Pig Singing In The Rain Have A Good Day 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: Buy this Merino Sheep Wool High in Fiber Arts Artist Weaver Shirt It was soon clear why Piccioli had asked us all to dress in white. I am old enough to remember Yves Saint Laurent’s stately couture presentations in the 1980s, and Christian Lacroix’s frisky ones, and the frisson of excitement, astonishment, and applause that greeted their audacious color mixes, often inspired, respectively, by the women in the markets of Marrakech, or the coruscating suits of the toreadors. Piccioli brings that same level of gasping wonder to fashion’s color wheel, setting flamingo pink, chartreuse, violet, cocoa, and mallard green ball gowns one after another, for instance. Or he might throw a raspberry double-face balmacaan over darker pink pants and an orchid pink crepe shirt, or a lilac cashmere cape over violet pants, frog green sequin t-shirt, and pea green gloves, and then ground the look with eggplant shoes with the heft of Dr. Martens. These last two ensembles, by the way, are part of the menswear offerings in the collection, in case you were wondering, and very persuasive they were too. There were 84 looks in the show, and each one was a different proposition, from puffball micro minis, (shaded with Philip Treacy’s giant trembling ostrich frond hats that moved like jellyfish), to trapeze silhouettes, skirts that hit the mid-calf or hovered above the ankle, and slinks of satin and crepe cut to spiral round the body like affectionate serpents. From ball gown to micro mini the effect was one of commanding elegance. The fashion history sleuth will find echoes here of Madame Grès, of Cardin, and Capucci, as well as note taking from Mr. Valentino’s own magnificent oeuvre, but Piccioli takes these iconic moments of design history and makes them uniquely and persuasively his own. Also unique were the artist collaborations, curated by Gianluigi Ricuperati, who assembled a roster of 17 painters, including Jamie Nares, Luca Coser, Francis Offman, Andrea Respino, and Wu Rui. Art and fashion have often united in symbiosis—think of Warhol and Sprouse, or Schiaparelli and Dalí—but here the effect was a celebration of creativity, the hand, and of the nonpareil Valentino workrooms whose talented artisans evoked the source artworks through various cunning means. There were elaborate collages of textiles, for instance 46 in all for Look 6, Kerstin Brätsch’s The If, 2010, (as the Valentino show program notes helpfully noted, alongside the names of the craftspeople in the ateliers who have made them). Meanwhile, the five pieces by Patricia Treib, combined in the ballgown of Look 68, called for 140 meters and 88 different textiles, and took 680 hours to complete. On close inspection even the fine lines of Benni Bosetto’s pencil strokes (Untitled, 2020), that appeared to have been drawn directly onto the pale satin of Look 46, turned out to have been suggested by subtle hand-stitching (a stunning 880 hours of work, if you are counting). The ball gown and cape that closed the show, Look 84, were scrolled with motifs drawn respectively from Jamie Nares’s It’s Raining in Naples, 2003 and Blues in Red, 2004, requiring 700 hours of work, 107 meters of fabric, and custom screens for the hand-printing as it had to be done on such a large scale. The effect was appropriately magisterial. By the time the rainbow clad models all lined the runway and Cosima was singing What the World Needs Now this editor was frankly so overwhelmed by the surfeit of beauty and emotion, and the joy of reemergence, that I am not ashamed to admit the tears sprang forth.If couture season is typically something of a decadent enigma, the series of beauty looks that punctuated the post-pandemic parade were a treat in the truest sense. In an era when glamour is experiencing a long-awaited renaissance, this week’s hair and makeup looks stirred imaginations and reinforced nostalgic trends in an all-encompassing reminder that exaggerated aesthetics don’t just endure when tempered for a time—they thrive upon revival. From crowns of curlers to multi-dimensional nails, these eleven moments prove that beauty is back in a big way. A homage to beauty mogul Madam C.J. Walker— America’s first female self-made millionaire—the structural tumble of tautly-wrapped hair rollers at Pyer