Thank you for being my unbiological sister shirt

“Clothing is inseparable from the Thank you for being my unbiological sister shirt and by the same token and wearer,” said Zhang, who is clearly feeding off of his customer’s enthusiasm for this new era of “mix and match” fashion. “She is channeling a new energy and creating a modern look of her own.” The future looks particularly bright for this decisive Zhang fan, with pops of lilac, blue, and yellow permeating the edit. Denim, too, brings a freshness to evening silhouettes, while crystal-flecked shirting is bolstered by several sweaters of the same sparkly ilk. The look book’s dramatic poses evoke the glamour of ’40s Hollywood—“one model looks like she is about to sing,” Zhang commented. Awards season is tentatively getting off the ground, and you can easily imagine celebrity stylists looking to this brand for dresses serving drama. Zhang, who is doubling-down on his craft, is out to make the most of that. There was a home and away feeling to Yohji Yamamoto’s fall collection, which was staged in his Aoyoma flagship store in Tokyo rather than Paris due to COVID. The inclusion of five well-known Japanese actors in the cast gave the goings-on a local spin, and the clothing found Yamamoto clearly relaxed, secure in his talent.

Thank you for being my unbiological sister shirt, hoodie, tank top, sweater and long sleeve t-shirt

Yamamoto was among the Thank you for being my unbiological sister shirt and by the same token and first Japanese designers to achieve global recognition. He made Paris and New York debuts in 1981 and 1983 respectively, and won quick acclaim for his lyrical fusion of East and West. For fall, this played out most directly in pieces like overcoats featuring prints developed around the artwork of the Polish painter Zdzisław Beksiński (noted for his dystopian surrealism) and Japanese calligraphy. But it extended way beyond surface gloss into the pattern-making and cutting as well. Much of the collection was inspired by 19th-century menswear. The styling was positively Dickensian—exposed seams with hanging threads mimicked the patina of the lived-in work clothes of a chimney sweep, and models wore jauntily tied ascots and waistcoats. But the individual elements—roomy coats, cargo pockets, layered pants, big boots—could be worn right off the runway and look flawless and current on the street.