LGBT My Boyfriend In New York Loves Me T-Shirt
Buy this shirt: https://ewshirt.com/product/weed-dad-like-a-regular-dad-only-way-higher-shirt/ Streetwear is growing up. Once relegated to the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.Thuso Mbedu is 29 but looks significantly younger. And yet, in her extraordinary performance as Cora, the central character in Barry Jenkins’s adaptation of Colson Whitehead’s Pulitzer Prize–winning novel The Underground Railroad, she manages to look older as well. Premiering on Amazon Prime Video this month, the limited series follows a young enslaved woman who escapes a Georgia plantation, making use of a subterranean train—a literal underground railroad—to travel north. The show marries a haunted magical realism with dark chapters of American history, and requires much of its heroine. “They say still waters run deep,” says Jenkins of his lead, “and that’s how I think of her. There are episodes where she looks 18, and then there are episodes where she looks 57. It was almost superhuman, what this woman did.”Mbedu grew up in the sleepy South African city of Pietermaritzburg. When she was four, her mother, a teacher, died, so it was her grandmother who raised her, and the family got by on the grandmother’s modest pension. “My life wasn’t as hard as others’, but it wasn’t easy,” says Mbedu, who is speaking to me from her home in Los Angeles. She suffered from skin allergies and resolved to become a dermatologist—an aspiration that pleased her grandmother since apartheid had prevented Mbedu’s mother from becoming a geologist. But in high school, Mbedu discovered drama: “I was like, This thing can be used to heal and help people.” When her grandmother learned of her intention to study performing arts in college, she didn’t speak to Mbedu for a month. After graduating, Mbedu landed the first part she auditioned for, and eventually she earned the lead role in the South African teen drama Is’Thunzi. Her grandmother, who made begrudging peace with her granddaughter’s aspirations, passed away just as Mbedu’s career was getting started.In 2018, she auditioned for The Underground Railroad, later traveling to L.A. to meet with Jenkins. “Thuso aced it,” the director says simply. Extensive research followed: slave narratives from the Federal Writers’ Project and audio files of formerly enslaved people. “We, as Africans, think that we know a lot about American history just from what we see in movies,” Mbedu says. Her research made her realize that enslaved people in America “were much closer to who we are as Africans than we think.” Mbedu has spent the months since the show wrapped hiking with friends (“Romantic involvement is a myth, a great legend in my life,” she says) and perfecting the art of falling: “It’s my dream to do my own stunts.” She’s also been reading books like The Woman Who Would Be King, about a female pharaoh in Ancient Egypt, and Amazons of Black Sparta: The Women Warriors of Dahomey—stories rich in history, strength, and triumph.Streetwear is growing up. Once relegated to the wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.There are few celebrities who guard their privacy with the same intensity as Taylor Swift. While rumors have abounded that she has spent much of the past year in London with her boyfriend, actor Joe Alwyn, the musician has chosen to keep schtum on the matter. Instead, she’s only made choice appearances to promote her surprise (and now critically-acclaimed) lockdown records, folklore and evermore.It feels particularly intentional, then, that for the BRIT Awards in London tonight, Swift made her first public appearance since the Grammys in March earlier this year—and in style. Wearing a glitzy Miu Miu two-piece consisting of a bralette and column skirt, Swift accepted her award as a Brits Global Icon with a speech that reflected on becoming both the first woman and non-British recipient of the prize.Swift dedicated the award to her predecessors whose activism inspired her to become an outspoken voice for women’s rights, LGBTQ+ rights, and the Black Lives Matter movement over the past year—as well as honoring the new generation of musicians being celebrated at the ceremony. “If you’re being met with resistance, that probably means that you’re doing something new,” she said. “If you experience turbulence and pressure, that probably means you’re rising. And there might be times when you put your whole heart and soul into something and it’s met with cynicism or skepticism. You can’t let that crush you. You have to let that fuel you.”As Swift’s beautiful Miu Miu outfit makes clear, giving a powerful speech doesn’t mean you have to compromise in the fashion stakes. Quite the opposite, in fact. Getting dressed up for a night out will always be one of life’s greatest pleasures, and it’s something Swift understands in spades. It’s no coincidence her look was one of the most joyful of the night. Tonight, the brightest stars in music—including Dua Lipa, Taylor Swift, and Harry Styles—gathered at the 2021 Brit Awards in London, England. No awards show would be complete without some stellar looks, and Styles did not disappoint as he picked up the MasterCard British Single award for his smash hit, “Watermelon Sugar.” The star slipped into a retro, 1970s-style suit for the affair, and it’s one that only he could pull off. Well, him and the model who wore it on the runway just one month ago. Styled by Harry Lambert, Styles wore a groovy Gucci suit with large lapels and a flared pant leg, from the house’s fall 2021 collection. The wallpaper-esque print could have been pulled from a house in the ’70s, too, with its tonal brown and cream squares. For a more modern feel, Styles paired the suit with sleek white sneakers, a fistful of rings, and a brown purse with a bamboo top handle. (This accessory choice comes right after he starred in a handbag campaign for Gucci.) Styles rarely misses on the red carpet. The psychedelic suit could have easily veered into costume territory, but on Styles? It’s just downright dapper. It’s safe to say that Little Mix have had a life-changing year. They released their new album Confetti last November (which led to their first time promoting a record as a trio, following the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this departure of Jesy Nelson in December), and have been busy publicizing its release ever since. In even bigger news, however, two of the members—Leigh-Anne Pinnock and Perrie Edwards—recently announced that they’re expecting with their respective partners. Little Mix might be renowned for their meticulously synchronized choreography, but to find their pregnancy cycles in sync too? Now that’s true commitment.Last Tuesday, Pinnock announced she was pregnant via an Instagram post with her boyfriend, footballer Andre Gray. Then, just yesterday, Edwards shared the news that she was also pregnant with her footballer boyfriend, Alex Oxlade-Chamberlain. They appeared with fellow bandmate Jade Thirwall on the red carpet for their first public outing since the announcements at the Brit Awards today. For their red carpet debut as a trio, the group opted for a series of matching looks that beautifully accentuated the two baby bumps. For Pinnock, this meant a marble white, draped gown by Maison Margiela, while Edwards wore a dress by David Koma with a cut-out detail. Even though she isn’t currently expecting, Thirlwall glowed in a figure-hugging Vivienne Westwood number that served as the perfect complement to her bandmates’ goddess-like gowns. It seems Little Mix will have plenty to toast to tonight, having already been handed the gong for Best British Group, making history in the process as the first-ever female band in the history of the Brits to win it. In their acceptance speech, they dedicated the award to the illustrious lineage of British girl group predecessors, including the Spice Girls, Sugababes, All Saints, and Girls Aloud. But with their ethereal red carpet looks tonight, it’s evident that Little Mix continue