It Takes Lots Of Sparkle To Be A Gigi Glitter Tshirts
With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: Bass fishing lady classy sassy and bit smart assy shirt The beloved 1988 film Coming to America is back. Instead of jet-setting to America to find love, Prince Akeem (Eddie Murphy) and Semmi (Arsenio Hall) travel from their royal home of Zamunda to look for Akeem’s long-lost son, Lavelle Junson (Jermaine Fowler)—all while attempting to make peace with the neighboring country, Nextdoria. Although much has changed in the lives of the characters this time around, one constant is the regal beauty looks. “The main overall inspiration of the beauty look for the film was derived from the Afro-punk movement,” says Carla Farmer, one of the movie’s lead hairstylists. Farmer handled hairstyles for the women in the film, as well as creating and cutting wigs, alongside Stacey Morris, Murphy’s personal barber and the lead barber on the film. “We took a lot of inspiration from that movement—to make [the beauty] modern and bring it to the surface,” adds Farmer. KiKi Layne, who plays Meeka, one of the princesses of Zamunda, starts the film with her black and brown locs braided with beads and gold embellishments. Teyana Taylor, who plays Bopoto, the princess of Nextdoria, is defined by a multitude of styles: from purple and yellow ribbon-wound braids to a larger-than-life Afro and blonde-dyed ponytails. Farmer and Morris leaned on wigs and braiding hair—“lots of it,” Morris says with a laugh—and products from brands such as Hair Confidence, Hask, and Inahsi to add an extra sleekness, sheen, and moisture to the cast’s looks. Farmer notes that working on the princesses’ hair was particularly enjoyable. “They were of a different generation than Eddie’s and Shari Headley’s [who plays Lisa] characters,” she says, who are more influenced by European styles. “I was able to play off the culture of today, where the kids and the youth are unapologetically supportive of their hair textures and their heritage, so it was really fun to portray that through their hair.” Morris found a favorite in Wesley Snipes’s Nextdorian look. At first glance the actor’s General Izzi might seem to be sporting cornrows, but, as Morris explains, “I actually created these mountains that each has its own carved-out valleys on top of his head.” She secured everything in place with a mixture of hairspray and gels like Got2b’s Ultra Glued Gel and Kemet Gold Gel Activator. “I was inspired by the edginess of his character, and knew I could play around and do something different,” she says, adding that she took inspiration from the Rwandan tribe Amasunzu. “I just thought it was so cool how this tribe adorned their hair, and I came up with my own kind of style influenced by it and implemented it into his character,” she says. The same inspirations applied to Taylor’s looks throughout the film. “Even though the Nextdorians don’t have as much money as the Zumandans, we knew we still had to have them be swagged out. We wanted to be true to the culture. Because we know that in real life, these are often the people who are creating the culture, pushing it forward, being creative, and setting the style trends,” says Farmer. For the film’s makeup, lead artist Vera Steimberg drew inspiration from costume designer Ruth Carter’s creations. “We saw so much color. She was so amazing at guiding and prepping us, along with consulting the director [Craig Brewer],” says Steimberg, who has worked with Murphy for the past two decades. The end result was an array of blushy cheeks and smoky shadows, with the occasional pop of color and sparkle on the lids—like a bright orange from Kryolan—and classic brown glosses, red lips, and “lots of lashes.” The movie’s hues inspired UOMA Beauty to create a limited-edition Coming 2 America line, which aims to give buyers their own real-life Zamundian glow. For the behind-the-scenes beauty team, defining the look of the film was a pleasure, and that joy is reflected in the visuals they created. “Working on this movie got me really excited,” says Steimberg. “I grew up watching the first one, and I think this is what we all need right now. It’s just beautiful and there’s no drama.” “We were in Atlanta, a chocolate city, working at Tyler Perry Studios, and we were doing a movie about Black royalty,” adds Farmer. “That was my favorite part about it all.” pared-down style this past year (comprised of simple button-ups, knits, and slippers), I look forward to having a reason to put all of the outfit puzzle pieces back together—layers, accessories, heeled shoes, rigid and structured fabrics—even if it did cause me to be late every now and again! One thing I miss about the office (besides hanging out with my coworkers) is having a reason to dress up. At Vogue, no look was ever “too much,” and I love the creative freedom we had to wear what made us feel good. That being said, I also relish the emphasis working from home has put on comfort and ease, and I will definitely bring that with me into post-pandemic office life. This dress from Simone Rocha’s recent collection looks both comfortable and romantic (especially appealing since I too have been binge-watching Bridgerton and Downton Abbey). I am also eagerly awaiting