Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli



Happiness is just a hairflip away.
Chris Crocker

A NEW CLIP EVERY WEEK HERE

"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford
















10.24.2012

Rag & Bone

For this season's collection, the Rag & Bone man is rooted deep in England's past, the wanderer who'd collect people's scrap, alongside the tinker who roamed the land mending their pots'n'pans. There's often a whiff of such folksy heritage in David Neville and Marcus Wainwright's collections, even if it's as mutated as it was in this offering, where one image they had in mind was a granddad of the august Guinness clan, propped up in his country pile surrounded by decayed emblems of empire : tapestries, ikat patterns, ravaged paisleys, old India brought home. Marcus Wainwright also mentioned 'There will be blood' and 'True grit', invoking the notion of frontier men who ate, slept and died in their tailored clothes. The worn-out olde-worldiness in all of those ideas is so overpowering that it's to the duo's credit that they managed to spin a contemporary yarn from their source material, helped in no small degree by Thom Yorke's pulsating soundtrack and a filmic backdrop that offered an abstract digital dissection of the Rag & Bone logo. Or maybe the yarn wasn't so much contemporary as it was a romantic take on urban style, incorporating military tradition, workingman's wear, ethnic influences, and hardy frontier clothes into a single multilayered entity. The anchor was spectacular outerwear, from the shearling-collar herringbone coat that opened the show to the sleek melton topcoat that closed it, but the collection's more idiosyncratic charms could be found in the ikat-pattern items and cable knits. It might seem banal at this point to bring up David Neville and Marcus Wainwright's status as Englishmen in New York, but the outsider's eye is an invaluable asset in design. The burgeoning magpie splendor of Rag & Bone's men's collections is a testament to that fact. Which is not so bad at all.

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