to be in a league all of their own.As the first major awards ceremony with an audience in over a year, tonight’s Brit Awards offered a welcome excuse to get dressed up in the most flamboyant fashions once again. In predictably unpredictable style, however, Haim went in the opposite direction—and in a very unexpected label for the red carpet. Tonight, they chose to wear The Row. While the label has long been a celebrity favorite for its luxe minimalism, it’s rarely seen on the red carpet. Haim wore a trio of looks that reflected designers Mary-Kate and Ashley Olsen’s mastery of loosely-cut but meticulous tailoring. To achieve their business casual vibe, Este wore a black pantsuit nipped in at the waist with a sleek leather belt. Danielle opted for a black blazer and top with pleated khaki slacks, and Alana wore a cozy black sweater vest over a white shirt with billowing sleeves, paired with flared black trousers. Who says an awards show has to be about a flashy dress anyways? Ironically, Haim’s were among the most eye-catching looks of the evening. Their choice also coincides with the rise of an unexpectedly youthful fanbase for the cult label, which has historically eschewed any kind of hype. Back in November, Kendall Jenner posted to Instagram wearing “The Row head to toe.” Just a few weeks ago, Jonah Hill shared a snap of himself with friend Zoë Kravitz wearing matchy-matchy monochrome from the brand. But regardless of the growing affinity for the brand among celebrities, Haim’s outfits couldn’t feel like a more perfect—if unexpected—fit for their big return to the red carpet. Welcome to Shopping with Friends: a new Vogue series in which we sift through the racks of a fashion lover’s favorite store.Saturday Night Live’s Heidi Gardner is a vintage head. The fashion-forward actor and comedian always infuses something old into her quirky outfits, which are typically marked by animal prints, peppy shoes, and kicky pants. In early March, she left a taping of The Drew Barrymore Show while wearing a head-turning leopard-print jacket from Le Grand Strip, a vintage shop on Grand Street in Brooklyn’s Williamsburg neighborhood. Three weeks ago, Gardner took me along to see the store in person.Gardner arrived in a pair of Fila platforms with a troll head locked into the laces, a freaky bauble she picked up in the East Village. “When I went back home, my grandma always had foot problems and when she had foot surgery, she was like, ‘These have so much support,’” Gardner said. “So then I ordered them.” Once inside, she was on the prowl for something. Though she didn’t have something specific in mind, she had two shoots coming up and needed an outfit.Gardner found out about Le Grand Strip from her hairstylist back last February. “When I first came in here, it reminded me of what the top of my mom’s dresser looked like,” she said. “I remember there was this little tray over here that had a bar set from a former Bond girl who had just passed away.” The store is filled with glitzy oddities and fantastically chic vintage items: Trays of fat costume jewelry. A bubblegum pink Versace hat. Rows of tulle dresses from the 1980s. Bags galore with lucite handles. All items, coincidentally, you could see Gardner wearing. While it’s my first time coming here, the staff embraces me like we’re characters on Cheers.That magical, very New York feeling is thanks to the owner, a flamboyant and blunt French woman with amazing cheekbones named CC McGurr, and the shop manager Alexandra Blair, a beautiful part-time musician and a walking encyclopedia of vintage history. High-energy and passionate, they complement each other well. Both adore Gardner. “I love her style the most because it’s unpredictable. At one moment she’ll do a full green gown from the ’70s and then the next, it’s ’80s with big shoulders,” says Blair.As we shop, Gardner goes the more standout route and has picked out a pair of flared checked pink pants. She’s always been into fashion, in large part because of her mother’s ’80s and ’90s style. “Instead of Tupperware parties, my mom and her friends would do lingerie parties,” she says. Gardner’s love for clothes trickled into her work. When she dropped out of college to come to Los Angeles to be a hairstylist, she also did sketch comedy at The Groundlings Theatre. “You’re not making any money. You’re buying all your costumes and all your wigs. That felt like such a fun, supplementary part of performing,” she says. “I remember taking two wigs to New York with me when I knew I got the [Saturday Night Live] job just in case they [didn’t] have good ones.” (They did.)Even at SNL, a much bigger production, Gardner still is able to apply her love for clothes into her characters—cast members can work on the looks for a sketch if they create the script. That was the case when she and Harry Styles acted as a freakishly beautiful Nordic couple in a birthing class. “They’re based on a couple that I saw getting some matcha. [They] were obviously tourists and they were all in white. They looked incredible,” she says. “[For the script,] I wanted them to be even more high-fashion versions of that.” The result? Gardner and Styles looked like incredibly chic sister wives of ’60s cult leader Father Yod.As Gardner gets into the dressing room, Blair and McGurr bring her a vintage Balmain suit and a halter fuchsia dress that cinches Gardner’s waist while the actor picks out a print shift dress and a shoulder-less black dress. (For myself, I’d chosen a gold chain belt, trying to evoke Jennifer Lopez’s sassy look from “Love Don’t Cost a Thing.”) Gardner is unsure about her options and asks us all for our opinions. McGurr is the first and last to speak—after all, she’s the sage of the group. “I think the black [Balmain suit], you look fantastic, absolutely amazing. But it’s also too easy,” says McGurr. “I think that the winner is the pink dress. You’re a fun girl! That’s your personality!” That she is https://ewshirt.com/ LGBT My Boyfriend In New York Loves Me T-Shirt Buy this shirt: https://ewshirt.com/product/weed-dad-like-a-regular-dad-only-way-higher-shirt/ Streetwear is growing up. Once relegated to the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.Thuso Mbedu is 29 but looks significantly younger. And yet, in her extraordinary performance as Cora, the central character in Barry Jenkins’s adaptation of Colson Whitehead’s Pulitzer Prize–winning novel The Underground Railroad, she manages to look older as well. Premiering on Amazon Prime Video this month, the limited series follows a young enslaved woman who escapes a Georgia plantation, making use of a subterranean train—a literal underground railroad—to travel north. The show marries a haunted magical realism with dark chapters of American history, and requires much of its heroine. “They say still waters run deep,” says Jenkins of his lead, “and that’s how I think of her. There are episodes where she looks 18, and then there are episodes where she looks 57. It was almost superhuman, what this woman did.”Mbedu grew up in the sleepy South African city of Pietermaritzburg. When she was four, her mother, a teacher, died, so it was her grandmother who raised her, and the family got by on the grandmother’s modest pension. “My life wasn’t as hard as others’, but it wasn’t easy,” says Mbedu, who is speaking to me from her home in Los Angeles. She suffered from skin allergies and resolved to become a dermatologist—an aspiration that pleased her grandmother since apartheid had prevented Mbedu’s mother from becoming a geologist. But in high school, Mbedu discovered drama: “I was like, This thing can be used to heal and help people.” When her grandmother learned of her intention to study performing arts in college, she didn’t speak to Mbedu for a month. After graduating, Mbedu landed the first part she auditioned for, and eventually she earned the lead role in the South African teen drama Is’Thunzi. Her grandmother, who made begrudging peace with her granddaughter’s aspirations, passed away just as Mbedu’s