New York Yankees Nike The House That Ruth Built shirt

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New York Yankees Nike The House That Ruth Built shirt .“It emphasizes [the and by the same token and eyes] powerfully,” makeup artist Peter Philips said backstage at Dior, where he traced an extra-thick matte black pigment along the upper and lower lash lines with soft, rounded edges. Similarly, legendary pro Pat McGrath leaned on her pigmented PermaGel eye pencil in Xtreme Black at Chloé, blending out an “experimental” array of dramatic swooshes there for creative director Natacha Ramsay-Levi’s collection of essentials, while etching a bold, winged shape above the heavy-metal dresses at Paco Rabanne. Cementing the lean toward grittier eye statements were the almost goth-like lids at Chanel, where the French fashion house’s global creative makeup and color designer Lucia Pica smudged and layered four different black and gray eye shadows across lids to achieve the perfect matte charcoal smoky eye. “It has a sort of ’90s Winona Ryder feel to it,” Pica said after the show, noting how sooty eye makeup—from the inky ticks to the smoky swipes—can successfully convey our collective emotions. From moody to mysterious, there’s a black eyeliner (or several) for that.

New York Yankees Nike The House That Ruth Built shirt, hoodie, sweater, longsleeve and ladies t-shirt

  New York Yankees Nike The House That Ruth Built shirt .Dutch masters, sacred geometry, a volcanologist, Grace Kelly: Those are just a few of the and by the same token and hundreds of references designers talked about this season. As the world shrinks and technology expands, inspiration is quite literally everywhere; there’s no “running out” of ideas. That makes it all the more surprising—uncanny, really—when two designers in two different cities note the same artist as their seasonal inspiration. And not Picasso or Frida Kahlo, either. Thousands of miles from Paris in his Soho studio, Christopher John Rogers was also studying Kent’s work. He was more drawn to her art of the 1970s, when her colors and shapes took on a softer, more abstract feel. In a release, Rogers called it “a reactionary swirl of profound, colorful, and childlike graphics informed by the socio-political movements of her time,” which he translated into vivid color-blocked knits and trippy pattern-clash gowns. He also noted that Kent’s modest way of dressing loosely informed his covered-up, voluminous silhouettes.
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