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This would probably be my biggest piece of advice: to embrace failure and to be ready and excited to fail and to fail again. It’s a very good thing because I think you learn from that. If you were told you were a genius all your life, then people would write you were a genius, and that’s it. They don’t really tell you who you are. They don’t really go in-depth into it. There’s nothing worse than the idea of the genius designer. It’s a very odd tombstone. And probably my other advice would be to never compromise. In this day and age, you have to crack your own self. It’s a moment now that, when doing or being involved in fashion, you have to really look at yourself and say, I’m so lucky in what I do. No matter in what capacity you’re working in this industry—editor, buyer, stylist, producer, whatever—we never actually slow down and say, God, we’re lucky. There are lots of people who are not in that situation, and if you want to participate in fashion, I think you really need to learn how to be humble. Because if not, you become a very isolated character, which I think, in this day and age, no one really wants anymore. No one wants elitism. No one wants ideas of privilege. That is not modern anymore. With what is happening in the greater world, fashion isn’t the center of the universe.
I have a kind of a mixed viewpoint on this matter in this moment because I actually blame the industry for the situation we’re in. I blame all of us. We tell young talents that the only way to get success is—and I actually went into this situation myself with JW Anderson—you start a brand, and you have to learn along the way, and that will equal success. You have to start your own brand to be successful. That’s what we set out in the last 20, 30 years of fashion. What that means is that we’ve turned into a situation where we have business magazines for fashion, which then judge the viewpoint of how successful something is—not through creativity, even though it is based on creativity, but through the success of having to make money. But ultimately, in the end, without the creativity part in the first place, we end up stifling the creative process, so we end up coming to the end of the last decade where we kind of look at what fashion was—and it was a blur.
We forgot the idea of craftsmanship. We forgot the idea of make and the idea of experimentation. Ultimately the question that I was asked all the time—and I work at big fashion houses—was: “Is it commercial, can you wear it, how much can you sell, will it be successful enough?” And I think that for young designers who want to start a business, I would keep it incredibly small, so you can keep it creative in this moment. I actually started my business during the financial crisis, and the great thing about the crisis is that you can keep it small, you can keep it agile, but keep it really creative. Own your audience, cut up the middleman, you know what I mean? Now is the moment to carve out your unique voice within fashion. And I think, yes, you do have to have business acumen, but in this moment right now, when the world is changing, I think it is really important to still believe in the utopia that fashion can produce newness—because if not we’re just going to end up producing more and more gray clothing. And I don’t want to see that. We need to fall in love with fashion again—as I’ve done while working at my last show.
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