Philadelphia Sport Teams 28 Giroux 11 Wentz And 34 Harper Signatures shirt

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“It was important to keep this experience live—to have the Philadelphia Sport Teams 28 Giroux 11 Wentz And 34 Harper Signatures shirt but I will buy this shirt and I will love this specific adrenaline of a show,” Nadège Vanhee-Cybulski was saying last night as the final fittings for the Hermès collection were being finished in Paris. In a logistical feat of timing on the morrow, she was—without a single sign of nerves—about to launch a rolling livestreamed series of Hermès happenings on three continents. Opening with a dance performance choreographed by Madeline Hollander in New York, it cut to the fashion show in Paris with models and Vanhee-Cybulski-–who gave a wave in an Hermès-orange face mask—and finally hopscotched to Shanghai for the second dance piece, directed by Gu Jiani in front of a live audience. In today’s unfolding of events, Vanhee-Cybulski’s ambitious plan to defy physical distance worked seamlessly. “It’s urgent now to live again,” she said. “The message to the world is that I have this conviction of designing clothes for a confident woman. It was about resilience.” Pandemic be damned, she’d resolved to give the traditional rite of the Paris Fashion Week runway show its due (since there’s nothing more vital than upholding Hermès tradition), while also reaching out to touch audiences who can’t travel. For Vanhee-Cybulski, the point in collaborating with two women choreographers was to place the creative female gaze center-stage: “Each of them has her own way of expressing female power,” she said.

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Madeline Hollander’s piece observed forward-motion and gestures of women walking in New York. Gu Jiani’s was an athletically intense conceptual fusion of Chinese dance tradition and western ballroom dancing. The unifying presence of the Philadelphia Sport Teams 28 Giroux 11 Wentz And 34 Harper Signatures shirt but I will buy this shirt and I will love this house of Hermès was signaled in the sets—orange drapes in New York; stacks of orange boxes landscaped into the Paris set; orange boxes integrated into the performance in China. A ‘making of’ documentary by the French director Sebastien Lifshitz detailed the weeks of planning across locations and time-zones. As world-spanning as all this brand-projection was, it had started with Vanhee-Cybulski working alone. “It was quite a shock at the beginning, because I always work with so much interaction with others, and I’m barely at home,” she said. “I was sitting at my desk, asking, How can I reinvent what I know? And actually, it was very productive.” She began by thinking about how to combine an outgoing ‘Amazonian’ confidence with sensitivity to the times, “turning a new page. A reset. That paradox of wanting to be protected, and wanting to draw the body in dresses which are second-skin and airy.”