Moss set a high bar for excess. Coupled with a contrast-colored robe, the style doubled as a nod to at-home aesthetics of the last year. The sumptuous nature of Giambattista Valli’s return to Paris centered on ample tulle, feathered silhouettes, and hair arranged in polished, buoyed shapes that oozed over-the-top luxury, with would-be gauche shapes skewing purposefully excessive. After all, who needs subtle accessories when your entire mane can be bound in a self-sustaining bow? At Gaultier, the painterly prints were too dynamic to remain relegated to fabric alone. Instead, for one model, the graphics inched from ensemble to the neck and face with help from tattoo artist Dr. Woo, climbing vine-like and further blurring the line between fine art and makeup. Thanks to nail artist Eichi Matsunaga, “wet nails” took on an entirely new meaning at Iris Van Herpen. To complement the designer’s Earthwise collection, Matsunada created a dreamy-like manicure of cascading drops that resembled blown glass baubles. Pat McGrath punctuated Pierpaolo Piccioli’s colorful collection with equally vibrant wings of liner topped with pigment for added impact. The artist opted for pops of pink, emerald, and “divine purple” for looks that felt sophisticatedly playful. A thoughtful counter to the line’s characteristically (read: iconically) prim offerings, a cadre of punkish, mohawk-mimicking, beribboned braids at Chanel functioned as an edgy addition. Though Viktor & Rolf showcased a wealth of above-neck grandeur, the pops of saccharine blush—pressed across lids before diffusing to the top of the cheekbone—proved the most noteworthy. A bonus? Also the most emulatable. Valentino’s creative director Pierpaolo Piccioli set his sublime couture collection in the Gaggiandre, or ship building yard, of Venice. He was drawn to the place’s haunting beauty which he likened to a De Chirico painting with its arches and robust columns. In Renaissance times this place represented the hub of the city’s trading machine, a sophisticated production line that was said to churn out a boat a day. The tall brick tower that still dominates the site is the place where the ships’ masts were installed as a finishing touch before they sailed out into the laguna on their missions of fortune. This being Venice and the Renaissance, of course the place—now part of the Arsenale where the city’s art and architecture Biennales are showcased—is as beautiful as it was once productive, having been built (between 1568 and 1573) by Jacopo Sansovino, one of Venice’s most revered architects of the period. Piccioli set his snaking runway under Sansovino’s soaring arches where the ships were once sheltered to be repaired, so that it appeared to float over the water. Guests were bidden to wear white. Luckily everyone did as they were told, and the effect, as the golden light of early evening streaked the water, the stone, tile, and brick, was undeniably poetic. To add to the spine-tingling moment, the collection was serenaded by the British singer Cosima, whose plangent voice gave a powerful twist to Calling You from the 1987 movie Bagdad Cafe, that opened the show. 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 Click here to visit [Friendst-shirt] This product belong to nhat-tuan Pig Singing In The Rain Have A Good Day 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: Buy this Merino Sheep Wool High in Fiber Arts Artist Weaver Shirt It was soon clear why Piccioli had asked us all to dress in white. I am old enough to remember Yves Saint Laurent’s stately couture presentations in the 1980s, and Christian Lacroix’s frisky ones, and the frisson of excitement, astonishment, and applause that greeted their audacious color mixes, often inspired, respectively, by the women in the markets of Marrakech, or the coruscating suits of the toreadors. Piccioli brings that same level of gasping wonder to fashion’s color wheel, setting flamingo pink, chartreuse, violet, cocoa, and mallard green ball gowns one after another, for instance. Or he might throw a raspberry double-face balmacaan over darker pink pants and an orchid pink crepe shirt, or a lilac cashmere cape over violet pants, frog green sequin t-shirt, and pea green gloves, and then ground the look with eggplant shoes with the heft of Dr. Martens. These last two ensembles, by the way, are part of the menswear