Peniche Portugal Retro Travel T-Shirt

Category

Trending Shirts

Design

Original artwork, copyright protected

Printing

Printed to order and shipped from the USA

Processing

2–3 business days after your order is placed.

Delivery

5–10 business days within the US, 7–15 business days internationally.

Cost

Calculated at checkout from your address and the number of items.

Tracking

A tracking number is emailed as soon as your order ships.

Read the full shipping policy

Some collections are really fundamental for me, they made a huge impression even when I discovered them after the Peniche Portugal Retro Travel T-Shirt so you should to go to store and get this fact. The Chic Rabbi collection (fall 1993) was incredible for its volumes, in the nobility of the subject, and at the same time in its modernity, its elegance. I thought the balance was perfect. I also love the Constructivists (fall 1986) for its magnificent mix of knits, with inscriptions, the paillettes all mixed together, the hybridization of pieces, the motorcycle dresses in very Bauhaus colors. Also, beyond the clothes, I adored certain principles of the shows: there was one called Adam and Eve that I thought was fantastic, where couples appeared on the runway with this idea of mix-and-match silhouettes that I found very beautiful. I could go on for hours. It’s an extremely rich heritage, which goes back to generosity and exploration. In terms of excellence, he covered it all. Right now, I’m spending entire days in the archives, it’s fantastic. It’s like having a chance to create a personal exhibition. And in terms of codes, his work with corsetry and lingerie in general are among the most beautiful pieces I’ve ever seen. That’s, he wants the fun of being surprised, so he lets us be. And I think that’s a form of generosity, too—no one does that. It’s deeply polite to leave us that freedom, because freedom is important to him too. I think for him, creation can only happen in a space of no limits. where you see the couturier, the nobility of the clothes and a technique that’s very impressive.Very honestly, we’re thinking about that right now, since we’re ordering materials. Since this is couture, it’s obviously about orders, and you can do that with this kind of collection. The idea was to start with vintage and re-integrate it, place it at the heart of the work. But that takes a lot of scouring the fleas, vintage dealers—you need stock. We’re looking at how to incorporate the principle, which I find very interesting. We’ve all been thinking about those questions for several years now. Beyond that, upcycling was also something that Jean Paul practically invented, or in any case pioneered. I’m seeing pieces that were reworked four times for different collections, bases that were re-cut as a skirt, as a jacket, etc. I find that desecration of his own work really beautiful and liberated.They’re very well organized—Clara, who manages them, has done an exceptional job. What’s great about Gaultier is that these are living archives—the pieces go on display, they’re worn for concerts, they continue to exist. Unlike other archives I’ve known at other houses, there’s a real balance between preservation and letting the clothes live on. I imagine that’s how Jean Paul wanted to use his legacy.I’m not sure he remembers. It was on a shoot for a magazine, a special issue guest-edited by Nicolas Ghesquière where he rounded up all his friends in the business. Since Nicolas started with Jean Paul at 18, he was there too and we met on the set. We spoke briefly. He was very kind, and now that I know him a little more I can say he was very himself. Now we speak at greater length, and I consider myself lucky to have spent time with him and talked about different things, life in general, how he sees the métier of being a designer, how he speaks about fashion, his path, his passion. He doesn’t give advice, we just talk. Actually, never losing the principle of pleasure. We know that it’s a very demanding industry, that’s very competitive, that’s sometimes based on power, possibilities, etc. So it’s about never losing sight of the fact that’s it’s a fantastic métier, which can get lost in all those considerations—the pressure, the responsibilities, constant competition and a super fast pace that demands enormous amounts of energy and attention. It’s the constant challenge: remembering with every collection, with every proposition how lucky we are to be here and to keep on. Especially once you’ve been around a few years. You get up in the morning, you have a team you love, you love working on that particular dress right now, or doing research, or meeting someone you want to dress and who wants to be part of what we do, and to always be connected with the world. As a designer, that’s the very personal challenge of the job. With Jean Paul Gaultier it’s really simple because it’s so contemporary and modern that there’s no relation to a time and how to translate that for now. I could practically take some pieces and put them right back on the runway. It still works. Paco Rabanne was very anchored in the ’70s, so that’s about sending a different message. In the end it’s about respect, for work and for a way of working. Finding that exact balance between what you can bring—a love for your work—and at the same time being transported by Jean Paul Gaultier’s spirit and way of working. Being invited into someone’s hou se is a form of politeness, so the idea is letting yourself be traversed by that and not vice-versa.Curiosity, a certain idea of pleasure, lightness and having fun. Also, the idea of fearless self-expression, in different registers, and having fun with the idea of taste that’s not necessarily [just defined by] Paris, fashion, minimalism. Of putting yourself potentially in danger, but going and exploring something that interests you in the moment. There’s a shared culture but also a different one. Not having the same interests is what makes it compelling—it lets you shake things up. From a cultural point of view, we’re of different generations so I imagine that potentially we don’t see certain things the same way. Jean Paul has already explored everything. He’ll keep expressing himself, of course, but in other domains. In terms of differences, we’re not at all at the same stage of accomplishment.Forget that go-anywhere leather biker jacket or those loveworn Levi’s still putting in a shift: the apron is the hardest-working item in any wardrobe. After all, it’s been in service since the 13th century, protecting the clothing of housewives, tradesmen, and artisans from cooking spillages, cement dust, and shoe polish alike. In that time, it’s evolved: like all items with an ostensibly protective purpose, aprons have a kinky side, with the eroticized French maid in her white doily-style pinny now an instantly recognizable fetish. There’s a reason aprons turn up repeatedly in collections by Miuccia Prada.

