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


Junya Watanabe

The ragtag bunch of models who make up the cast of each of Junya Watanabe's shows are so deliberate they don't only support the clothing physically but ideologically as well. Take this season, where swaggering and heavily inked sorts meandered menacingly toward the audience, confronting each bench of onlookers with a sneer. The small-town big man was JW's jump-off point -gangsters, hustlers, general ne'er-do-wells. Boys from the wrong side of the tracks. Or at least, their impression and impressionists. Back to those models' bodies : Junya Watanabe deliberately chose a selection of tattooed types. Where there wasn't a tattoo, a fake one was drawn on to ratchet up the perceived intimidation factor. That's a cliché, but there is still something unsettling about a facial tattoo barely covering a scowling countenance -even if the allover arm decoration dubbed "sleeves" are fashionable and indeed appear on many a runway as par for the course of casting young, thin men in the 21st century. Everybody's at it. Maybe that's where the interest in sleeves came from, as Junya Watanabe patched the padded and quilted arms of biker jackets onto jackets or coats tailored in tweed -the dirty-work-doing henchman fused with the besuited mob boss. Other sleeves were notably decorated, in florals, say, or paisley, or tattoo-style prints on plain wool, with tattooed bodied echoed -very obliquely- by tropical prints, black on beige. Junya Watanabe doesn't seem like the type to consort with criminals : he quoted from cinematic references and archetypes, particularly Emir Kusturica's Eastern European farce "Black cat, white cat". The prints on clothes crossed between tattoos and movie posters : the word ptaki, Polish for birds, swarmed across a chest. Russian prisoners get tattoos of flocks of birds behind bars to symbolize a longing for freedom. They appeared at the end, JW's traditional finale of shirts, a vehicle to emphasize a single idea, frequently the most commercially savvy. Don't read too much into the bad-boy posturing. The designer is clever. He rarely subjugates his menswear to the demands of an overwrought theme, rather hanging a wardrobe of disparate pieces from a few interconnected ideas that you can choose to buy into or willfully ignore. The clothing comprised multiple collaborations -Levi's for wide-leg jeans and jackets; fine-gauge John Smedley knitwear; finely constructed Heinrich Dinkelacker shoes. Plenty of clients fall onto (and into) those, as well as his cleverly tweaked tailoring and workwear-focused items, without even a whisper of their criminal past. How's that for rehabilitation ?

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