career was getting started.In 2018, she auditioned for The Underground Railroad, later traveling to L.A. to meet with Jenkins. “Thuso aced it,” the director says simply. Extensive research followed: slave narratives from the Federal Writers’ Project and audio files of formerly enslaved people. “We, as Africans, think that we know a lot about American history just from what we see in movies,” Mbedu says. Her research made her realize that enslaved people in America “were much closer to who we are as Africans than we think.” Mbedu has spent the months since the show wrapped hiking with friends (“Romantic involvement is a myth, a great legend in my life,” she says) and perfecting the art of falling: “It’s my dream to do my own stunts.” She’s also been reading books like The Woman Who Would Be King, about a female pharaoh in Ancient Egypt, and Amazons of Black Sparta: The Women Warriors of Dahomey—stories rich in history, strength, and triumph.Streetwear is growing up. Once relegated to the wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.There are few celebrities who guard their privacy with the same intensity as Taylor Swift. While rumors have abounded that she has spent much of the past year in London with her boyfriend, actor Joe Alwyn, the musician has chosen to keep schtum on the matter. Instead, she’s only made choice appearances to promote her surprise (and now critically-acclaimed) lockdown records, folklore and evermore.It feels particularly intentional, then, that for the BRIT Awards in London tonight, Swift made her first public appearance since the Grammys in March earlier this year—and in style. Wearing a glitzy Miu Miu two-piece consisting of a bralette and column skirt, Swift accepted her award as a Brits Global Icon with a speech that reflected on becoming both the first woman and non-British recipient of the prize.Swift dedicated the award to her predecessors whose activism inspired her to become an outspoken voice for women’s rights, LGBTQ+ rights, and the Black Lives Matter movement over the past year—as well as honoring the new generation of musicians being celebrated at the ceremony. “If you’re being met with resistance, that probably means that you’re doing something new,” she said. “If you experience turbulence and pressure, that probably means you’re rising. And there might be times when you put your whole heart and soul into something and it’s met with cynicism or skepticism. You can’t let that crush you. You have to let that fuel you.”As Swift’s beautiful Miu Miu outfit makes clear, giving a powerful speech doesn’t mean you have to compromise in the fashion stakes. Quite the opposite, in fact. Getting dressed up for a night out will always be one of life’s greatest pleasures, and it’s something Swift understands in spades. It’s no coincidence her look was one of the most joyful of the night. Tonight, the brightest stars in music—including Dua Lipa, Taylor Swift, and Harry Styles—gathered at the 2021 Brit Awards in London, England. No awards show would be complete without some stellar looks, and Styles did not disappoint as he picked up the MasterCard British Single award for his smash hit, “Watermelon Sugar.” The star slipped into a retro, 1970s-style suit for the affair, and it’s one that only he could pull off. Well, him and the model who wore it on the runway just one month ago. Styled by Harry Lambert, Styles wore a groovy Gucci suit with large lapels and a flared pant leg, from the house’s fall 2021 collection. The wallpaper-esque print could have been pulled from a house in the ’70s, too, with its tonal brown and cream squares. For a more modern feel, Styles paired the suit with sleek white sneakers, a fistful of rings, and a brown purse with a bamboo top handle. (This accessory choice comes right after he starred in a handbag campaign for Gucci.) Styles rarely misses on the red carpet. The psychedelic suit could have easily veered into costume territory, but on Styles? It’s just downright dapper. It’s safe to say that Little Mix have had a life-changing year. They released their new album Confetti last November (which led to their first time promoting a record as a trio, following the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this departure of Jesy Nelson in December), and have been busy publicizing its release ever since. In even bigger news, however, two of the members—Leigh-Anne Pinnock and Perrie Edwards—recently announced that they’re expecting with their respective partners. Little Mix might be renowned for their meticulously synchronized choreography, but to find their pregnancy cycles in sync too? Now that’s true commitment.Last Tuesday, Pinnock announced she was pregnant via an Instagram post with her boyfriend, footballer Andre Gray. Then, just yesterday, Edwards shared the news that she was also pregnant with her footballer boyfriend, Alex Oxlade-Chamberlain. They appeared with fellow bandmate Jade Thirwall on the red carpet for their first public outing since the announcements at the Brit Awards today. For their red carpet debut as a trio, the group opted for a series of matching looks that beautifully accentuated the two baby bumps. For Pinnock, this meant a marble white, draped gown by Maison Margiela, while Edwards wore a dress by David Koma with a cut-out detail. Even though she isn’t currently expecting, Thirlwall glowed in a figure-hugging Vivienne Westwood number that served as the perfect complement to her bandmates’ goddess-like gowns. It seems Little Mix will have plenty to toast to tonight, having already been handed the gong for Best British Group, making history in the process as the first-ever female band in the history of the Brits to win it. In their acceptance speech, they dedicated the award to the illustrious lineage of British girl group predecessors, including the Spice Girls, Sugababes, All Saints, and Girls Aloud. But with their ethereal red carpet looks tonight, it’s evident that Little Mix continue to be in a league all of their own.As the first major awards ceremony with an audience in over a year, tonight’s Brit Awards offered a welcome excuse to get dressed up in the most flamboyant fashions once again. In predictably unpredictable style, however, Haim went in the opposite direction—and in a very unexpected label for the red carpet. Tonight, they chose to wear The Row. While the label has long been a celebrity favorite for its luxe minimalism, it’s rarely seen on the red carpet. Haim wore a trio of looks that reflected designers Mary-Kate and Ashley Olsen’s mastery of loosely-cut but meticulous tailoring. To achieve their business casual vibe, Este wore a black pantsuit nipped in at the waist with a sleek leather belt. Danielle opted for a black blazer and top with pleated khaki slacks, and Alana wore a cozy black sweater vest over a white shirt with billowing sleeves, paired with flared black trousers. Who says an awards show has to be about a flashy dress anyways? Ironically, Haim’s were among the most eye-catching looks of the evening. Their choice also coincides with the rise of an unexpectedly youthful fanbase for the cult label, which has historically eschewed any kind of hype. Back in November, Kendall Jenner posted to Instagram wearing “The Row head to toe.” Just a few weeks ago, Jonah Hill shared a snap of himself with friend Zoë Kravitz wearing matchy-matchy monochrome from the brand. But regardless of the growing affinity for the brand among celebrities, Haim’s outfits couldn’t feel like a more perfect—if unexpected—fit for their big return to the red carpet. Welcome to Shopping with Friends: a new Vogue series in which we sift through the racks of a fashion lover’s favorite store.Saturday Night Live’s Heidi Gardner is a vintage head. The fashion-forward actor and comedian always infuses something old into her quirky outfits, which are typically marked by animal prints, peppy shoes, and kicky pants. In early March, she left a taping of The Drew Barrymore Show while wearing a head-turning leopard-print jacket from Le Grand