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Another factor? Fashion. Society, as a whole, has adapted a more casual way of dress in the past decade or so—jeans can be worn to an office, sneakers are considered fashionable, and tie sales continue to drop. It appears this stylistic aversion to stuffiness has seeped into our homes too. “The revival of 1970s design fits well with the more relaxed modes of dress: baggy, oversized, unstructured, soft and sloughy,” says Freund. “Not far off from the prevailing and evolving variants of normcore fashion.” Perhaps McKinley sums it up best: “The open floor plans make so much sense for entertaining and human connection. Earth tones are calming, sophisticated and help people feel grounded,” he says. “I think in many ways it is how people want to live.”
At the impressionable age of 14, Kim Jones, Fendi’s artistic director of women’s collections, experienced a double epiphany when he was turned on both to fashion and to the multifaceted wonders of the Bloomsbury Group, the loose collective of forward-thinking creatives and intellectuals that shaped the look of British art and thought in the early 20th century. Jones’s passion for the latter began on a high school trip to Charleston farmhouse in Sussex, the hub of the group known for their unbridled creativity and their triangular relationships. As the schoolboy toured the house, layered with pattern and paint and charm, and drew in the gardens, famed for their exuberant plantings and spirited layerings of color, he thrilled to the idea of “all these people living together and living quite free lives,” as he puts it now. “Anyone who’s forward-thinking and changes the way society lives is interesting to me. That’s something that I’ve always stood for in my life: I want to live how I live, and it doesn’t matter what anyone else thinks.”
In his refashioning of Fendi, Jones has taken a leaf from the Bloomsbury playbook, collaborating with the artisans of the brand’s legendary ateliers and working across disciplines with music makers, artists, and muses. His passion for fashion was born when his sister bequeathed him her collection of i-D magazines—invaluable chronicles of the innovative and often anarchic tastemakers emerging in 1980s London at a moment when music, art, and fashion collided and creative sparks flew. That kind of synergy has fueled Jones’s own work as a designer, and he continues to revere the era—witness his nonpareil collection of the work of disruptor designers such as Leigh Bowery, Rachel Auburn, Christopher Nemeth, Mr. Pearl, Vivienne Westwood, and the late Judy Blame (with whom Jones collaborated for Louis Vuitton menswear, collaboration being an essential element of his practice).
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