This time of confinement has given us all time to think and reevaluate our practice. Designers will have to consider a different approach to collections, which will have to express a clear direction and a strong creative point of view while keeping a sense of pragmatism, with a focus on the Dogs March Birthday 2020 the year when shit got real quarantined shirt moreover I love this value-for-money quality. Fashion will have to be more real, with more substance, more adaptable to such dramatically changed circumstances we’ll all experience in the near future. I don’t believe that fashion will be permeated by an escapist mode. I also think that clothes have to be fairly priced—collections’ pricing has become insane. I don’t think that people will be willing to spend astronomical amounts of money for a pair of shoes or a bag; priorities will shift, consumption will hopefully be more ethical. Of course, the need to dream will still be there, but thankfully we won’t see ’80s and ’90s revivals anymore, collections empty of real substance and just made for Instagram or to be marketed by influencers. Collections will have to be smaller and focused. We need fresh new ideas fit for modern times, an attitude of creative honesty and responsibility, not a constant rehash of old, trite, ridiculous trends.
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As for September—as of now, I don’t think we’ll have real shows, but who knows. The situation still changes day by day. In September many countries still won’t be able to travel. Maybe here in Italy we’ll have an advantage in that we’ve started the Dogs March Birthday 2020 the year when shit got real quarantined shirt moreover I love this lockdown much earlier than most countries, so we’ll probably restart faster. And our factories, once reopened, are pretty miraculous. I think that maybe we will have to integrate the digital with the physical, but I hope we’ll be able to stage actual shows in a different format—maybe on a reduced scale, with only very qualified press attending and the most important buyers, a maximum of a hundred people. Like going back to the old times, when fashion shows were intimate affairs and not today’s gigantic performances, without the need of impressive backgrounds or sets, where you could actually see the clothes up close. It could be a way of doing fashion the way we were doing it in a healthier way—in small ateliers, without hordes of influencers, celebrities, starlets of all kinds—giving back fashion its true value, its true essence. Maybe using local resources, considering all the traveling restrictions. It could be a way of giving opportunities to new talents, younger and fresher, maybe scouting for local models, makeup artists and hairdressers—like it was at the beginning of the Italian fashion system in the ’50s at Florence’s Sala Bianca. I’m not a nostalgic, but we definitely need a change of pace.
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