her H&M collaboration for a chance to snag designs at affordable prices. I will likely pair it with practical pieces I’ve acquired during this time in lockdown, including a black Telfar tote (which conveniently fits my laptop) and Sarah Flint black boots (which I love for their built-in arch support). If we don’t need to wear masks in the office (there’s an optimistic thought!), I will also embrace the moment to put on my old favorite Chanel lipstick. Most of all, I look forward to giving friends and family whom I haven’t seen in a while big hugs–and hopefully explore some international destinations. My trusty Away carry-on remains at the ready for when that moment comes. I’ve always gravitated toward the ’70s, but I foresee myself (and the world!) leaning even more into the glamorous attitude of the decade post-lockdown. That means dressing to the hilt, of course. So I’m thinking soft but tailored suits and separates by day, and sleek sequined and feathered dresses by night. Chic yet unfussy accessories, too. Who better to look to for inspiration than Lauren Hutton? Her Vogue spreads from the ’70s are simply iconic. I’m trying to dress like a louche Edward Gorey character with a bit of Tom Ford–era Gucci sensuality this spring. Seems like a good combo for a life half indoors and half out. From my few glimpses of office life over the past few months, one thing is certain—it will never be the same. Gone are the days huddling over the season’s latest accessories with colleagues in the fashion closet, pairing classic Jackies and baguettes with one another’s looks. Our desks may no longer be connected and we may be sitting six feet apart upon return, but we can still hope to carry out our business in style. With a hopeful reemergence in mind, I’m leaning toward classic closet staples to bring a sense of normality to a rather abnormal world. With only two seasons under her belt, Meryll Rogge has caught the attention of major retailers and had a viral hit in the form of a witty glove bolero, which will make a return appearance, in black patent leather, this season. The fun, the color, the cleverness and the sophistication of this Belgian’s work, which is speaking to women and men around the world, belie the superhuman effort it takes to get a new brand up and running. Rogge, helped greatly by friends, is essentially a team of one working from her parents’ home in the Belgian countryside. It’s there that Rogge dreamed of becoming an illustrator and working for Disney, before catching the fashion bug and making a deal with her family that on completion of her bachelor’s degree, in law, she could pursue her own interests. She did that at the Royal Academy of Fine Arts in Antwerp, leaving before completing her master’s to move to New York and work with Marc Jacobs. After seven years in the city, Rogge returned to Antwerp and worked as the head of women’s for Dries Van Noten, with whom she shares a great love of color. Soon it was time to follow her own path and join the ranks of women designing for other women—though Rogge, who is developing a devoted male following, stresses that everyone is welcome to join in the fun. “There’s always this aspect of masculine/feminine that comes in,” says Rogge of her house codes. There’s also “an accent on luxury,” via the materials used, and an “aspect of vintage reference. I’m kind of leaning on classics of the past, really trying to recreate them in a way that is ours.” Among those reinvented for fall is the classic trench, made roomy and with a detachable floral collar and placket. Rogge describes it being “kind of like, let’s say, the lining on your relative’s ’60s floral coat.” Bougie A-line midi-skirts are recolored, and what looks at first glance like a sporty side-stripe pant is actually a brilliant new take on a tuxedo pant. The key looks in the fall collection come in the form of a series of slip dresses, their V-necks framed by Italian embroidery, that Rogge describes as “kind of our ode to Margiela.” Big spreading collars nod to the paintings of the Dutch artist Frans Hals. Throughout the line-up, as in a cutaway sweater set that’s actually all one piece and has nothing mumsy about it, Rogge makes use of deconstruction. This is a technique that was popularized by the Antwerp Six in the early 1990s, yet it is not intended to be backwards looking or an homage; rather, it’s part of the designer’s larger interest in making classics her own. “You know, my teacher was Walter Van Beirendonck, he’s totally on a different planet than Martin, or Dries, but they all were in the same class in the same school,” notes Rogge. “I’ve never felt like there was this boundary: ‘Oh, you’re a Belgian, you’re Northern; oh, you should be doing gray melange stuff only, or black.’” In fact, what unifies the work of many Belgian designers is not an aesthetic, but a purity of vision supported by a strident sense of individuality. In possessing those qualities, Rogge is bringing that legacy forward to a new generation. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary xFloki This product belong to duc-chau It Takes Lots Of Sparkle To Be A Gigi Glitter Tshirts With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: Bass fishing lady classy sassy and bit smart assy shirt The beloved 1988 film Coming to America is back. Instead of jet-setting to America to find love, Prince Akeem (Eddie Murphy) and Semmi (Arsenio Hall) travel from their royal home of Zamunda to look for Akeem’s long-lost son, Lavelle Junson (Jermaine Fowler)—all while attempting to make peace with the neighboring country, Nextdoria. Although much has changed in the lives of the characters this time around, one constant is the regal beauty looks. “The main overall inspiration of the beauty look for the film was derived from the Afro-punk movement,” says Carla Farmer, one of the movie’s lead hairstylists. Farmer handled hairstyles for the women in the film, as well as creating and cutting wigs, alongside Stacey Morris, Murphy’s personal barber and the lead barber on the film. “We took a lot of inspiration from that movement—to make [the beauty] modern and bring it to the surface,” adds Farmer. KiKi Layne, who plays Meeka, one of the princesses of Zamunda, starts the film with her black and brown locs braided with beads and gold embellishments. Teyana Taylor, who plays Bopoto, the princess of Nextdoria, is defined by a multitude of styles: from purple and yellow ribbon-wound braids to a larger-than-life Afro and blonde-dyed ponytails. Farmer and Morris leaned on wigs and braiding hair—“lots of it,” Morris says with a laugh—and products from brands such as Hair Confidence, Hask, and Inahsi to add an extra sleekness, sheen, and moisture to the cast’s looks. Farmer notes that working on the princesses’ hair was particularly enjoyable. “They were of a different generation than Eddie’s and Shari Headley’s [who plays Lisa] characters,” she says, who are more influenced by European styles. “I was able to play off the culture of today, where the kids and the youth are unapologetically supportive of their hair textures and their heritage, so it was really fun to portray that through their hair.” Morris found a favorite in Wesley Snipes’s Nextdorian look. At first glance the actor’s General Izzi might seem to be sporting cornrows, but, as Morris explains, “I actually created these mountains that each has its own carved-out valleys on top of his head.” She secured everything in place with a mixture of hairspray and gels like Got2b’s Ultra Glued Gel and Kemet Gold Gel Activator. “I was inspired by the edginess of his character, and knew I could play around and do something different,” she says, adding that she took inspiration from the Rwandan tribe Amasunzu. “I just thought it was so cool how this tribe adorned their hair, and I came up with my own kind of style influenced by it and implemented it into his character,” she says. The same inspirations applied to Taylor’s looks throughout the film. “Even though the Nextdorians don’t have as much money as the Zumandans, we knew we still had to have them be swagged out. We wanted to be true to the culture. Because we know that in real life, these are often the people who are creating the culture, pushing it forward, being creative, and setting the style trends,” says Farmer. For the film’s makeup, lead artist Vera Steimberg drew inspiration from costume designer Ruth Carter’s creations. “We saw so much color. She was so amazing at guiding and prepping us, along with consulting the director [Craig Brewer],” says Steimberg, who has worked with Murphy for the past two decades. The end result was an array of blushy cheeks and smoky shadows, with the occasional pop of color and sparkle on the lids—like a bright orange from Kryolan—and classic brown glosses, red lips, and “lots of lashes.” The movie’s hues inspired UOMA Beauty to create a limited-edition Coming 2 America line, which aims to give buyers their own real-life Zamundian glow. For the behind-the-scenes beauty team, defining the look of the film was a pleasure, and that joy is reflected in the visuals they created. “Working on this movie got me really excited,” says Steimberg. “I grew up watching the first one, and I think this is what we all need right now. It’s just beautiful and there’s no drama.” “We were in Atlanta, a chocolate city, working at Tyler Perry Studios, and we were doing a movie about Black royalty,” adds Farmer. “That was my favorite part about it all.” pared-down style this past year (comprised of simple button-ups, knits, and slippers), I look forward to having a reason to put all of the outfit puzzle pieces back together—layers, accessories, heeled shoes, rigid and structured fabrics—even if it did cause me to be late every now and again! One thing I miss about the office (besides hanging out with my coworkers) is having a reason to dress up. At Vogue, no look was ever “too much,” and I love the creative freedom we had to wear what made us feel good. That being said, I also relish the emphasis working from home has put on comfort and ease, and I will definitely bring that with me into post-pandemic office life. This dress from Simone Rocha’s recent collection looks both comfortable and romantic (especially appealing since I too have been binge-watching Bridgerton and Downton Abbey). I am also eagerly awaiting her H&M collaboration for a chance to snag designs at affordable prices. I will likely pair it with practical pieces I’ve acquired during this time