offerings in the collection, in case you were wondering, and very persuasive they were too. There were 84 looks in the show, and each one was a different proposition, from puffball micro minis, (shaded with Philip Treacy’s giant trembling ostrich frond hats that moved like jellyfish), to trapeze silhouettes, skirts that hit the mid-calf or hovered above the ankle, and slinks of satin and crepe cut to spiral round the body like affectionate serpents. From ball gown to micro mini the effect was one of commanding elegance. The fashion history sleuth will find echoes here of Madame Grès, of Cardin, and Capucci, as well as note taking from Mr. Valentino’s own magnificent oeuvre, but Piccioli takes these iconic moments of design history and makes them uniquely and persuasively his own. Also unique were the artist collaborations, curated by Gianluigi Ricuperati, who assembled a roster of 17 painters, including Jamie Nares, Luca Coser, Francis Offman, Andrea Respino, and Wu Rui. Art and fashion have often united in symbiosis—think of Warhol and Sprouse, or Schiaparelli and Dalí—but here the effect was a celebration of creativity, the hand, and of the nonpareil Valentino workrooms whose talented artisans evoked the source artworks through various cunning means. There were elaborate collages of textiles, for instance 46 in all for Look 6, Kerstin Brätsch’s The If, 2010, (as the Valentino show program notes helpfully noted, alongside the names of the craftspeople in the ateliers who have made them). Meanwhile, the five pieces by Patricia Treib, combined in the ballgown of Look 68, called for 140 meters and 88 different textiles, and took 680 hours to complete. On close inspection even the fine lines of Benni Bosetto’s pencil strokes (Untitled, 2020), that appeared to have been drawn directly onto the pale satin of Look 46, turned out to have been suggested by subtle hand-stitching (a stunning 880 hours of work, if you are counting). The ball gown and cape that closed the show, Look 84, were scrolled with motifs drawn respectively from Jamie Nares’s It’s Raining in Naples, 2003 and Blues in Red, 2004, requiring 700 hours of work, 107 meters of fabric, and custom screens for the hand-printing as it had to be done on such a large scale. The effect was appropriately magisterial. By the time the rainbow clad models all lined the runway and Cosima was singing What the World Needs Now this editor was frankly so overwhelmed by the surfeit of beauty and emotion, and the joy of reemergence, that I am not ashamed to admit the tears sprang forth.If couture season is typically something of a decadent enigma, the series of beauty looks that punctuated the post-pandemic parade were a treat in the truest sense. In an era when glamour is experiencing a long-awaited renaissance, this week’s hair and makeup looks stirred imaginations and reinforced nostalgic trends in an all-encompassing reminder that exaggerated aesthetics don’t just endure when tempered for a time—they thrive upon revival. From crowns of curlers to multi-dimensional nails, these eleven moments prove that beauty is back in a big way. A homage to beauty mogul Madam C.J. Walker— America’s first female self-made millionaire—the structural tumble of tautly-wrapped hair rollers at Pyer Moss set a high bar for excess. Coupled with a contrast-colored robe, the style doubled as a nod to at-home aesthetics of the last year. The sumptuous nature of Giambattista Valli’s return to Paris centered on ample tulle, feathered silhouettes, and hair arranged in polished, buoyed shapes that oozed over-the-top luxury, with would-be gauche shapes skewing purposefully excessive. After all, who needs subtle accessories when your entire mane can be bound in a self-sustaining bow? At Gaultier, the painterly prints were too dynamic to remain relegated to fabric alone. Instead, for one model, the graphics inched from ensemble to the neck and face with help from tattoo artist Dr. Woo, climbing vine-like and further blurring the line between fine art and makeup. Thanks to nail artist Eichi Matsunaga, “wet nails” took on an entirely new meaning at Iris Van Herpen. To complement the designer’s Earthwise collection, Matsunada created a dreamy-like manicure of cascading drops that resembled blown glass baubles. Pat McGrath punctuated Pierpaolo Piccioli’s colorful collection with equally