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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Embellishment came in every possible form this season. There were glitter-encrusted eyebrows at Peter Do, bejeweled, cone-topped updos at Area, and abstract lash applications and 3D bubble nails at PriscaVera. But perhaps most fun was the Puppets and Puppets show, where adornment included Starface stickers, body crystal designs, and scattered fabric butterflies. From the defined waves at Luar to the aerodynamic knots at Jason Wu and Altuzarra, sleek and gravity-defying hair shapes dominated. But most awe-inspiring of all was the braided hair sculpture worn by model Sacha Quenby at Tom Ford. Hairstylist Jawara called it a “futuristic nod to the ’80s.” Much has been written about queering the runway and the evolution of queerness in fashion over the last couple of seasons—I say so because I’ve contributed to this analysis myself. We’ve written about gender nonconfirming castings, male celebrities and the flamboyance in their dressing, unpacked and misused the term “camp,” and the list goes on. What we haven’t talked about enough, though, is how male-centric this perspective is so far. Enter Sara Lopez’s A–Company. Established in 2018, A–Company is a New York ready-to-wear and accessories label. It made its return to New York Fashion Week on the official calendar this past Wednesday after taking last season off. Lopez’s label is grounded in tailoring. Her hand is gentle, as are her fabrics; her tailoring is exact, though her aesthetic could be best described as analytical and tender. She has loved Hussein Chalayan since she was a kid, but her aesthetic is perhaps more comparable to the likes of Jil Sander, a fellow queer female designer who shares her minimal, austere approach with just enough off-centerness to make it distinct. There’s an intrinsic New York-ness to Lopez’s work too, reflecting the sensibilities of Helmut Lang and Calvin Klein in the ’90s.
What’s spring without rain to awaken new life? In harmony with the season’s forecast, wet-look skin and hair appeared throughout the week. Standout moments included Eckhaus Latta’s “hyperreal skin” effect achieved through American Psycho-inspired face mask applications and Marrisa Wilson’s cascades of braids strung with clear beads to mimic raindrops. At Collina Strada, there was an array of serpentine braids so long that models tossed them over their shoulders. It was a similar story at PriscaVera, where intricate braids and loose side-slung ponytails swayed to and fro down the runway. Then, at LaQuan Smith, sleek, long, high ponytails were inspired by a horse’s lustrous mane. Yes, skin is in. So much so that mini-facials were practically a prerequisite for backstage skin prep. At Khaite and Gabriela Hearst, skin-care expert Tata Harper’s handiwork was evident in the clear complexions achieved through mask treatments and supercharged hydrated. At Fendi and Altuzarra, glowing complexions with a glass-like finish were enhanced minimally with warming swishes of bronzer or blush and strategically strobed highlighter for sculpted shine. There was no shortage of bright pastels, fitting for the season. At Prabal Gurung, there were graphic eye treatments and Vidal Sasson–style hair looks in lavender and seafoam green, while at Marni, faces were dipped in a gradient of sky-inspired shades to ombré effect. Finally, A. Potts and Maryam Nassir Zadeh challenged ordinary color placements with powdery pigments washed between the eyebrows and across the forehead in a painterly fashion.
Lopez grew up in Texas, just outside of San Antonio, “a deeply Latinx area,” as she describes it. She was surrounded by successful artists, which inspired her to pursue her passion despite the reticence of her parents. She studied fashion at the University of Minnesota, as her parents wanted to make sure she was somewhere she could change her major should she want to. She didn’t. “My dad is a dentist and my mom a psychotherapist; fashion wasn’t on my spectrum,” she says, adding with a laugh that “being a designer felt like being a rockstar or something.” Lopez also studied in Paris for a little bit, which she says was “transforming,” as she was able to learn couture techniques. Then she moved to New York to work for Rachel Antonoff for four years, where she learned the intricacies of running a small fashion business. But after that, “I think I got a little burnt out,” she says earnestly, “I wasn’t sure I wanted to stay in fashion.” She took some time off to make art and furniture, “but then I realized there was a need for the kind of clothing I make and had always wanted to make: concept-driven, thoughtful clothing that is still wearable. I didn’t see it done in the way that I wanted.” Her intersectional identity as a Latine queer woman is crucial here, too. “We just don’t have enough female-identifying queer designers, and speaking to a lot of friends, that’s ultimately what keeps pushing me forward.”
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