in lockdown, including a black Telfar tote (which conveniently fits my laptop) and Sarah Flint black boots (which I love for their built-in arch support). If we don’t need to wear masks in the office (there’s an optimistic thought!), I will also embrace the moment to put on my old favorite Chanel lipstick. Most of all, I look forward to giving friends and family whom I haven’t seen in a while big hugs–and hopefully explore some international destinations. My trusty Away carry-on remains at the ready for when that moment comes. I’ve always gravitated toward the ’70s, but I foresee myself (and the world!) leaning even more into the glamorous attitude of the decade post-lockdown. That means dressing to the hilt, of course. So I’m thinking soft but tailored suits and separates by day, and sleek sequined and feathered dresses by night. Chic yet unfussy accessories, too. Who better to look to for inspiration than Lauren Hutton? Her Vogue spreads from the ’70s are simply iconic. I’m trying to dress like a louche Edward Gorey character with a bit of Tom Ford–era Gucci sensuality this spring. Seems like a good combo for a life half indoors and half out. From my few glimpses of office life over the past few months, one thing is certain—it will never be the same. Gone are the days huddling over the season’s latest accessories with colleagues in the fashion closet, pairing classic Jackies and baguettes with one another’s looks. Our desks may no longer be connected and we may be sitting six feet apart upon return, but we can still hope to carry out our business in style. With a hopeful reemergence in mind, I’m leaning toward classic closet staples to bring a sense of normality to a rather abnormal world. With only two seasons under her belt, Meryll Rogge has caught the attention of major retailers and had a viral hit in the form of a witty glove bolero, which will make a return appearance, in black patent leather, this season. The fun, the color, the cleverness and the sophistication of this Belgian’s work, which is speaking to women and men around the world, belie the superhuman effort it takes to get a new brand up and running. Rogge, helped greatly by friends, is essentially a team of one working from her parents’ home in the Belgian countryside. It’s there that Rogge dreamed of becoming an illustrator and working for Disney, before catching the fashion bug and making a deal with her family that on completion of her bachelor’s degree, in law, she could pursue her own interests. She did that at the Royal Academy of Fine Arts in Antwerp, leaving before completing her master’s to move to New York and work with Marc Jacobs. After seven years in the city, Rogge returned to Antwerp and worked as the head of women’s for Dries Van Noten, with whom she shares a great love of color. Soon it was time to follow her own path and join the ranks of women designing for other women—though Rogge, who is developing a devoted male following, stresses that everyone is welcome to join in the fun. “There’s always this aspect of masculine/feminine that comes in,” says Rogge of her house codes. There’s also “an accent on luxury,” via the materials used, and an “aspect of vintage reference. I’m kind of leaning on classics of the past, really trying to recreate them in a way that is ours.” Among those reinvented for fall is the classic trench, made roomy and with a detachable floral collar and placket. Rogge describes it being “kind of like, let’s say, the lining on your relative’s ’60s floral coat.” Bougie A-line midi-skirts are recolored, and what looks at first glance like a sporty side-stripe pant is actually a brilliant new take on a tuxedo pant. The key looks in the fall collection come in the form of a series of slip dresses, their V-necks framed by Italian embroidery, that Rogge describes as “kind of our ode to Margiela.” Big spreading collars nod to the paintings of the Dutch artist Frans Hals. Throughout the line-up, as in a cutaway sweater set that’s actually all one piece and has nothing mumsy about it, Rogge makes use of deconstruction. This is a technique that was popularized by the Antwerp Six in the early 1990s, yet it is not intended to be backwards looking or an homage; rather, it’s part of the designer’s larger interest in making classics her own. “You know, my teacher was Walter Van Beirendonck, he’s totally on a different planet than Martin, or Dries, but they all were in the same class in the same school,” notes Rogge. “I’ve never felt like there was this boundary: ‘Oh, you’re a Belgian, you’re Northern; oh, you should be doing gray melange stuff only, or black.’” In fact, what unifies the work of many Belgian designers is not an aesthetic, but a purity of vision supported by a strident sense of individuality. In possessing those qualities, Rogge is bringing that legacy forward to a new generation. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary xFloki This product belong to duc-chau