vibrant wings of liner topped with pigment for added impact. The artist opted for pops of pink, emerald, and “divine purple” for looks that felt sophisticatedly playful. A thoughtful counter to the line’s characteristically (read: iconically) prim offerings, a cadre of punkish, mohawk-mimicking, beribboned braids at Chanel functioned as an edgy addition. Though Viktor & Rolf showcased a wealth of above-neck grandeur, the pops of saccharine blush—pressed across lids before diffusing to the top of the cheekbone—proved the most noteworthy. A bonus? Also the most emulatable. Valentino’s creative director Pierpaolo Piccioli set his sublime couture collection in the Gaggiandre, or ship building yard, of Venice. He was drawn to the place’s haunting beauty which he likened to a De Chirico painting with its arches and robust columns. In Renaissance times this place represented the hub of the city’s trading machine, a sophisticated production line that was said to churn out a boat a day. The tall brick tower that still dominates the site is the place where the ships’ masts were installed as a finishing touch before they sailed out into the laguna on their missions of fortune. This being Venice and the Renaissance, of course the place—now part of the Arsenale where the city’s art and architecture Biennales are showcased—is as beautiful as it was once productive, having been built (between 1568 and 1573) by Jacopo Sansovino, one of Venice’s most revered architects of the period. Piccioli set his snaking runway under Sansovino’s soaring arches where the ships were once sheltered to be repaired, so that it appeared to float over the water. Guests were bidden to wear white. Luckily everyone did as they were told, and the effect, as the golden light of early evening streaked the water, the stone, tile, and brick, was undeniably poetic. To add to the spine-tingling moment, the collection was serenaded by the British singer Cosima, whose plangent voice gave a powerful twist to Calling You from the 1987 movie Bagdad Cafe, that opened the show. 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 Click here to visit [Friendst-shirt] This product belong to nhat-tuan
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: Buy this Merino Sheep Wool High in Fiber Arts Artist Weaver Shirt It was soon clear why Piccioli had asked us all to dress in white. I am old enough to remember Yves Saint Laurent’s stately couture presentations in the 1980s, and Christian Lacroix’s frisky ones, and the frisson of excitement, astonishment, and applause that greeted their audacious color mixes, often inspired, respectively, by the women in the markets of Marrakech, or the coruscating suits of the toreadors. Piccioli brings that same level of gasping wonder to fashion’s color wheel, setting flamingo pink, chartreuse, violet, cocoa, and mallard green ball gowns one after another, for instance. Or he might throw a raspberry double-face balmacaan over darker pink pants and an orchid pink crepe shirt, or a lilac cashmere cape over violet pants, frog green sequin t-shirt, and pea green gloves, and then ground the look with eggplant shoes with the heft of Dr. Martens. These last two ensembles, by the way, are part of the menswear offerings in the collection, in case you were wondering, and very persuasive they were too. There were 84 looks in the show, and each one was a different proposition, from puffball micro minis, (shaded with Philip Treacy’s giant trembling ostrich frond hats that moved like jellyfish), to trapeze silhouettes, skirts that hit the mid-calf or hovered above the ankle, and slinks of satin and crepe cut to spiral round the body like affectionate serpents. From ball gown to micro mini the effect was one of commanding elegance. The fashion history sleuth will find echoes here of Madame Grès, of Cardin, and Capucci, as well as note taking from Mr. Valentino’s own magnificent oeuvre, but Piccioli takes these iconic moments of design history and makes them uniquely and persuasively his own. Also unique were the artist collaborations, curated by Gianluigi Ricuperati, who assembled a roster of 17 painters, including Jamie Nares, Luca Coser, Francis Offman, Andrea Respino, and Wu Rui. Art and fashion have often united in symbiosis—think of Warhol and Sprouse, or Schiaparelli and Dalí—but here the effect was a celebration of creativity, the