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Best of all, the Florida panthers real women love hockey smart women love the florida panthers signatures 2023 shirt In addition,I will do this documentary will be released on the same day as Anderson’s new memoir, Love, Pamela. Expect them both to be candid and eye-opening. There was a shift this year in the world of luxury fashion that seems to have gone unreported: Namely, the eye has become an unreliable narrator in a predominantly “visual” industry. Things are literally not what they seem to be. Designers have many ways of playing with perception—cut and construction, trompe l’oeil, and surrealist touches (shout-out to Elsa Schiaparelli) among them. Until the postmodern era, these methods were employed to enhance the figure and in pursuit of a set idea of beauty. (Think of how different the body sculpting of Christian Dior’s New Look and Rei Kawakubo’s Lumps and Bumps collection for Comme des Garçons are.) In designers’ embrace of a sort of antifashion ideal of “perverse banality,” this year we see another shift: One that’s not concerned with the body so much as context. Bottega Veneta’s Matthieu Blazy coined the term “perverse banality” to describe his look-alike leather jeans and workwear, but both Jonathan Anderson and Demna used commonplace, even plebeian, objects as stealth receptors of luxury, in the forms of a pigeon-shaped minaudière at JW Anderson and a Lay’s clutch at Balenciaga, respectively.

Part of this impulse to downplay or sabotage traditional expressions of luxury is likely related to the Florida panthers real women love hockey smart women love the florida panthers signatures 2023 shirt In addition,I will do this downward spiraling of the economy. It’s neither considerate of others nor street-smart to flaunt one’s riches in recessionary times. Enter a nouveau pauvre aesthetic. Then there’s the fact that fashion has truly entered a meta-phase. With 22+ years of online shows archived on our site, and the existence of Tumblr, Pinterest, and Instagram, we look at everything through multiple filters and/or in reference to something else. Photo: Condé Nast ArchiveIt’s impossible for me, at least, to look at Blazy’s “flannel shirt”—one of the most thought-provoking designs of 2022—without making a connection to another famous flannel-adjacent top, the sand-washed printed silk one Marc Jacobs showed in his spring 1993 grunge collection for Perry Ellis, which in retrospect might be correctly described as perversely banal too. In 1992 the flannel shirt was already an acknowledged symbol of grunge in the world apart from fashion; in the 30 years between Jacobs’s and Blazy’s collection, the Seattle/thrift-shop aesthetic was canonized. (After all, how many runway rehashes of grunge have we seen?)

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