With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: Bass fishing lady classy sassy and bit smart assy shirt The beloved 1988 film Coming to America is back. Instead of jet-setting to America to find love, Prince Akeem (Eddie Murphy) and Semmi (Arsenio Hall) travel from their royal home of Zamunda to look for Akeem’s long-lost son, Lavelle Junson (Jermaine Fowler)—all while attempting to make peace with the neighboring country, Nextdoria. Although much has changed in the lives of the characters this time around, one constant is the regal beauty looks. “The main overall inspiration of the beauty look for the film was derived from the Afro-punk movement,” says Carla Farmer, one of the movie’s lead hairstylists. Farmer handled hairstyles for the women in the film, as well as creating and cutting wigs, alongside Stacey Morris, Murphy’s personal barber and the lead barber on the film. “We took a lot of inspiration from that movement—to make [the beauty] modern and bring it to the surface,” adds Farmer. KiKi Layne, who plays Meeka, one of the princesses of Zamunda, starts the film with her black and brown locs braided with beads and gold embellishments. Teyana Taylor, who plays Bopoto, the princess of Nextdoria, is defined by a multitude of styles: from purple and yellow ribbon-wound braids to a larger-than-life Afro and blonde-dyed ponytails. Farmer and Morris leaned on wigs and braiding hair—“lots of it,” Morris says with a laugh—and products from brands such as Hair Confidence, Hask, and Inahsi to add an extra sleekness, sheen, and moisture to the cast’s looks. Farmer notes that working on the princesses’ hair was particularly enjoyable. “They were of a different generation than Eddie’s and Shari Headley’s [who plays Lisa] characters,” she says, who are more influenced by European styles. “I was able to play off the culture of today, where the kids and the youth are unapologetically supportive of their hair textures and their heritage, so it was really fun to portray that through their hair.” Morris found a favorite in Wesley Snipes’s Nextdorian look. At first glance the actor’s General Izzi might seem to be sporting cornrows, but, as Morris explains, “I actually created these mountains that each has its own carved-out valleys on top of his head.” She secured everything in place with a mixture of hairspray and gels like Got2b’s Ultra Glued Gel and Kemet Gold Gel Activator. “I was inspired by the edginess of his character, and knew I could play around and do something different,” she says, adding that she took inspiration from the Rwandan tribe Amasunzu. “I just thought it was so cool how this tribe adorned their hair, and I came up with my own kind of style influenced by it and implemented it into his character,” she says. The same inspirations applied to Taylor’s looks throughout the film. “Even though the Nextdorians don’t have as much money as the Zumandans, we knew we still had to have them be swagged out. We wanted to be true to the culture. Because we know that in real life, these are often the people who are creating the culture, pushing it forward, being creative, and setting the style trends,” says Farmer. For the film’s makeup, lead artist Vera Steimberg drew inspiration from costume designer Ruth Carter’s creations. “We saw so much color. She was so amazing at guiding and prepping us, along with consulting the director [Craig Brewer],” says Steimberg, who has worked with Murphy for the past two decades. The end result was an array of blushy cheeks and smoky shadows, with the occasional pop of color and sparkle on the lids—like a bright orange from Kryolan—and classic brown glosses, red lips, and “lots of lashes.” The movie’s hues inspired UOMA Beauty to create a limited-edition Coming 2 America line, which aims to give buyers their own real-life Zamundian glow. For the behind-the-scenes beauty team, defining the look of the film was a pleasure, and that joy is reflected in the visuals they created. “Working on this movie got me really excited,” says Steimberg. “I grew up watching the first one, and I think this is what we all need right now. It’s just beautiful and there’s no drama.” “We were in Atlanta, a chocolate city, working at Tyler Perry Studios, and we were doing a movie about Black royalty,” adds Farmer. “That was my favorite part about it all.” pared-down style this past year (comprised of simple button-ups, knits, and slippers), I look forward to having a reason to put all of the outfit puzzle pieces back together—layers, accessories, heeled shoes, rigid and structured fabrics—even if it did cause me to be late every now and again! One thing I miss about the office (besides hanging out with my coworkers) is having a reason to dress up. At Vogue, no look was ever “too much,” and I love the creative freedom we had to wear what made us feel good. That being said, I also relish the emphasis working from home has put on comfort and ease, and I will definitely bring that with me into post-pandemic office life. This dress from Simone Rocha’s recent collection looks both comfortable and romantic (especially appealing since I too have been binge-watching Bridgerton and Downton Abbey). I am also eagerly awaiting her H&M collaboration for a chance to snag designs at affordable prices. I will likely pair it with practical pieces I’ve acquired during this time in lockdown, including a black Telfar tote (which conveniently fits my laptop) and Sarah Flint black boots (which I love for their built-in arch support). If we don’t need to wear masks in the office (there’s