hand, and of the nonpareil Valentino workrooms whose talented artisans evoked the source artworks through various cunning means. There were elaborate collages of textiles, for instance 46 in all for Look 6, Kerstin Brätsch’s The If, 2010, (as the Valentino show program notes helpfully noted, alongside the names of the craftspeople in the ateliers who have made them). Meanwhile, the five pieces by Patricia Treib, combined in the ballgown of Look 68, called for 140 meters and 88 different textiles, and took 680 hours to complete. On close inspection even the fine lines of Benni Bosetto’s pencil strokes (Untitled, 2020), that appeared to have been drawn directly onto the pale satin of Look 46, turned out to have been suggested by subtle hand-stitching (a stunning 880 hours of work, if you are counting). The ball gown and cape that closed the show, Look 84, were scrolled with motifs drawn respectively from Jamie Nares’s It’s Raining in Naples, 2003 and Blues in Red, 2004, requiring 700 hours of work, 107 meters of fabric, and custom screens for the hand-printing as it had to be done on such a large scale. The effect was appropriately magisterial. By the time the rainbow clad models all lined the runway and Cosima was singing What the World Needs Now this editor was frankly so overwhelmed by the surfeit of beauty and emotion, and the joy of reemergence, that I am not ashamed to admit the tears sprang forth.If couture season is typically something of a decadent enigma, the series of beauty looks that punctuated the post-pandemic parade were a treat in the truest sense. In an era when glamour is experiencing a long-awaited renaissance, this week’s hair and makeup looks stirred imaginations and reinforced nostalgic trends in an all-encompassing reminder that exaggerated aesthetics don’t just endure when tempered for a time—they thrive upon revival. From crowns of curlers to multi-dimensional nails, these eleven moments prove that beauty is back in a big way. A homage to beauty mogul Madam C.J. Walker— America’s first female self-made millionaire—the structural tumble of tautly-wrapped hair rollers at Pyer Moss set a high bar for excess. Coupled with a contrast-colored robe, the style doubled as a nod to at-home aesthetics of the last year. The sumptuous nature of Giambattista Valli’s return to Paris centered on ample tulle, feathered silhouettes, and hair arranged in polished, buoyed shapes that oozed over-the-top luxury, with would-be gauche shapes skewing purposefully excessive. After all, who needs subtle accessories when your entire mane can be bound in a self-sustaining bow? At Gaultier, the painterly prints were too dynamic to remain relegated to fabric alone. Instead, for one model, the graphics inched from ensemble to the neck and face with help from tattoo artist Dr. Woo, climbing vine-like and further blurring the line between fine art and makeup. Thanks to nail artist Eichi Matsunaga, “wet nails” took on an entirely new meaning at Iris Van Herpen. To complement the designer’s Earthwise collection, Matsunada created a dreamy-like manicure of cascading drops that resembled blown glass baubles. Pat McGrath punctuated Pierpaolo Piccioli’s colorful collection with equally vibrant wings of liner topped with pigment for added impact. The artist opted for pops of pink, emerald, and “divine purple” for looks that felt sophisticatedly playful. A thoughtful counter to the line’s characteristically (read: iconically) prim offerings, a cadre of punkish, mohawk-mimicking, beribboned braids at Chanel functioned as an edgy addition. Though Viktor & Rolf showcased a wealth of above-neck grandeur, the pops of saccharine blush—pressed across lids before diffusing to the top of the cheekbone—proved the most noteworthy. A bonus? Also the most emulatable. Valentino’s creative director Pierpaolo Piccioli set his sublime couture collection in the Gaggiandre, or ship building yard, of Venice. He was drawn to the place’s haunting beauty which he likened to a De Chirico painting with its arches and robust columns. In Renaissance times this place represented the hub of the city’s trading machine, a sophisticated production line that was said to churn out a boat a day. The tall brick tower that still dominates the site is the place where the ships’ masts were installed as a finishing touch before they sailed out