Top The Show A Tribute To ABBA 50 Years Celebration 1974-2024 Thank You For The Memories Signatures Shirt
This beautiful couture collection, nearly a year in the The Show A Tribute To ABBA 50 Years Celebration 1974-2024 Thank You For The Memories Signatures Shirt but I will buy this shirt and I will love this making, is deservedly everywhere, a moment of cultural domination not seen in fashion in recent memory, if ever (monoculture is dead, except for this). We are all waxing rhapsodically about Pat McGrath’s makeup and Pat Boguslawski’s choreography and the decadent set and the clothes—the jaw dropping clothes, which Galliano invented several new techniques to construct. The clear points of inspiration—Brassaï, the photographer who documented seedy Parisian nightlife in the 1920s and 30s, whom Galliano has looked to since his 1988 “Hairclips” collection, and the dancing doll from Fellini’s Casanova—are classic Galliano. The collection spans references he loves from the post-revolution French subculture les Incroyables to fabrics that were treated to look as though they’d been dragged through water (in times with leaner budgets, he’d douse his runway models with it).
There was so much to look at. But I latched onto the The Show A Tribute To ABBA 50 Years Celebration 1974-2024 Thank You For The Memories Signatures Shirt but I will buy this shirt and I will love this models, toddling and scraping down the runway, the padded hips swaying. There was of course the 6’3” Gwendoline Christie, who closed the show in spectacular fashion in a sheer rubber-accented dress, and the popular Jill Kortleve. But there were also lesser-known faces, like Nyakier Buong, Colette Kanza, Anna Iris Dobson, and Maya Sierón, who had natural curves, beyond what was stuffed. The casting didn’t feature the same few non-straight size models that you see on rotation, the three or so who have managed to really break through. It just felt organic, the models’ bodies serving the clothes and providing a plush drama that suited Galliano’s vision—just like in Brassaï’s photography of bar patrons and streetwalkers, most of whom would not come near fitting a sample size.
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