an optimistic thought!), I will also embrace the moment to put on my old favorite Chanel lipstick. Most of all, I look forward to giving friends and family whom I haven’t seen in a while big hugs–and hopefully explore some international destinations. My trusty Away carry-on remains at the ready for when that moment comes. I’ve always gravitated toward the ’70s, but I foresee myself (and the world!) leaning even more into the glamorous attitude of the decade post-lockdown. That means dressing to the hilt, of course. So I’m thinking soft but tailored suits and separates by day, and sleek sequined and feathered dresses by night. Chic yet unfussy accessories, too. Who better to look to for inspiration than Lauren Hutton? Her Vogue spreads from the ’70s are simply iconic. I’m trying to dress like a louche Edward Gorey character with a bit of Tom Ford–era Gucci sensuality this spring. Seems like a good combo for a life half indoors and half out. From my few glimpses of office life over the past few months, one thing is certain—it will never be the same. Gone are the days huddling over the season’s latest accessories with colleagues in the fashion closet, pairing classic Jackies and baguettes with one another’s looks. Our desks may no longer be connected and we may be sitting six feet apart upon return, but we can still hope to carry out our business in style. With a hopeful reemergence in mind, I’m leaning toward classic closet staples to bring a sense of normality to a rather abnormal world. With only two seasons under her belt, Meryll Rogge has caught the attention of major retailers and had a viral hit in the form of a witty glove bolero, which will make a return appearance, in black patent leather, this season. The fun, the color, the cleverness and the sophistication of this Belgian’s work, which is speaking to women and men around the world, belie the superhuman effort it takes to get a new brand up and running. Rogge, helped greatly by friends, is essentially a team of one working from her parents’ home in the Belgian countryside. It’s there that Rogge dreamed of becoming an illustrator and working for Disney, before catching the fashion bug and making a deal with her family that on completion of her bachelor’s degree, in law, she could pursue her own interests. She did that at the Royal Academy of Fine Arts in Antwerp, leaving before completing her master’s to move to New York and work with Marc Jacobs. After seven years in the city, Rogge returned to Antwerp and worked as the head of women’s for Dries Van Noten, with whom she shares a great love of color. Soon it was time to follow her own path and join the ranks of women designing for other women—though Rogge, who is developing a devoted male following, stresses that everyone is welcome to join in the fun. “There’s always this aspect of masculine/feminine that comes in,” says Rogge of her house codes. There’s also “an accent on luxury,” via the materials used, and an “aspect of vintage reference. I’m kind of leaning on classics of the past, really trying to recreate them in a way that is ours.” Among those reinvented for fall is the classic trench, made roomy and with a detachable floral collar and placket. Rogge describes it being “kind of like, let’s say, the lining on your relative’s ’60s floral coat.” Bougie A-line midi-skirts are recolored, and what looks at first glance like a sporty side-stripe pant is actually a brilliant new take on a tuxedo pant. The key looks in the fall collection come in the form of a series of slip dresses, their V-necks framed by Italian embroidery, that Rogge describes as “kind of our ode to Margiela.” Big spreading collars nod to the paintings of the Dutch artist Frans Hals. Throughout the line-up, as in a cutaway sweater set that’s actually all one piece and has nothing mumsy about it, Rogge makes use of deconstruction. This is a technique that was popularized by the Antwerp Six in the early 1990s, yet it is not intended to be backwards looking or an homage; rather, it’s part of the designer’s larger interest in making classics her own. “You know, my teacher was Walter Van Beirendonck, he’s totally on a different planet than Martin, or Dries, but they all were in the same class in the same school,” notes Rogge. “I’ve never felt like there was this boundary: ‘Oh, you’re a Belgian, you’re Northern; oh, you should be doing gray melange stuff only, or black.’” In fact, what unifies the work of many Belgian designers is not an aesthetic, but a purity of vision supported by a strident sense of individuality. In possessing those qualities, Rogge is bringing that legacy forward to a new generation. