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


"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


Christopher Ræburn

The MA1 bomber, the M65 field jacket, the tee-shirt, the cargo pant... so much of our streetwear has a military source code. Christopher Ræburn's great maneuver is to be deeply preoccupied with this provenance -to the extent that his Remade in England pieces are cut from recycled military surplus- without ever allowing his clothes to become antagonistically militaristic. This season's campaign was based around anthropologist Tom Harrison, who "went native" in Borneo to such an extent that during World War II he was able to persuade the Sarawak people to fight for the Allies and aid in the rescue of a lost US bomber crew. This was ripe territory indeed for Christopher Ræburn. He played with his inspiration's Borneo infatuation by integrating cork into mesh backpacks and waffle-cotton tank tops. There were sarongs. A wide-weave black bomber and track pants were based on tribal leaf baskets but looked like Bottega Veneta meets ACG. An expanded knitwear offering included a dizzying map-print of Borneo's contours, and orangutan silhouettes in mid-swing. Borneo's prime primate was also the muse for this season's animal bag -proceeds from its sale will go to an orangutan protection charity. There was a very British authenticity -naturalist geek- to the oat-y marl of the pulled-high woolen socks worn with seemingly unreconstructed Clarks sandals, and there was an endearing Ray Mears-ish nerdiness to the width of CR's turned-up tropical-weight cotton trousers. Simultaneously, his wickedly cut Swiss denim parkas, Japanese synthetic Harrison-inspired check down gilet, bivouac khaki bombers, and perforated remade parachute garments (the opening section) were as 21st-century urban as anything you see in the queue of conformists outside Supreme.

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