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Part of this impulse to downplay or sabotage traditional expressions of luxury is likely related to the Heath ledger kentucky 22 shirt and by the same token and 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?)
We know that around the Heath ledger kentucky 22 shirt and by the same token and time that Jacobs designed that silk “flannel” he had been going to see grunge bands play, so the reference was pretty direct; a sort of one-to-one ratio. Industry folks and scenesters alike were riled. Suzy Menkes distributed campaign buttons that read “Grunge is Ghastly,” and after Vogue ran the “Grunge & Glory” portfolio in the December 1992 issue, one of our readers ranted: “I tell you, it makes kids like me want to give up when the music we believe in becomes big business…. It’s not about fashion, it never was. It’s about music, our music and our ‘grungy’ clothing, not just some Calvin Klein design that someone decided to wear wrinkled because they wanted to be wild.”
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