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary xFloki This product belong to duc-chau It Takes Lots Of Sparkle To Be A Gigi Glitter Tshirts With Secure Checkout (100% Secure payment with SSL Encryption), Return & Warranty (If you’re not 100% satisfied, let us know and we’ll make it right.), Worldwide shipping available, Buy 2 or more to save shipping. Last Day To – BUY IT or LOSE IT FOREVER. Only available for a LIMITED TIME – NOT FOUND IN STORES! Click here to buy this shirt: Bass fishing lady classy sassy and bit smart assy shirt The beloved 1988 film Coming to America is back. Instead of jet-setting to America to find love, Prince Akeem (Eddie Murphy) and Semmi (Arsenio Hall) travel from their royal home of Zamunda to look for Akeem’s long-lost son, Lavelle Junson (Jermaine Fowler)—all while attempting to make peace with the neighboring country, Nextdoria. Although much has changed in the lives of the characters this time around, one constant is the regal beauty looks. “The main overall inspiration of the beauty look for the film was derived from the Afro-punk movement,” says Carla Farmer, one of the movie’s lead hairstylists. Farmer handled hairstyles for the women in the film, as well as creating and cutting wigs, alongside Stacey Morris, Murphy’s personal barber and the lead barber on the film. “We took a lot of inspiration from that movement—to make [the beauty] modern and bring it to the surface,” adds Farmer. KiKi Layne, who plays Meeka, one of the princesses of Zamunda, starts the film with her black and brown locs braided with beads and gold embellishments. Teyana Taylor, who plays Bopoto, the princess of Nextdoria, is defined by a multitude of styles: from purple and yellow ribbon-wound braids to a larger-than-life Afro and blonde-dyed ponytails. Farmer and Morris leaned on wigs and braiding hair—“lots of it,” Morris says with a laugh—and products from brands such as Hair Confidence, Hask, and Inahsi to add an extra sleekness, sheen, and moisture to the cast’s looks. Farmer notes that working on the princesses’ hair was particularly enjoyable. “They were of a different generation than Eddie’s and Shari Headley’s [who plays Lisa] characters,” she says, who are more influenced by European styles. “I was able to play off the culture of today, where the kids and the youth are unapologetically supportive of their hair textures and their heritage, so it was really fun to portray that through their hair.” Morris found a favorite in Wesley Snipes’s Nextdorian look. At first glance the actor’s General Izzi might seem to be sporting cornrows, but, as Morris explains, “I actually created these mountains that each has its own carved-out valleys on top of his head.” She secured everything in place with a mixture of hairspray and gels like Got2b’s Ultra Glued Gel and Kemet Gold Gel Activator. “I was inspired by the edginess of his character, and knew I could play around and do something different,” she says, adding that she took inspiration from the Rwandan tribe Amasunzu. “I just thought it was so cool how this tribe adorned their hair, and I came up with my own kind of style influenced by it and implemented it into his character,” she says. The same inspirations applied to Taylor’s looks throughout the film. “Even though the Nextdorians don’t have as much money as the Zumandans, we knew we still had to have them be swagged out. We wanted to be true to the culture. Because we know that in real life, these are often the people who are creating the culture, pushing it forward, being creative, and setting the style trends,” says Farmer. For the film’s makeup, lead artist Vera Steimberg drew inspiration from costume designer Ruth Carter’s creations. “We saw so much color. She was so amazing at guiding and prepping us, along with consulting the director [Craig Brewer],” says Steimberg, who has worked with Murphy for the past two decades. The end result was an array of blushy cheeks and smoky shadows, with the occasional pop of color and sparkle on the lids—like a bright orange from Kryolan—and classic brown glosses, red lips, and “lots of lashes.” The movie’s hues inspired UOMA Beauty to create a limited-edition Coming 2 America line, which aims to give buyers their own real-life Zamundian glow. For the behind-the-scenes beauty team, defining the look of the film was a pleasure, and that joy is reflected in the visuals they created. “Working on this movie got me really excited,” says Steimberg. “I grew up watching the first one, and I think this is what we all need right now. It’s just beautiful and there’s no drama.” “We were in Atlanta, a chocolate city, working at Tyler Perry Studios, and we were doing a movie about Black royalty,” adds Farmer. “That was my favorite part about it all.” pared-down style this past year (comprised of simple button-ups, knits, and slippers), I look forward to having a reason to put all of the outfit puzzle pieces back together—layers, accessories, heeled shoes, rigid and structured fabrics—even if it did cause me to be late every now and again! One thing I miss about the office (besides hanging out with my coworkers) is having a reason to dress up. At Vogue, no look was ever “too much,” and I love the creative freedom we had to wear what made us feel good. That being said, I also relish the emphasis working from home has put on comfort and ease, and I will definitely bring that with me into post-pandemic office life. This dress from Simone Rocha’s recent collection looks both comfortable and romantic (especially appealing since I too have been binge-watching Bridgerton and Downton Abbey). I am also eagerly awaiting her H&M collaboration for a chance to snag designs at affordable prices. I will likely pair it with practical pieces I’ve acquired during this time in lockdown, including a black Telfar tote (which conveniently fits my laptop) and