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January 19, 2011

worn fashion journal

I haven't done a magazine review in a long time and so here goes:

Despite all that bad impressions How I Met Your Mother gives us of Canada (I'm trying to look smart here by making a cultural reference so work with me), the often forgotten other half of North America has some pretty awesome stuff to offer us: blistering cold temperatures that only seem to get colder every year, weird people who speak a mix of french and english, and also Worn. I was pretty psyched when I received my copy in the mail for Christmas because Worn is magic, like Santa Claus in paper form.

I was initially quite bothered by its title because Worn is obviously not a fashion journal. I somehow can't quite grasp why this magazine is being grouped along with other pretentious publications that seem to exploit rather than educate. But other than that, this magazine is obviously made up of fairy dust. I am a huge essay nerd so I tend to love long lengthy elaborate articles and Worn seems to hit all the right notes with this. The articles here are incredibly well-researched and the magazine also provides highly intelligent and opinionated feminist social commentary (mainstream fashion magazines really do need to include more of such articles). It is clear that this is not your regular fashion magazine, one that pretends to cloaks itself around feminist ideals. In short, Worn is pretty much an anti-fashion fashion magazine. The topics of the articles are as varied and unexplored from the history of tweed to vintage glasses to the history of the uniforms of air stewardesses. There are hardly any ads in this magazine which means that this magazine practically revolves itself around its readers rather than any sort of commercial activity. The editorials here also do not contain any trendy, seasonal clothes but works its way round vintage finds and one was done entirely out of the editor's wardrobe (tell me how cool is that). There's a zine-like free spiritedness to this: if I like it, I put it in.

Do note that there is nothing glamorous in Worn, everything is just straight in your face sincere, honest and fun. And as Worn puts it, "we're an idea bank and a what-if-you-try-this list." I DO NEED A SUBSCRIPTION SO BADLY.

P.S. While I'm fully aware that this blog is primarily about menswear, I feel that Worn is not specifically a girl-fashion kind of magazine. It's for anyone who enjoys clothes and good writing. And because the magazine does not work itself around seasons and trends, it will still be relevant even if the pages start turning yellow.

 

An interview with Grant Heaps, costume director of the National Ballet of Canada. And whose enviable collection of neckties and bowties I must steal......

You do not know how excited I was about this section. Tweed is of course my favourite material ever.......

Incredibly fresh and insightful article about the history of air stewardesses and their uniforms. Goes to show how much research is done here...

September 18, 2010

spring 2011: suno

If there was one backlash that the minimalist movement of fall had this season, it was the ominous white that had befallen on New York. Thankfully, Suno was amazing in every way possible, the greatest being able to cleverly predict the future, so as to capitalize on this creativity white-wash (a term that is so often used now, there's hardly a need to have quotation marks).

The designer duo of Max Osterweis and Erin Beatty managed to hit all the right notes of what a Spring collection should be. Incorporating the many different traditional Kenya kanga fabrics that were made in artisanal factories in the African nation, this collection had charmingly infiltrated every nook and cranny of my mind, subtly exerting its power and sending me off into delirious obsession. The references were not literal, it wasn't that banal tribal African look that had been done to death. Instead the clothes had an quirky, off-kitler quality that resembled a good ole' fashion collection. The skilled mix of prints and fabrics only added on to the hype that the duo might just be the new big thing to refresh the New York scene. Maybe it already has. No, that's a definite.

Perhaps this is the direction that I would taking on for Spring and justifies my inner print mixing that has been suppressed for far too long. It wasn't contrived, nor was it insanely hard to carry off. Now, is there any designer out there who is daring enough to create such prints for men? Seriously, maybe it's time for all of us to unleash our hidden print addiction.

July 06, 2010

galliano galliano oh god galliano LIKE

Usually with reviews, I'm definitely not one who likes to put a myriad of photos and there at the bottom, insert a big 'LIKE!' to end off the post. I'm the one who yaks on and on and on, sometimes even too much for my own good. Unfortunately (or fortunately) this time round, I'm not going to write anything much for the Christian Dior Haute Couture collection, and would rather put a 'LIKE!' or a 'LOVE!' or an 'EPIC!' or an 'EFFFF YOU!' as captions of photos. Sometimes, collections such as these need no explanation or any review, they are just too beautiful and perfect for any sort of description (that would probably not do any justice to the clothes anyway).

Maybe someone would like to try matching these dresses to actual flowers, I am not a very gifted botanist so I'm passing this task on.

P.S. And did I mention that I somehow liked what John Galliano was wearing as he took his bow (which sometimes might be too over-the-top). Also, someone should seriously consider making a video montage of all of Galliano's finale bows.

