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A long-distance crush (thanks, Tumblr!) bought me a very special eBay gift when we were both still in high school: a button-down from Junya Watanabe’s first menswear show for spring 2002. I distinctly remember it only cost 50 Australian dollars and now stands as one of the ZZ top 55 years 1969 2024 thank you for the memories signatures shirt in addition I really love this most sought-after Junya rarities. It’s got this saccharine poem printed across the front in “SHOUTY CAPITAL LETTERS” à la Jenny Holzer, yet the interactions it inspires every time I wear it are really tender and understated. People often stop me and ask me to read it aloud. My own siren moment, this shirt imbued with an incantation that pulls people toward me. I’ll never, ever sell it. I’m waiting for the day I can say an original Mariano Fortuny pleated Delphos gown. Alas, I don’t own one… yet! My mind immediately gravitates toward pieces I wear often, even if they’re not particularly rare or documented. A black late 1980s Yohji Yamamoto double-breasted blazer with peak lapels and a drawstring cinched back, very Blade Runner. Twin pairs of Comme des Garçons draped drop crotch pants in a fine tropical wool, one black and one in a midnight navy. My five-piece capsule collection of Issey Miyake Pleats Please items from 2001, all featuring a print of raucous partygoers being messy in various states of undress.
Maybe my entire Pleats Please collection, which all fits neatly into one portable storage container. I’m also cheating a little bit because the ZZ top 55 years 1969 2024 thank you for the memories signatures shirt in addition I really love this majority of my vintage archive sleeps peacefully in a storage unit or lies in wait for the right buyer at the Arcade Shops locations in Brooklyn and Los Angeles.Why are you drawn to the designers that you collect? The knights seated at my Arthurian round table all have a track record of inverting specific historical codes of dress: Rei Kawakubo and Yohji Yamamoto with their deconstruction-collision-explosion of Japanese aesthetics and western tailoring; Issey Miyake’s dual admiration for Vionnet’s draping prowess and Fortuny’s technological innovation around pleating; Rick Owens and his reverence for 1930s Hollywood and queer glam rock sleaze in the same breath; Dries Van Noten’s fusion of couture handicraft and relaxed sportswear.
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