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
















8.17.2017

Kevin Thompson (part 25)
by Federico Fernández

BØRNS - "Faded heart"

NCT DREAM - "We young"

Alessandro Dănescu - "Me and you"

Mahmood - "Pesos "

ArGo - "Ti e din "

Isaac Thái - "Mùa gặt "

Sakin Akar - "Gideceğim anne "

Gabriel Valim - "Quem sabe cê volta "

Nothing But Thieves - "Sorry"

Стиляи ft. Аркан и Теди - "Най-добрата"
Stiliyan ft. Arkan & Tedy - "The best"

Damir Doma

"Never for money, always for love" was the name of this collection held in a beautiful semi-derelict occupied space in Milan, which Damir Doma proudly reported had never agreed to hold anything as bourjie as a fashion show until he asked them. The designer is unquestionably an artist who wields plenty of love. He is niche, and likes it like that. But the pleasing thing was that you could see these credentials adding up to some money too. This was a simultaneous menswear and womenswear collection, and although uncompromisingly Doma-esque in its pulled-apart wistfulness and fray, it had (especially in the womenswear) obvious commercial appeal too. What to zero in on ? We started with a lot of patchwork ripped denim with tufted raw selvedge edging in Damir Doma's oversized intellectual hobo shapes. A long silk hoodie-shirt was semi-opaque to reveal the abstract print of the shirt beneath it. Leaf embroidery occasionally furled at a shoulder. After a monochrome entrée, the designer pressed the pedal into an ocher section that delivered punchy quench. Hand ribboned pieces plus trousers, outerwear, and skirts in sections semi-attached to each other by metal rings like a partially pulled down shower curtain were artful disarray rendered in fabric. The men's and women's sections echoed against each other in a complementary chorus. This was art that deserves commerce. Or was it commerce desperate for art ?

Casely-Hayford