Strip, a vintage shop on Grand Street in Brooklyn’s Williamsburg neighborhood. Three weeks ago, Gardner took me along to see the store in person.Gardner arrived in a pair of Fila platforms with a troll head locked into the laces, a freaky bauble she picked up in the East Village. “When I went back home, my grandma always had foot problems and when she had foot surgery, she was like, ‘These have so much support,’” Gardner said. “So then I ordered them.” Once inside, she was on the prowl for something. Though she didn’t have something specific in mind, she had two shoots coming up and needed an outfit.Gardner found out about Le Grand Strip from her hairstylist back last February. “When I first came in here, it reminded me of what the top of my mom’s dresser looked like,” she said. “I remember there was this little tray over here that had a bar set from a former Bond girl who had just passed away.” The store is filled with glitzy oddities and fantastically chic vintage items: Trays of fat costume jewelry. A bubblegum pink Versace hat. Rows of tulle dresses from the 1980s. Bags galore with lucite handles. All items, coincidentally, you could see Gardner wearing. While it’s my first time coming here, the staff embraces me like we’re characters on Cheers.That magical, very New York feeling is thanks to the owner, a flamboyant and blunt French woman with amazing cheekbones named CC McGurr, and the shop manager Alexandra Blair, a beautiful part-time musician and a walking encyclopedia of vintage history. High-energy and passionate, they complement each other well. Both adore Gardner. “I love her style the most because it’s unpredictable. At one moment she’ll do a full green gown from the ’70s and then the next, it’s ’80s with big shoulders,” says Blair.As we shop, Gardner goes the more standout route and has picked out a pair of flared checked pink pants. She’s always been into fashion, in large part because of her mother’s ’80s and ’90s style. “Instead of Tupperware parties, my mom and her friends would do lingerie parties,” she says. Gardner’s love for clothes trickled into her work. When she dropped out of college to come to Los Angeles to be a hairstylist, she also did sketch comedy at The Groundlings Theatre. “You’re not making any money. You’re buying all your costumes and all your wigs. That felt like such a fun, supplementary part of performing,” she says. “I remember taking two wigs to New York with me when I knew I got the [Saturday Night Live] job just in case they [didn’t] have good ones.” (They did.)Even at SNL, a much bigger production, Gardner still is able to apply her love for clothes into her characters—cast members can work on the looks for a sketch if they create the script. That was the case when she and Harry Styles acted as a freakishly beautiful Nordic couple in a birthing class. “They’re based on a couple that I saw getting some matcha. [They] were obviously tourists and they were all in white. They looked incredible,” she says. “[For the script,] I wanted them to be even more high-fashion versions of that.” The result? Gardner and Styles looked like incredibly chic sister wives of ’60s cult leader Father Yod.As Gardner gets into the dressing room, Blair and McGurr bring her a vintage Balmain suit and a halter fuchsia dress that cinches Gardner’s waist while the actor picks out a print shift dress and a shoulder-less black dress. (For myself, I’d chosen a gold chain belt, trying to evoke Jennifer Lopez’s sassy look from “Love Don’t Cost a Thing.”) Gardner is unsure about her options and asks us all for our opinions. McGurr is the first and last to speak—after all, she’s the sage of the group. “I think the black [Balmain suit], you look fantastic, absolutely amazing. But it’s also too easy,” says McGurr. “I think that the winner is the pink dress. You’re a fun girl! That’s your personality!” That she is https://ewshirt.com/
Buy this shirt: https://ewshirt.com/product/weed-dad-like-a-regular-dad-only-way-higher-shirt/ Streetwear is growing up. Once relegated to the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.Thuso Mbedu is 29 but looks significantly younger. And yet, in her extraordinary performance as Cora, the central character in Barry Jenkins’s adaptation of Colson Whitehead’s Pulitzer Prize–winning novel The Underground Railroad, she manages to look older as well. Premiering on Amazon Prime Video this month, the limited series follows a young enslaved woman who escapes a Georgia plantation, making use of a subterranean train—a literal underground railroad—to travel north. The show marries a haunted magical realism with dark chapters of American history, and requires much of its heroine. “They say still waters run deep,” says Jenkins of his lead, “and that’s how I think of her. There are episodes where she looks 18, and then there are episodes where she looks 57. It was almost superhuman, what this woman did.”Mbedu grew up in the sleepy South African city of Pietermaritzburg. When she was four, her mother, a teacher, died, so it was her grandmother who raised her, and the family got by on the grandmother’s modest pension. “My life wasn’t as hard as others’, but it wasn’t easy,” says Mbedu, who is speaking to me from her home in Los Angeles. She suffered from skin allergies and resolved to become a dermatologist—an aspiration that pleased her grandmother since apartheid had prevented Mbedu’s mother from becoming a geologist. But in high school, Mbedu discovered drama: “I was like, This thing can be used to heal and help people.” When her grandmother learned of her intention to study performing arts in college, she didn’t speak to Mbedu for a month. After graduating, Mbedu landed the first part she auditioned for, and eventually she earned the lead role in the South African teen drama Is’Thunzi. Her grandmother, who made begrudging peace with her granddaughter’s aspirations, passed away just as Mbedu’s career was getting started.In 2018, she auditioned for The Underground Railroad, later traveling to L.A. to meet with Jenkins. “Thuso aced it,” the director says simply. Extensive research followed: slave narratives from the Federal Writers’ Project and audio files of formerly enslaved people. “We, as Africans, think that we know a lot about American history just from what we see in movies,” Mbedu says. Her research made her realize that enslaved people in America “were much closer to who we are as Africans than we think.” Mbedu has spent the months since the show wrapped hiking with friends (“Romantic involvement is a myth, a great legend in my life,” she says) and perfecting the art of falling: “It’s my dream to do my own stunts.” She’s also been reading books like The Woman Who Would Be King, about a female pharaoh in Ancient Egypt, and Amazons of Black Sparta: The Women Warriors of Dahomey—stories rich in history, strength, and triumph.Streetwear is growing up. Once relegated to the wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.There are few celebrities who guard their privacy with the same intensity as Taylor Swift. While rumors have abounded that she has spent much of the past year in London with her boyfriend, actor Joe Alwyn, the musician has chosen to keep schtum on the matter. Instead, she’s only made choice appearances to promote her surprise (and now critically-acclaimed) lockdown records, folklore and evermore.It feels particularly intentional, then, that for the BRIT Awards in London tonight, Swift made her first public appearance since the Grammys in March earlier this year—and in style. Wearing a glitzy Miu Miu two-piece consisting of a bralette and column skirt, Swift accepted her award as a Brits Global Icon with a speech that reflected on becoming both the first woman and non-British recipient of the prize.Swift dedicated the award to her predecessors whose activism inspired her to become an outspoken voice for women’s rights, LGBTQ+ rights, and the Black Lives Matter movement over the past year—as well as honoring the new generation of musicians being celebrated