Pen leak gone totally RIGHT!

The most amazing explosion of colours EVER on a dress! Did the rainbow just explode or is John Galliano an (effing) genius?!

The dress below is too perfect. This is probably the best use of tulle ever! LOVE!

Need I say more? TULLE!!!!! THIS IS PROBABLY THE BEST USE OF TULLE I'VE EVER SEEN. (NOW THAT SOUNDED FAMILIAR.) I would gladly drown myself in tulle and be sent to tulle heaven and live happily (tulle) ever after.

LIKE,

LOVE,

EPIC,

EFFFFF YOU!!!!!

WHY SO AMAZING!?!?!?

July 04, 2010

Lucas Alber Lucas

It's over. Paris Fashion Week is over.

It always happens every fashion season and it sucks.

As I write this review with the grunts of Serena Williams at Wimbledon in the background, it suddenly dawns on me that I've never really written much reviews on the Paris shows, ever in the history of this blog. Most of my time is spent on New York and Milan that by the time Paris Fashion Week comes, I'm too lazy to even think or translate these images on style.com to words. The never ending cycle of fashion weeks; it sometimes surprises me how editors can jet from one country to the next for 4 continuous weeks (or 3 sometimes, for the lazy ones), without feeling jaded or tired or in desperate need of a new wardrobe change or a good sleep in bed.

As such, Lanvin always get left out in this blog of mine, because it has this habit of showing in the later part of the week. I would never be able to get myself to write about it, despite how amazing each and every collection always is. (GODDAMN IT, Lanvin please revise your schedule!) Amen Spring 2010 and Fall 2010 (who never really made it here), you hear me Alber Elbaz! And so I guess it's only right to write about Lanvin this time round, FINALLY.

My love for Lanvin goes right down to my roots and blood and name. For those who didn't know, I wasn't born with the name Lucas. Instead, my parents gave me a very traditional chinese name, that has and still is giving me a lot of troubles throughout my growing-up years. (Not many people, unless you're chinese, know how to pronounce this very chinese name, just like how no one ever knows to pronounce Meadham Kirchhoff or Ball-mane or even LAWN-VAH for the matter.) I can't believe I'm telling you this now and so here's a lil' short story. There was this time I decided to name myself 'Lucas' after Lucas Ossendrijver of Lanvin after seeing his menswear collection, if I'm not wrong, it was Spring 2010. (Before Lucas, there was Alexander, named after Alexander Wang but I didn't like it after some time. Ok, that was real awkward.) And there it happened, my name ever since. This has gotta be the most absurd thing you should have ever heard, and I too feel stupid and embarrassed for doing so then. I swear I'm not even making this story up.

Moving on, 30 degrees is not exactly the best temperature to piece together a two piece suit, or even to put on a long-sleeved shirt. Without doubt, summer is the most challenging season to look elegant, and the easiest time to look all relaxed, 'minimalist', or sloppy and lazy as you go down the spectrum. Mr Alber Elbaz had pointed out that this collection was 'the antidote to laziness'. In this case, one could either look at this season's clothes as 1) an answer to looking (somewhat) polished during summer, 2) or as a wardrobe option of a summer suit (not a swimming suit, mind you) or 3) one that suggests energy, and movement or simply, sports. Sounds perfect to me. The only time I really do exercise is during a weekly one-hour session of hardcore tennis training (just to keep the calories down). Even during PE lessons at school, I couldn't even be bothered to show any sort of enthusiasm and I really do dread any type of strenuous movements. Perhaps Lanvin cycling shorts will do the magic and provide the love.

This collection had a real sporty vibe to it, probably one of the more athletic collections that Lanvin has come up with. There was the spandex, in the form of tight, stretchy knits, some that were wrapped around the torso, resembling cocoons that of Balenciaga Womenswear Spring 2009. They look somewhat breathable (and that is because they are sheer), I hope. And there were the cycling shorts, the one sporting garment that the entire fashion industry seems to be crazy about and readily approves of as something you can wear outside of sports. (Credit goes to Marc Jacobs.) The peacoats were great, but what I thought really stood out was Lanvin's take on the parka. So great that it reminded me of capes that Dracula would wear and upclose, the plush fabric detail only made it more desirable. Somehow somewhere, that smell of the fabric (leather? canvas? jersey?) is lingering in the air right here right now. Across the Atlantic, a week since the show. Wouldn't this be perfect to hug to sleep and to sniff at?

