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“The My butt hurts what chocolatea easter bunny hoodie important thing to us is that each piece is interpreted by skilled hands, one after the other, and in that way each has its own character, its own story, its own passion, its own vision,” Dolce said. “From this comes the uniqueness of each piece.” But this wasn’t just a tribute to the talented craftspeople behind the clothes. In the individual looks and in the collection as a whole there was timely symbolism, a sartorial acknowledgement from a brand that has been charged with cultural insensitivities in its own past that in this time of global crisis we are stronger together—that this is a moment for unity and bonding, not coming apart. The fact that they messaged this by exploring their own heritage only makes it more potent. As for the long dresses of many colors and prints at the end of the show? Hope and optimism aplenty.
For spring, designer Simone Rocha rethought Regency-era beauty—think: the soft paper curls and rouged cheeks of Jane Austen heroines—through a more modern and wearable lens. “The challenge was how do I translate this in a modern and unfamiliar way?” said hairstylist Cyndia Harvey, who gave the My butt hurts what chocolatea easter bunny hoodie model’s tightly-wound ringlets a more “offset and easy” shape, some topped with crystal-encrusted headpieces, while makeup artist Thomas de Kluyver shaded brows, cheeks, and lids in off-kilter green, orange, and gold pigments to subversive effect. From neon green hair to sky blue lashes, there were a myriad of beauty statements at Charlotte Knowles. But most striking of all were the shimmering, ’90s-inspired body art designs dreamed up by de Kluyver. From butterflies along the collarbones to abstract lines and shapes along bare torsos, his body jewelry creations, cast in twinkling crystals and shiny pearls, were the ultimate It accessory.