into the laguna on their missions of fortune. This being Venice and the Renaissance, of course the place—now part of the Arsenale where the city’s art and architecture Biennales are showcased—is as beautiful as it was once productive, having been built (between 1568 and 1573) by Jacopo Sansovino, one of Venice’s most revered architects of the period. Piccioli set his snaking runway under Sansovino’s soaring arches where the ships were once sheltered to be repaired, so that it appeared to float over the water. Guests were bidden to wear white. Luckily everyone did as they were told, and the effect, as the golden light of early evening streaked the water, the stone, tile, and brick, was undeniably poetic. To add to the spine-tingling moment, the collection was serenaded by the British singer Cosima, whose plangent voice gave a powerful twist to Calling You from the 1987 movie Bagdad Cafe, that opened the show. 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 Click here to visit [Friendst-shirt] This product belong to nhat-tuan Pig Singing In The Rain Have A Good Day 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: Buy this Merino Sheep Wool High in Fiber Arts Artist Weaver Shirt It was soon clear why Piccioli had asked us all to dress in white. I am old enough to remember Yves Saint Laurent’s stately couture presentations in the 1980s, and Christian Lacroix’s frisky ones, and the frisson of excitement, astonishment, and applause that greeted their audacious color mixes, often inspired, respectively, by the women in the markets of Marrakech, or the coruscating suits of the toreadors. Piccioli brings that same level of gasping wonder to fashion’s color wheel, setting flamingo pink, chartreuse, violet, cocoa, and mallard green ball gowns one after another, for instance. Or he might throw a raspberry double-face balmacaan over darker pink pants and an orchid pink crepe shirt, or a lilac cashmere cape over violet pants, frog green sequin t-shirt, and pea green gloves, and then ground the look with eggplant shoes with the heft of Dr. Martens. These last two ensembles, by the way, are part of the menswear offerings in the collection, in case you were wondering, and very persuasive they were too. There were 84 looks in the show, and each one was a different proposition, from puffball micro minis, (shaded with Philip Treacy’s giant trembling ostrich frond hats that moved like jellyfish), to trapeze silhouettes, skirts that hit the mid-calf or hovered above the ankle, and slinks of satin and crepe cut to spiral round the body like affectionate serpents. From ball gown to micro mini the effect was one of commanding elegance. The fashion history sleuth will find echoes here of Madame Grès, of Cardin, and Capucci, as well as note taking from Mr. Valentino’s own magnificent oeuvre, but Piccioli takes these iconic moments of design history and makes them uniquely and persuasively his own. Also unique were the artist collaborations, curated by Gianluigi Ricuperati, who assembled a roster of 17 painters, including Jamie Nares, Luca Coser, Francis Offman, Andrea Respino, and Wu Rui. Art and fashion have often united in symbiosis—think of Warhol and Sprouse, or Schiaparelli and Dalí—but here the effect was a celebration of creativity, the hand, and of the nonpareil Valentino workrooms whose talented artisans evoked the source artworks through various cunning means. There were elaborate collages of textiles, for instance 46 in all for Look 6, Kerstin Brätsch’s The If, 2010, (as the Valentino show program notes helpfully noted, alongside the names of the craftspeople in the ateliers who have made them). Meanwhile, the five pieces by Patricia Treib, combined in the ballgown of Look 68, called for 140 meters and 88 different textiles, and took 680 hours to complete. On close inspection even the fine lines of Benni Bosetto’s pencil strokes (Untitled, 2020), that appeared to have been drawn directly onto the pale satin of Look 46, turned out to have been suggested by subtle hand-stitching (a stunning 880 hours of work, if you are counting). The ball gown and cape that closed the show, Look 84, were scrolled with motifs drawn respectively from Jamie Nares’s It’s Raining in Naples, 2003 and Blues in Red, 2004, requiring 700 hours of work, 107 meters of fabric, and custom screens for the hand-printing as it had to be