Everyone Is A Little Irish On St. Patricks Day Except The Danish We’re Still Danish Shirt
By this shirt here: Everyone Is A Little Irish On St. Patricks Day Except The Danish We’re Still Danish Shirt
“The direction of high fashion and streetwear is very different,” said Fumito Ganryu via translator. “High fashion can appear more simple but more elegant, while streetwear has a wild energy that comes from the Everyone Is A Little Irish On St. Patricks Day Except The Danish We’re Still Danish Shirt so you should to go to store and get this young.” In this collection the Comme des Garçons alum worked to show that these differences of direction need not be oppositional—and should in fact be complementary. This is why the duffle coat modeled in the background by the designer’s colleague Yusuke was cut to appear highly classical (even when haphazardly buttoned) yet was produced in a bonded technical fabric. Against it Yusuke wore an enormous example of the collection’s faux-fur hats that evoked Willie Dynamite, Buffalo, and Jamiroquai to this old-timer and which looked extrovert-perfect, whatever the reference.
Everyone Is A Little Irish On St. Patricks Day Except The Danish We’re Still Danish Shirt, hoodie, tank top, sweater and long sleeve t-shirt
“Go big and stay home,” Giambattista Valli decreed on a video call from Paris, adapting his oft-used mantra to a new normal. Now, wafting around in thousands of layers of taffeta may not sound like a regular lockdown evening to most, but trust last summer’s sales figures when Valli tells you: These people exist. Did he sell some ball gowns, then? “Did I, did I, did I! I have some very extraordinary Chinese clients who are looking for these statement moments. It’s also working really well in the Everyone Is A Little Irish On St. Patricks Day Except The Danish We’re Still Danish Shirt so you should to go to store and get this Middle East, and there’s commitment in Europe. Haute couture can always be adapted to demand.” Workwear jackets were combined with demonstratively colored detachable faux-fur collars. Oversized wool tailored jackets and kimono-sleeve knits signified classicism elsewhere to complement shirting with integrated fleece-front gilets and workwear aprons. Down zip-ups and lapeled jackets were presented in a modularly intended range of the three primary colors plus black and white, to support Ganryu’s thesis that through the unprejudiced combination of difference you create infinite possibilities. Almost every garment featured a QR-code patch, which once scanned would take the wearer, Ganryu promised, deeper into that happy utopia.