Sarah Flint black boots (which I love for their built-in arch support). If we don’t need to wear masks in the office (there’s an optimistic thought!), I will also embrace the moment to put on my old favorite Chanel lipstick. Most of all, I look forward to giving friends and family whom I haven’t seen in a while big hugs–and hopefully explore some international destinations. My trusty Away carry-on remains at the ready for when that moment comes. I’ve always gravitated toward the ’70s, but I foresee myself (and the world!) leaning even more into the glamorous attitude of the decade post-lockdown. That means dressing to the hilt, of course. So I’m thinking soft but tailored suits and separates by day, and sleek sequined and feathered dresses by night. Chic yet unfussy accessories, too. Who better to look to for inspiration than Lauren Hutton? Her Vogue spreads from the ’70s are simply iconic. I’m trying to dress like a louche Edward Gorey character with a bit of Tom Ford–era Gucci sensuality this spring. Seems like a good combo for a life half indoors and half out. From my few glimpses of office life over the past few months, one thing is certain—it will never be the same. Gone are the days huddling over the season’s latest accessories with colleagues in the fashion closet, pairing classic Jackies and baguettes with one another’s looks. Our desks may no longer be connected and we may be sitting six feet apart upon return, but we can still hope to carry out our business in style. With a hopeful reemergence in mind, I’m leaning toward classic closet staples to bring a sense of normality to a rather abnormal world. With only two seasons under her belt, Meryll Rogge has caught the attention of major retailers and had a viral hit in the form of a witty glove bolero, which will make a return appearance, in black patent leather, this season. The fun, the color, the cleverness and the sophistication of this Belgian’s work, which is speaking to women and men around the world, belie the superhuman effort it takes to get a new brand up and running. Rogge, helped greatly by friends, is essentially a team of one working from her parents’ home in the Belgian countryside. It’s there that Rogge dreamed of becoming an illustrator and working for Disney, before catching the fashion bug and making a deal with her family that on completion of her bachelor’s degree, in law, she could pursue her own interests. She did that at the Royal Academy of Fine Arts in Antwerp, leaving before completing her master’s to move to New York and work with Marc Jacobs. After seven years in the city, Rogge returned to Antwerp and worked as the head of women’s for Dries Van Noten, with whom she shares a great love of color. Soon it was time to follow her own path and join the ranks of women designing for other women—though Rogge, who is developing a devoted male following, stresses that everyone is welcome to join in the fun. “There’s always this aspect of masculine/feminine that comes in,” says Rogge of her house codes. There’s also “an accent on luxury,” via the materials used, and an “aspect of vintage reference. I’m kind of leaning on classics of the past, really trying to recreate them in a way that is ours.” Among those reinvented for fall is the classic trench, made roomy and with a detachable floral collar and placket. Rogge describes it being “kind of like, let’s say, the lining on your relative’s ’60s floral coat.” Bougie A-line midi-skirts are recolored, and what looks at first glance like a sporty side-stripe pant is actually a brilliant new take on a tuxedo pant. The key looks in the fall collection come in the form of a series of slip dresses, their V-necks framed by Italian embroidery, that Rogge describes as “kind of our ode to Margiela.” Big spreading collars nod to the paintings of the Dutch artist Frans Hals. Throughout the line-up, as in a cutaway sweater set that’s actually all one piece and has nothing mumsy about it, Rogge makes use of deconstruction. This is a technique that was popularized by the Antwerp Six in the early 1990s, yet it is not intended to be backwards looking or an homage; rather, it’s part of the designer’s larger interest in making classics her own. “You know, my teacher was Walter Van Beirendonck, he’s totally on a different planet than Martin, or Dries, but they all were in the same class in the same school,” notes Rogge. “I’ve never felt like there was this boundary: ‘Oh, you’re a Belgian, you’re Northern; oh, you should be doing gray melange stuff only, or black.’” In fact, what unifies the work of many Belgian designers is not an aesthetic, but a purity of vision supported by a strident sense of individuality. In possessing those qualities, Rogge is bringing that legacy forward to a new generation. Product detail: Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get. Material Type: 35% Cotton – 65% Polyester Soft material feels great on your skin and very light Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes Taped neck and shoulders for comfort and style Print: Dye-sublimation printing, colors won’t fade or peel Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary xFloki This product belong to duc-chau
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