at the ceremony. “If you’re being met with resistance, that probably means that you’re doing something new,” she said. “If you experience turbulence and pressure, that probably means you’re rising. And there might be times when you put your whole heart and soul into something and it’s met with cynicism or skepticism. You can’t let that crush you. You have to let that fuel you.”As Swift’s beautiful Miu Miu outfit makes clear, giving a powerful speech doesn’t mean you have to compromise in the fashion stakes. Quite the opposite, in fact. Getting dressed up for a night out will always be one of life’s greatest pleasures, and it’s something Swift understands in spades. It’s no coincidence her look was one of the most joyful of the night. Tonight, the brightest stars in music—including Dua Lipa, Taylor Swift, and Harry Styles—gathered at the 2021 Brit Awards in London, England. No awards show would be complete without some stellar looks, and Styles did not disappoint as he picked up the MasterCard British Single award for his smash hit, “Watermelon Sugar.” The star slipped into a retro, 1970s-style suit for the affair, and it’s one that only he could pull off. Well, him and the model who wore it on the runway just one month ago. Styled by Harry Lambert, Styles wore a groovy Gucci suit with large lapels and a flared pant leg, from the house’s fall 2021 collection. The wallpaper-esque print could have been pulled from a house in the ’70s, too, with its tonal brown and cream squares. For a more modern feel, Styles paired the suit with sleek white sneakers, a fistful of rings, and a brown purse with a bamboo top handle. (This accessory choice comes right after he starred in a handbag campaign for Gucci.) Styles rarely misses on the red carpet. The psychedelic suit could have easily veered into costume territory, but on Styles? It’s just downright dapper. It’s safe to say that Little Mix have had a life-changing year. They released their new album Confetti last November (which led to their first time promoting a record as a trio, following the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this departure of Jesy Nelson in December), and have been busy publicizing its release ever since. In even bigger news, however, two of the members—Leigh-Anne Pinnock and Perrie Edwards—recently announced that they’re expecting with their respective partners. Little Mix might be renowned for their meticulously synchronized choreography, but to find their pregnancy cycles in sync too? Now that’s true commitment.Last Tuesday, Pinnock announced she was pregnant via an Instagram post with her boyfriend, footballer Andre Gray. Then, just yesterday, Edwards shared the news that she was also pregnant with her footballer boyfriend, Alex Oxlade-Chamberlain. They appeared with fellow bandmate Jade Thirwall on the red carpet for their first public outing since the announcements at the Brit Awards today. For their red carpet debut as a trio, the group opted for a series of matching looks that beautifully accentuated the two baby bumps. For Pinnock, this meant a marble white, draped gown by Maison Margiela, while Edwards wore a dress by David Koma with a cut-out detail. Even though she isn’t currently expecting, Thirlwall glowed in a figure-hugging Vivienne Westwood number that served as the perfect complement to her bandmates’ goddess-like gowns. It seems Little Mix will have plenty to toast to tonight, having already been handed the gong for Best British Group, making history in the process as the first-ever female band in the history of the Brits to win it. In their acceptance speech, they dedicated the award to the illustrious lineage of British girl group predecessors, including the Spice Girls, Sugababes, All Saints, and Girls Aloud. But with their ethereal red carpet looks tonight, it’s evident that Little Mix continue to be in a league all of their own.As the first major awards ceremony with an audience in over a year, tonight’s Brit Awards offered a welcome excuse to get dressed up in the most flamboyant fashions once again. In predictably unpredictable style, however, Haim went in the opposite direction—and in a very unexpected label for the red carpet. Tonight, they chose to wear The Row. While the label has long been a celebrity favorite for its luxe minimalism, it’s rarely seen on the red carpet. Haim wore a trio of looks that reflected designers Mary-Kate and Ashley Olsen’s mastery of loosely-cut but meticulous tailoring. To achieve their business casual vibe, Este wore a black pantsuit nipped in at the waist with a sleek leather belt. Danielle opted for a black blazer and top with pleated khaki slacks, and Alana wore a cozy black sweater vest over a white shirt with billowing sleeves, paired with flared black trousers. Who says an awards show has to be about a flashy dress anyways? Ironically, Haim’s were among the most eye-catching looks of the evening. Their choice also coincides with the rise of an unexpectedly youthful fanbase for the cult label, which has historically eschewed any kind of hype. Back in November, Kendall Jenner posted to Instagram wearing “The Row head to toe.” Just a few weeks ago, Jonah Hill shared a snap of himself with friend Zoë Kravitz wearing matchy-matchy monochrome from the brand. But regardless of the growing affinity for the brand among celebrities, Haim’s outfits couldn’t feel like a more perfect—if unexpected—fit for their big return to the red carpet. Welcome to Shopping with Friends: a new Vogue series in which we sift through the racks of a fashion lover’s favorite store.Saturday Night Live’s Heidi Gardner is a vintage head. The fashion-forward actor and comedian always infuses something old into her quirky outfits, which are typically marked by animal prints, peppy shoes, and kicky pants. In early March, she left a taping of The Drew Barrymore Show while wearing a head-turning leopard-print jacket from Le Grand Strip, a vintage shop on Grand Street in Brooklyn’s Williamsburg neighborhood. Three weeks ago, Gardner took me along to see the store in person.Gardner arrived in a pair of Fila platforms with a troll head locked into the laces, a freaky bauble she picked up in the East Village. “When I went back home, my grandma always had foot problems and when she had foot surgery, she was like, ‘These have so much support,’” Gardner said. “So then I ordered them.” Once inside, she was on the prowl for something. Though she didn’t have something specific in mind, she had two shoots coming up and needed an outfit.Gardner found out about Le Grand Strip from her hairstylist back last February. “When I first came in here, it reminded me of what the top of my mom’s dresser looked like,” she said. “I remember there was this little tray over here that had a bar set from a former Bond girl who had just passed away.” The store is filled with glitzy oddities and fantastically chic vintage items: Trays of fat costume jewelry. A bubblegum pink Versace hat. Rows of tulle dresses from the 1980s. Bags galore with lucite handles. All items, coincidentally, you could see Gardner wearing. While it’s my first time coming here, the staff embraces me like we’re characters on Cheers.That magical, very New York feeling is thanks to the owner, a flamboyant and blunt French woman with amazing cheekbones named CC McGurr, and the shop manager Alexandra Blair, a beautiful part-time musician and a walking encyclopedia of vintage history. High-energy and passionate, they complement each other well. Both adore Gardner. “I love her style the most because it’s unpredictable. At one moment she’ll do a full green gown from the ’70s and then the next, it’s ’80s with big shoulders,” says Blair.As we shop, Gardner goes the more standout route and has picked out a pair of flared checked pink pants. She’s always been into fashion, in large part because of her mother’s ’80s and ’90s style. “Instead of Tupperware parties, my mom and her friends would do lingerie parties,” she says. Gardner’s love for clothes trickled into her work. When