done on such a large scale. The effect was appropriately magisterial. By the time the rainbow clad models all lined the runway and Cosima was singing What the World Needs Now this editor was frankly so overwhelmed by the surfeit of beauty and emotion, and the joy of reemergence, that I am not ashamed to admit the tears sprang forth.If couture season is typically something of a decadent enigma, the series of beauty looks that punctuated the post-pandemic parade were a treat in the truest sense. In an era when glamour is experiencing a long-awaited renaissance, this week’s hair and makeup looks stirred imaginations and reinforced nostalgic trends in an all-encompassing reminder that exaggerated aesthetics don’t just endure when tempered for a time—they thrive upon revival. From crowns of curlers to multi-dimensional nails, these eleven moments prove that beauty is back in a big way. A homage to beauty mogul Madam C.J. Walker— America’s first female self-made millionaire—the structural tumble of tautly-wrapped hair rollers at Pyer Moss set a high bar for excess. Coupled with a contrast-colored robe, the style doubled as a nod to at-home aesthetics of the last year. The sumptuous nature of Giambattista Valli’s return to Paris centered on ample tulle, feathered silhouettes, and hair arranged in polished, buoyed shapes that oozed over-the-top luxury, with would-be gauche shapes skewing purposefully excessive. After all, who needs subtle accessories when your entire mane can be bound in a self-sustaining bow? At Gaultier, the painterly prints were too dynamic to remain relegated to fabric alone. Instead, for one model, the graphics inched from ensemble to the neck and face with help from tattoo artist Dr. Woo, climbing vine-like and further blurring the line between fine art and makeup. Thanks to nail artist Eichi Matsunaga, “wet nails” took on an entirely new meaning at Iris Van Herpen. To complement the designer’s Earthwise collection, Matsunada created a dreamy-like manicure of cascading drops that resembled blown glass baubles. Pat McGrath punctuated Pierpaolo Piccioli’s colorful collection with equally vibrant wings of liner topped with pigment for added impact. The artist opted for pops of pink, emerald, and “divine purple” for looks that felt sophisticatedly playful. A thoughtful counter to the line’s characteristically (read: iconically) prim offerings, a cadre of punkish, mohawk-mimicking, beribboned braids at Chanel functioned as an edgy addition. Though Viktor & Rolf showcased a wealth of above-neck grandeur, the pops of saccharine blush—pressed across lids before diffusing to the top of the cheekbone—proved the most noteworthy. A bonus? Also the most emulatable. Valentino’s creative director Pierpaolo Piccioli set his sublime couture collection in the Gaggiandre, or ship building yard, of Venice. He was drawn to the place’s haunting beauty which he likened to a De Chirico painting with its arches and robust columns. In Renaissance times this place represented the hub of the city’s trading machine, a sophisticated production line that was said to churn out a boat a day. The tall brick tower that still dominates the site is the place where the ships’ masts were installed as a finishing touch before they sailed out into the laguna on their missions of fortune. This being Venice and the Renaissance, of course the place—now part of the Arsenale where the city’s art and architecture Biennales are showcased—is as beautiful as it was once productive, having been built (between 1568 and 1573) by Jacopo Sansovino, one of Venice’s most revered architects of the period. Piccioli set his snaking runway under Sansovino’s soaring arches where the ships were once sheltered to be repaired, so that it appeared to float over the water. Guests were bidden to wear white. Luckily everyone did as they were told, and the effect, as the golden light of early evening streaked the water, the stone, tile, and brick, was undeniably poetic. To add to the spine-tingling moment, the collection was serenaded by the British singer Cosima, whose plangent voice gave a powerful twist to Calling You from the 1987 movie Bagdad Cafe, that opened the show. 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 Click here to visit [Friendst-shirt] This product belong to nhat-tuan
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