Official Middle Finger Kanye T-Shirts

 Click here to buy this shirt: Click here to buy this Official Middle Finger Kanye T-Shirts

Shortly after landing in Milan yesterday—Boom! Hedi left Celine, replaced by Michael Rider, while Filippo Grazioli left Missoni. The changes are constant. Suddenly, the ominous final scene of Hedi’s spring 25 Celine video—antique chandeliers crashing to the ground at Château de Compiègne—made perfect sense. It seemed not only symbolic of his own departure but also a metaphor for the current state of the industry. But throughout the fashion weeks, when designers showed incredible, almost defiant resilience, the feeling was truly uplifting. That sense of resilience and defiance gave me—yes!—joy, especially at Marni, Bally, Bottega Veneta, Valentino, and Loewe. And kudos to the talented, courageous young designers—Sunnei, Rokh, Nicolò Pasqualetti, and Duran Lantink—who deserve credit for persevering in such a harsh environment, unafraid to take aesthetic risks.—Tiziana Cardini

I think aesthetic risk in fashion means being free to reimagine and innovate how clothes interact with the human body, to take risks without being constrained by the rules of the market. But fashion is not art. Fashion designers deal with the physical limitations of the body, while artists deal with the boundaries of perception. And art can be more overtly political, while fashion has become inextricably linked to the people-pleasing entertainment industry. Moreover, the rules of fashion today are dictated by large corporations, a battle of Titans that often crush small or mid-sized brands. How can you take aesthetic risks in this context, if you are not protected by the deep pockets of a fashionista? Also—fashion prices are skyrocketing—where does this come from? The answer tends to be unclear, depending on who you ask. How can a designer’s joyful message (this is the mantra of the season) be combined with the creation of a dress that costs a teacher’s monthly salary? Who would happily spend $1,000 on a white T-shirt (I won’t name names)? Is high fashion truly democratic? I wondered.

Come on, Tiziana, name it! But I agree with a lot of what you said. What I’ve been talking about this season, especially in Europe, is of course the power and authority of the luxury and traditional houses, and how they completely dominate the industry right now. So many of them put on some really great shows—Matthieu Blazy at Bottega Veneta, Simone Bellotti at Bally in Milan; Anthony Vaccarello at Saint Laurent (my favorite show of the entire season), Chemena Kamali at Chloé, Jonathan Anderson at Loewe, Nicolas de Felice at Courrèges, and Alessando Michele at Valentino (Team Michele all the way here) in Paris. But you ask yourself, where is the space for independent designers now? Yes, there were great shows from Rick Owens, The Row, and Erdem, but a decade later, who would be in the same position today? Virginia Smith and I went to see the young Belgian designer Julie Kegels on the first day of Paris, and I really liked her and the collection; she’s smart, thoughtful, and witty both in her work and in life. And I was fascinated to see that, after just two seasons, she’s already thinking of herself as a whole brand. Given her talent, I really want her—and other designers, like Diotima, Zankov, Luar, Paola Carzana, Aaron Esh, and Duran Lantink—to succeed.

Home: Visit AaronShirt LLC