Peniche Portugal Retro Travel T-Shirt, hoodie, tank top, sweater and long sleeve t-shirt

Aprons are Jules ten Velde’s favorite garment. “So innocent, so domestic. They make me think of cooking, working in the Peniche Portugal Retro Travel T-Shirt so you should to go to store and get this garden, wholesome activities that I really like,” says the 28-year-old Dutch designer, a graduate of the Amsterdam Fashion Institute, whose impish smile belies his professed shyness. A spotlessly white, frill-trimmed cotton apron appears in the debut collection for the eponymous Jules ten Velde line, which will go on sale exclusively at Comme des Garçons’s Aoyama flagship store in Tokyo on March 18. The capsule was inspired by his long love affair with Regency England, “and the sort of person I dream to be, wafting around in fields and palaces,” he says. “I find the modern world very difficult sometimes. This is a place where I can indulge my nostalgia and romance.”Born of a series of experiments that began while observing the stay-at-home order in Amsterdam during the pandemic, the collection mainly comprises volume-centric dresses alongside bow-tied shirts, plus a wafty skirt and a cute sleeveless top. Every piece is white, largely because Ten Velde found he always preferred his preparatory white toile over the final garment. “Then of course, white symbolizes a sort of innocence. If I think of every romantic archetype of a woman—a bride, a debutante—I think of a white dress,” he says. The designs have appropriately literary names familiar to Austen and Brontë fans: a brocade ballgown is named Linton “after the fancy family in Wuthering Heights,” a puffy shouldered, A-line taffeta dress is known as the “Bovary” after Flaubert’s flouncing heroine.Many of the garments are transformable: the ankle-skimming Bennet dress, for instance, has an elasticated neckline, with two thick straps of fabric at the shoulders that can be left to trail behind dramatically, tied into a halter-neck, or wrapped round the waist to cinch in the billowing cotton-seersucker fabric beneath the bust. “I love an elastic waistband,” confides Ten Velde, “because you get the volume, the drama, but you feel comfortable. Everything is made so that it fits quite a lot of different bodies comfortably.” Shirts have ties that can be fixed at the neck and waist in neat bows, or left loose to switch up the silhouette. This inclusive sizing philosophy is heavily influenced by Ten Velde’s day job as designer for Extreme Cashmere. The Amsterdam-based label founded in 2016 by knitwear guru Saskia Dijkstra has upended cashmere’s once fusty reputation with its one-size-fits-most pieces in fruity colors and sometimes sexy fits (think: spaghetti-strapped cashmere crop tops). Ten Velde takes great joy in coming up with designs that flatter everyone; Dijkstra recalls how when she realized one member of her 20-strong company didn’t have a style that suited her, Then Velde magicked up a super slouchy crewneck with extra-long sleeves, christened it ‘the Juna’ after said colleague, and minted a new best-seller. “He is a dreamy designer, but also very directional,” says Dijkstra. “When we make a color card, it’s so much fun, we hardly talk. It’s more about what we feel like, very instinctive.” Dijkstra’s unwillingness to compromise on quality is also something that inspires Ten Velde. “One of the biggest values I’ve taken from Extreme is that if you have a vision, you shouldn’t change that vision to please a market or a luxury fashion industry. If you want to do something that’s just for you, you should do it radically,” he asserts. “That’s Saskia’s intention with Extreme—no compromises, no concessions. I want to do the same with my work.” He intends to keep the line small and concise, while building up his bespoke business in custom designs for special occasions. “I would like my work to be worn by people, and to find like-minded clients who have that same idea of what romance means. But the main thing is to keep on creating, and to do that in a way that is responsible and realistic, so that I can stay true to myself.”Masqueraders wearing carnival costumes with wings and crowns jumped up behind sound trucks—large mobile stages outfitted with speakers, DJ equipment, and steel pans—that crawled through Port of Spain on Tuesday morning. At Victoria Square, members of the Lost Tribe carnival band fastened on backpacks made of drapery, gigantic clusters of butterflies, and capes. Sweet soca and calypso boomed throughout the capital city. “If you hear any noise in the background, they’re music trucks on the Avenue. Welcome to carnival,” says Valmiki Maharaj, the creative director and bandleader of the Lost Tribe. Maharaj says he’s everything from “head cook” to “bottle washer”— he’s a designer, editor, strategist, and visionary.

1. Length is measured from the highest point on the collar down to the bottom hem. 2. Width is measured across the body of the shirt under the armpits, one way. 3. Sleeves are measured from center back to hem.