she dropped out of college to come to Los Angeles to be a hairstylist, she also did sketch comedy at The Groundlings Theatre. “You’re not making any money. You’re buying all your costumes and all your wigs. That felt like such a fun, supplementary part of performing,” she says. “I remember taking two wigs to New York with me when I knew I got the [Saturday Night Live] job just in case they [didn’t] have good ones.” (They did.)Even at SNL, a much bigger production, Gardner still is able to apply her love for clothes into her characters—cast members can work on the looks for a sketch if they create the script. That was the case when she and Harry Styles acted as a freakishly beautiful Nordic couple in a birthing class. “They’re based on a couple that I saw getting some matcha. [They] were obviously tourists and they were all in white. They looked incredible,” she says. “[For the script,] I wanted them to be even more high-fashion versions of that.” The result? Gardner and Styles looked like incredibly chic sister wives of ’60s cult leader Father Yod.As Gardner gets into the dressing room, Blair and McGurr bring her a vintage Balmain suit and a halter fuchsia dress that cinches Gardner’s waist while the actor picks out a print shift dress and a shoulder-less black dress. (For myself, I’d chosen a gold chain belt, trying to evoke Jennifer Lopez’s sassy look from “Love Don’t Cost a Thing.”) Gardner is unsure about her options and asks us all for our opinions. McGurr is the first and last to speak—after all, she’s the sage of the group. “I think the black [Balmain suit], you look fantastic, absolutely amazing. But it’s also too easy,” says McGurr. “I think that the winner is the pink dress. You’re a fun girl! That’s your personality!” That she is https://ewshirt.com/ LGBT My Boyfriend In New York Loves Me T-Shirt Buy this shirt: https://ewshirt.com/product/weed-dad-like-a-regular-dad-only-way-higher-shirt/ Streetwear is growing up. Once relegated to the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.Thuso Mbedu is 29 but looks significantly younger. And yet, in her extraordinary performance as Cora, the central character in Barry Jenkins’s adaptation of Colson Whitehead’s Pulitzer Prize–winning novel The Underground Railroad, she manages to look older as well. Premiering on Amazon Prime Video this month, the limited series follows a young enslaved woman who escapes a Georgia plantation, making use of a subterranean train—a literal underground railroad—to travel north. The show marries a haunted magical realism with dark chapters of American history, and requires much of its heroine. “They say still waters run deep,” says Jenkins of his lead, “and that’s how I think of her. There are episodes where she looks 18, and then there are episodes where she looks 57. It was almost superhuman, what this woman did.”Mbedu grew up in the sleepy South African city of Pietermaritzburg. When she was four, her mother, a teacher, died, so it was her grandmother who raised her, and the family got by on the grandmother’s modest pension. “My life wasn’t as hard as others’, but it wasn’t easy,” says Mbedu, who is speaking to me from her home in Los Angeles. She suffered from skin allergies and resolved to become a dermatologist—an aspiration that pleased her grandmother since apartheid had prevented Mbedu’s mother from becoming a geologist. But in high school, Mbedu discovered drama: “I was like, This thing can be used to heal and help people.” When her grandmother learned of her intention to study performing arts in college, she didn’t speak to Mbedu for a month. After graduating, Mbedu landed the first part she auditioned for, and eventually she earned the lead role in the South African teen drama Is’Thunzi. Her grandmother, who made begrudging peace with her granddaughter’s aspirations, passed away just as Mbedu’s career was getting started.In 2018, she auditioned for The Underground Railroad, later traveling to L.A. to meet with Jenkins. “Thuso aced it,” the director says simply. Extensive research followed: slave narratives from the Federal Writers’ Project and audio files of formerly enslaved people. “We, as Africans, think that we know a lot about American history just from what we see in movies,” Mbedu says. Her research made her realize that enslaved people in America “were much closer to who we are as Africans than we think.” Mbedu has spent the months since the show wrapped hiking with friends (“Romantic involvement is a myth, a great legend in my life,” she says) and perfecting the art of falling: “It’s my dream to do my own stunts.” She’s also been reading books like The Woman Who Would Be King, about a female pharaoh in Ancient Egypt, and Amazons of Black Sparta: The Women Warriors of Dahomey—stories rich in history, strength, and triumph.Streetwear is growing up. Once relegated to the wardrobes of hypebeasts, new labels are using their graphic hoodies or jackets to grab your attention and to make a powerful statement about politics or culture. It’s a global movement, too. Mobilize, for instance, uses its drops to educate others about Indigenous life and traditions. There’s also a new streetwear label out of Pakistan who is also championing South Asian culture—and its pieces are just downright cool, too.Rastah was founded in 2018 by cousins Zain, Ismail, and Adnan Ahmad, who are based out of Lahore, Pakistan. Zain, the creative director of the label, grew up in London, Toronto, and Vancouver as well, but is consistently inspired by the city. “Lahore is an incredibly big city, and incredibly chaotic—it stimulates you a lot,” he says. “[As a result,] there’s a lot of noise and prints in the clothes.” The brand’s latest fall collection, titled ‘Volume V,’ represents what Zain describes as a mix of Eastern prints with Western silhouettes. The streetwear staples like hoodies and tees are rendered in colorful, graffiti-style prints and complex logos, all made with traditional Pakistani methods. A standout yellow silk suit, for example, is finished off with printed red roses, which were block-printed by hand by Rastah’s in-house printer, Aslam Mirza. “The woven fabrics for the jackets are made on a traditional Pakistani hand loom, which is sadly dying a slow death,” says Zain. “And most of the printing techniques are done using hand-carved wooden blocks. To revive these forms of artisanship, we have to reinterpret them.” Overall, he wanted the collection to pay tribute to Pakistan’s unique craftsmanship, but for it to have a cooler, more youthful feel too. “It’s something that really hasn’t been done before in this country,” he says. Some details are more obviously related to Pakistan, at least to those who see Rastah designs on the street. The “Notoriety” twill jacket, which Riz Ahmed just wore, features images of Zain in Lahore when he was just five-years-old, as well as photos of Pakistani icons, such as Imran Khan. “He was a cricket player, and is also the Prime Minister now,” says Ahmad. “In 1992, he won us the World Cup, so that was a big deal for the country.” On the back of the jacket, there is also an image of the Murree Brewery, the only brewery in the country. Other pieces make bigger political statements. On the “SSSS Collage” hoodie, for example, Ahmad drew from a personal issue that continues to impact many Pakistani people. On the back of the sweater is an image of a boarding pass with four “S” letters on it. “You basically get these four S’s when you go through ‘random’ secondary screening at the airport,” Ahmad says. “I began to realize that I was going through the secondary screening every time I would travel to the United States. I thought to myself, ‘how could it be random if I’m always getting randomly selected? And how could it be random if everybody getting randomly selected is from my part of the world?’” He says when he shared the design on his social media pages, many people from Pakistan reached out. “Lots of brown boys and girls who’ve been in that situation commented saying they loved it, and can relate