. Nothing compares.
Sometimes, watching a Simons show can feel like sitting an exam or trying to crack a cryptic crossword. His work is exclusionary to the extent that you need to be a qualified Raf-ologist to understand what it means. This time, he refused to speak after the show to give any gloss on his meaning and layered references. Maybe he didn’t trust himself to answer questions about why the set was populated with standard office chairs, bound in black plastic tape. Or to add anything to what could be read, partially or wholly, in his textual graphics. Was one recurring motif. And on the back necks of many garments: “My Own Private Antwerp.” To be fair, it wasn’t a question of Simons lobbing criticism of Trump’s America from afar, now that he’s living back in Belgium. He’d been critical enough about the political atmosphere of Trump’s America while he was working at Calvin Klein, what with his American Psycho and other horror movie thematics. Now, though, after a couple of seasons when he’d diverted his energies into exploring a certain European elegance in his own collection, his raw anger against the power of corporate USA was back with a vengeance. His boys seemed to belong to some underground crew maybe the last surviving boys on Earth, possibly the victims or maybe the perpetrators of some toxic social endgame. There were more text labels reading “RS-LAB,” which explained the lab coats, but why the hospital gowns? Why boxer shorts and padded gloves that looked as if they might be made for handling radioactive chemicals? Styling and heavy meaning apart and this might sound frivolous, considering—it was also a plumb-center commercial collection for all of Raf Simons’s fans, of whatever age. The arty, painted T-shirts, the leather coats, the colorful baggy sweatshirts and overshirts. Whatever post-American psychological fallout is going on in Simons’s life, it hasn’t affected his ability to serve his faithful audience. Maybe it’s improved it. As much as the Duchess recycles her outfits, for special evenings, Catherine splurges on a new gown made to fit her. She wouldn’t want to be at a banquet and see another woman wearing the same exact dress, so she is wearing a gown made just for her. Knock-offs might be made afterwards, but nothing will equal what she wore on that night, when the tiaras gleamed and everyone wore their best.
For years, Marcus Wainwright talked up Rag & Bone’s connection to the street, emphasizing the off-duty IRL-ness of the clothes. The design team wasn’t inattentive to trends, but it certainly didn’t follow them obsequiously. Tried-and-true essentials were the order of the day. So it was no small development to hear Wainwright say at a visit to the brand’s showroom that there’s “a call for more ‘pushed’ fashion on the men’s side.” As ever at R&B, the foundations are British tailoring, American workwear, a strong Japanese aesthetic most notable via fabrications, and a sports element. But as promised, those foundations were heightened this time around. See the pinstriping on a well-cut coat and the eye-catching color-blocking on strict military shirts, cargo pants, and tennis sweaters. The bomber with “44” embroidered on the arm that President Obama wore to a college basketball game back in February, nearly breaking the Internet in the process, was cut with a new floral-print lining made from Japanese indigo (and sans the 44 detail). Wainwright and co. made excellent use of fabrics sourced from Japan. Pull-on pants in faded indigo cotton managed to look both fashionable and essential at the same time. He should add them to the Rag & Bone women’s collection, for sure. Rage and alienation: is this Raf Simons’s comfort zone, the place which connects him back, as a 51-year-old man, to the teenage experience his work continually fetishizes? Well, Simons doesn’t have to play nice to any bosses anymore. After his exit from Calvin Klein, he reports only to himself. And what the free Raf Simons wants to say is exactly how much he accuses and despises corporate America. Quite apart from the slogans, it was there rather clearly, breaking through on the soundtrack, a voice which intoned, “Big lie…media America, corporate America…fascist America.” Yes, Catherine, the Duchess of Cambridge, does wear custom made gowns for special occasions when the ladies pull out their tiaras and jewels and high heels. For the State Dinner at Buckingham Palace, Catherine wore a white ruffled gown by Alexander McQueen. No recycled outfits for a night like this.
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