to it,” he says. Going forward, Zain hopes to continue using his streetwear to champion and share aspects of his Pakistani culture. “I knew that I was a storyteller, and somehow, fashion is what I decided should be the medium through which I tell these stories,” he says. Zain also hopes to empower fellow creatives to continue making space for themselves in the industry (he often collaborates with other Pakistan-based artists). “This part of the world has so much to offer in terms of storytelling, artisanship, and technical craft, but on the brand level, we don’t get that recognition,” he says. “Through stuff like this, we can hopefully inspire artisans to get back on that horse, and to do what they love to do. We’ve got so much to offer.”Up until the beginning of this year, the Golden Globes were perhaps best known for being Hollywood’s liveliest night out. As one of the first events kicking off the awards season calendar, it not only brings together the year’s film and television nominees for an impressively star-studded red carpet, but with alcohol on tap and the provocative humor of its hosts (past hosts have included Ricky Gervais, Tina Fey, and Amy Poehler), it’s also notorious for its looser, off-the-cuff style. Following an investigation by the Los Angeles Times that was published in February, however, it was made abundantly clear the story behind the Globes was altogether less rosy.The investigation uncovered that there hasn’t been a Black member of the Hollywood Foreign Press Association (HFPA), the organization responsible for the awards, in at least two decades; in the following weeks, it emerged that former HFPA president Philip Berk had referred to Black Lives Matter in an email as a “racist hate movement.” Meanwhile, after many had expressed surprise at the multiple nominations for the Sia-directed critical bomb Music and the widely derided Emily in Paris on Netflix this year, it came to light that the group was often wooed by studios through all-expenses-paid trips to visit sets or screenings abroad. (Notably, more than 30 members were flown to Paris for a multiday set visit for Emily in Paris that included five-star accommodations and a private luncheon in a museum.)The backlash to the HFPA came swiftly and decisively. Some of Hollywood’s biggest studios, including Netflix, Amazon, and WarnerMedia, announced they were severing ties with the organization until efforts were made to increase diversity and stamp out corruption, while a group of more than 100 of the industry’s biggest PR firms released a statement in March in which they pledged to boycott the ceremony for the foreseeable future. Celebrities including Scarlett Johansson and Mark Ruffalo have publicly criticized the HFPA’s sexism and racism, while Tom Cruise announced this week that he will be returning his three trophies. All of these were devastating blows to the credibility of the awards, but the final nail in the coffin came yesterday evening, when NBC, which has aired the ceremony since 1996, announced that it will not be broadcasting the show next year until “meaningful reform” was made.Some have questioned why it has taken so long for the industry to take action, given the accusations of corruption within the HFPA were something of an open secret in Hollywood. (So much so that in 2011, Gervais made a joke about the group accepting bribes as part of his opening speech.) One obvious explanation is the unspoken benefits provided by the glossy prestige of a Globes nomination, however little the accolade actually meant. Not only could a Globes nod be used in promotional materials for a studio’s latest movie, a win could provide important momentum on the road to securing nominations at the more prestigious Oscars. But with the publication of the Los Angeles Times report, the hard facts of the matter are now impossible to ignore.The HFPA has already published an outline of its proposed reforms, which include increasing its membership by 50% over the next 18 months, with diversity advisors coming aboard to ensure that there is genuine representation within the organization at all levels. It will also begin publishing its membership list, and will no longer accept promotional items or trips from film and TV studios. All this may sound promising—whether it’s a case of too little, too late, however, remains to be seen.In many ways, it is cheering to see major studios and stars taking an unprecedented stand against a major Hollywood institution, even if it feels long overdue. It serves as yet another wake-up call to the film and TV industries, which have faced a series of high-profile reckonings over the past few years due to widespread allegations of sexual harassment and abusive work environments, that in the end, all of this mistreatment will eventually come to light. It may be the end of the road for those who have been unwilling to embrace necessary change, but for most working within TV and film, it’s simply a new beginning—one that will, hopefully, lead to a fairer and more equitable industry.There are few celebrities who guard their privacy with the same intensity as Taylor Swift. While rumors have abounded that she has spent much of the past year in London with her boyfriend, actor Joe Alwyn, the musician has chosen to keep schtum on the matter. Instead, she’s only made choice appearances to promote her surprise (and now critically-acclaimed) lockdown records, folklore and evermore.It feels particularly intentional, then, that for the BRIT Awards in London tonight, Swift made her first public appearance since the Grammys in March earlier this year—and in style. Wearing a glitzy Miu Miu two-piece consisting of a bralette and column skirt, Swift accepted her award as a Brits Global Icon with a speech that reflected on becoming both the first woman and non-British recipient of the prize.Swift dedicated the award to her predecessors whose activism inspired her to become an outspoken voice for women’s rights, LGBTQ+ rights, and the Black Lives Matter movement over the past year—as well as honoring the new generation of musicians being celebrated at the ceremony. “If you’re being met with resistance, that probably means that you’re doing something new,” she said. “If you experience turbulence and pressure, that probably means you’re rising. And there might be times when you put your whole heart and soul into something and it’s met with cynicism or skepticism. You can’t let that crush you. You have to let that fuel you.”As Swift’s beautiful Miu Miu outfit makes clear, giving a powerful speech doesn’t mean you have to compromise in the fashion stakes. Quite the opposite, in fact. Getting dressed up for a night out will always be one of life’s greatest pleasures, and it’s something Swift understands in spades. It’s no coincidence her look was one of the most joyful of the night. Tonight, the brightest stars in music—including Dua Lipa, Taylor Swift, and Harry Styles—gathered at the 2021 Brit Awards in London, England. No awards show would be complete without some stellar looks, and Styles did not disappoint as he picked up the MasterCard British Single award for his smash hit, “Watermelon Sugar.” The star slipped into a retro, 1970s-style suit for the affair, and it’s one that only he could pull off. Well, him and the model who wore it on the runway just one month ago. Styled by Harry Lambert, Styles wore a groovy Gucci suit with large lapels and a flared pant leg, from the house’s fall 2021 collection. The wallpaper-esque print could have been pulled from a house in the ’70s, too, with its tonal brown and cream squares. For a more modern feel, Styles paired the suit with sleek white sneakers, a fistful of rings, and a brown purse with a bamboo top handle. (This accessory choice comes right after he starred in a handbag campaign for Gucci.) Styles rarely misses on the red carpet. The psychedelic suit could have easily veered into costume territory, but on Styles? It’s just downright dapper. It’s safe to say that Little Mix have had a life-changing year. They released their new album Confetti last November (which led to their first time promoting a record as a trio, following the Weed Dad Like A Regular Dad Only Way Higher Shirt Additionally,I will love this departure of Jesy Nelson in December), and have been busy publicizing its release ever since. In even bigger news, however, two of the members—Leigh-Anne Pinnock and Perrie Edwards—recently announced that they’re expecting with their respective partners. Little Mix might be renowned for their meticulously synchronized choreography, but to find their pregnancy cycles in sync too? Now that’s true commitment.Last Tuesday, Pinnock announced she was pregnant via an Instagram post with her boyfriend, footballer Andre Gray. Then, just yesterday, Edwards shared the news that she was also pregnant with her footballer boyfriend, Alex Oxlade-Chamberlain. They appeared with fellow bandmate Jade Thirwall on the red carpet for their first public outing since the announcements at the Brit Awards today. For their red carpet debut as a trio, the group opted for a series of matching looks that beautifully accentuated the two baby bumps. For Pinnock, this meant a marble white, draped gown by Maison Margiela, while Edwards wore a dress by David Koma with a cut-out detail. Even though she isn’t currently expecting, Thirlwall glowed in a figure-hugging Vivienne Westwood number that served as the perfect complement to her bandmates’ goddess-like gowns. It seems Little Mix will have plenty to toast to tonight, having already been handed the gong for Best British Group, making history in the process as the first-ever female band in the history of the Brits to win it. In their acceptance speech, they dedicated the award to the illustrious lineage of British girl group predecessors, including the Spice Girls, Sugababes, All Saints, and Girls Aloud. But with their ethereal red carpet looks tonight, it’s evident that Little Mix continue to be in a league all of their own.As the first major awards ceremony with an audience in over a year, tonight’s Brit Awards offered a welcome excuse to get dressed up in the most flamboyant fashions once again. In predictably unpredictable style, however, Haim went in the opposite direction—and in a very unexpected label for the red carpet. Tonight, they chose to wear The Row. While the label has long been a celebrity favorite for its luxe minimalism, it’s rarely seen on the red carpet. Haim wore a trio of looks that reflected designers Mary-Kate and Ashley Olsen’s mastery of loosely-cut but meticulous tailoring. To achieve their business casual vibe, Este wore a black pantsuit nipped in at the waist with a sleek leather belt. Danielle opted for a black blazer and top with pleated khaki slacks, and Alana wore a cozy black sweater vest over a white shirt with billowing sleeves, paired with flared black trousers. Who says an awards show has to be about a flashy dress anyways? Ironically, Haim’s were among the most eye-catching looks of the evening. Their choice also coincides with the rise of an unexpectedly youthful fanbase for the cult label, which has historically eschewed any kind of hype. Back in November, Kendall Jenner posted to Instagram wearing “The Row head to toe.” Just a few weeks ago, Jonah Hill shared a snap of himself with friend Zoë Kravitz wearing matchy-matchy monochrome from the brand. But regardless of the growing affinity for the brand among celebrities, Haim’s outfits couldn’t feel like a more perfect—if unexpected—fit for their big return to the red carpet. Welcome to Shopping with Friends: a new Vogue series in which we sift through the racks of a fashion lover’s favorite store.Saturday Night Live’s Heidi Gardner is a vintage head. The fashion-forward actor and comedian always infuses something old into her quirky outfits, which are typically marked by animal prints, peppy shoes, and kicky pants. In early March, she left a taping of The Drew Barrymore Show while wearing a head-turning leopard-print jacket from Le Grand Strip, a vintage shop on Grand Street in Brooklyn’s Williamsburg neighborhood. Three weeks ago, Gardner took me along to see the store in person.Gardner arrived in a pair of Fila platforms with a troll head locked into the laces, a freaky bauble she picked up in the East Village. “When I went back home, my grandma always had foot problems and when she had foot surgery, she was like, ‘These have so much support,’” Gardner said. “So then I ordered them.” Once inside, she was on the prowl for something. Though she didn’t have something specific in mind, she had two shoots coming up and needed an outfit.Gardner found out about Le Grand Strip from her hairstylist back last February. “When I first came in here, it reminded me of what the top of my mom’s dresser looked like,” she said. “I remember there was this little tray over here that had a bar set from a former Bond girl who had just passed away.” The store is filled with glitzy oddities and fantastically chic vintage items: Trays of fat costume jewelry. A bubblegum pink Versace hat. Rows of tulle dresses from the 1980s. Bags galore with lucite handles. All items, coincidentally, you could see Gardner wearing. While it’s my first time coming here, the staff embraces me like we’re characters on Cheers.That magical, very New York feeling is thanks to the owner, a flamboyant and blunt French woman with amazing cheekbones named CC McGurr, and the shop manager Alexandra Blair, a beautiful part-time musician and a walking encyclopedia of vintage history. High-energy and passionate, they complement each other well. Both adore Gardner. “I love her style the most because it’s unpredictable. At one moment she’ll do a full green gown from the ’70s and then the next, it’s ’80s with big shoulders,” says Blair.As we shop, Gardner goes the more standout route and has picked out a pair of flared checked pink pants. She’s always been into fashion, in large part because of her mother’s ’80s and ’90s style. “Instead of Tupperware parties, my mom and her friends would do lingerie parties,” she says. Gardner’s love for clothes trickled into her work. When she dropped out of college to come to Los Angeles to be a hairstylist, she also did sketch comedy at The Groundlings Theatre. “You’re not making any money. You’re buying all your costumes and all your wigs. That felt like such a fun, supplementary part of performing,” she says. “I remember taking two wigs to New York with me when I knew I got the [Saturday Night Live] job just in case they [didn’t] have good ones.” (They did.)Even at SNL, a much bigger production, Gardner still is able to apply her love for clothes into her characters—cast members can work on the looks for a sketch if they create the script. That was the case when she and Harry Styles acted as a freakishly beautiful Nordic couple in a birthing class. “They’re based on a couple that I saw getting some matcha. [They] were obviously tourists and they were all in white. They looked incredible,” she says. “[For the script,] I wanted them to be even more high-fashion versions of that.” The result? Gardner and Styles looked like incredibly chic sister wives of ’60s cult leader Father Yod.As Gardner gets into the dressing room, Blair and McGurr bring her a vintage Balmain suit and a halter fuchsia dress that cinches Gardner’s waist while the actor picks out a print shift dress and a shoulder-less black dress. (For myself, I’d chosen a gold chain belt, trying to evoke Jennifer Lopez’s sassy look from “Love Don’t Cost a Thing.”) Gardner is unsure about her options and asks us all for our opinions. McGurr is the first and last to speak—after all, she’s the sage of the group. “I think the black [Balmain suit], you look fantastic, absolutely amazing. But it’s also too easy,” says McGurr. “I think that the winner is the pink dress. You’re a fun girl! That’s your personality!” That she is https://ewshirt.com/
Order here: https://pumpitups.com/product/lgbt-my-boyfriend-in-new-york-loves-me-t-shirt-2/
No comments:
Post a Comment