Along the way, silhouettes shifted from tight to breezy and loose. It wasn't entirely sportswear throughout, let's be honest here, no one in the right mind would go out looking like a Tour de France cyclist. Elements of that easiness and casualness of sportswear were taken apart and fused with formal tailoring. This translated to slouchy suits, with the emphasis placed on the extensive use of innovative fabrics, that would make suits in summer seem acceptable and very wearable (read: comfortable). I think it was silk that these suits were made of, and it was nothing perfect. Don't get me wrong, the suits were nothing that of prim and proper, in fact it was light, almost weightless and was wrinkled and unfinished. There were the loose seams and the rough hems, and to be honest, I was not quite sure what Lanvin was doing here. It was complicated, perhaps messy sometimes and I find myself looking back and forth at looks, trying to 'get it'. I rather leave my doubts unanswered when it comes to Lanvin.

What I appreciated from the duo was the use of textures. It's hard to describe textures (especially if you haven't really felt them yet. DUH!), but thank god style.com provided the detail shots and gosh, have I been sent to textile heaven! There was some sort of quilted fabric used on the pants, and patch-worked square patches that looked like really bad primary school art and craft; those which sides were never glued properly. The best part of the collection was undoubtedly the last parade of floral suiting. They were more than just plain old 2D floral prints, these were cut from textured, floral embossed silk, probably the best fabric ever made. I think I will make a trip down to Lanvin when these arrive in stores. After all, these are the clothes that would be great to touch and to hog on for a few hours because you know you can't afford them and memories are great, aren't they? 3D floral prints, you just never know.

The thing to note about this collection was that from afar and from just the runway pictures on style.com, there was nothing really special about it. But the essence of this collection could be found in the detail shots. The detail shots and nothing more. If it was top money you were paying for Lanvin, then it was the best and ultimately the most innovative fabrics you would be getting. 

June 22, 2010

tour de france in milan

It could have been the Olympics, but look again and you will realise that the audience was in a better sartorial form than the usual sport-goers, the cyclists wore more than just brightly coloured spandex, and the flags on the cyclists hats (and not helmets) were that of Moncler Gamme Bleu. Or it could be France, given its uncanny resemblance to the France flag. But I was sure that the first stripe on the flag was black rather than blue so MGB it was. Moncler Gamme Bleu, as a country, we sure wouldn't mind its chic existence. This was a show by Thom Browne, and you wouldn't expect a fashion show of his to be a fashion show without the theatrical excitement. This time round, inspired by Tour de France, the models doubled up as cyclists and mounted themselves on racing bicycles and paraded (or raced, to be exact) round the Milan Velodrome. It sure was sportswear and that needed no more contention.

And we know you can't tell much from pictures, especially sports. So here is the actual video. Cycling included.

Moncler Gamme Bleu Spring/Summer 2011 Runway from LAT Videos on Vimeo.

June 21, 2010

underground carpark fashion

At 1.00 am this morning, while half of Singapore was fast asleep, there was me, logged onto twitter, receiving updates from people across the globe who had sacrificed their Sunday afternoon/evening for this one Prada show. Right smacked in the middle of the Prada website was that same familiar black box flashing live video updates of the Prada show that was simultaneously happening just as I existed on this world. The only difference between this time and the last Prada show that the livestream was actually working, without the disturbances of pauses that never played (that is without clicking the refresh button). In fact, by the help of some miraculous holy beings, the days of being kicked out from your front row seat (in front of your computer) at an Alexander McQueen SS10 show or a Louis Vuitton SS10 show are gone. Here comes technology.......errr....and good old fashion. This time the only thing that could possibly distract you (if your attention span is as short as mine) from that black box at the Prada website is the background of what seems to be a cage surrounded by lighted green fluorescent tubes that looked freakishly eerie for a Spring show. That was the set and the last I logged into the Prada website (which was a minute ago), it was the same background but with white fluorescent tubes instead of the green. Did Miuccia Prada had a sudden change in mind that a green lighting would only make her clothes look slimy and gooey, rather than clean, smart and very very desirable? Yes, this collection was it and it was a revelation. A FUCKING REVELATION.

The set on its own, seemed pretty normal as compared to last season's background of a mind-map of the decade's biggest happenings. But it was still enough for Showstudio (whoever is behind it, Nick Knight?) to make this tweet, "Wonder if Miuccia intended for it to look like the models were wandering through a multistorey carpark?" and Tim Blanks (oh hail the king of style.com's videos) to write ".....could have been an underground car park, or the foundations of a skyscraper, or the bowels of the Battlestar Galactica." I say it was Jesus walking on water, except in this case Jesus were 40 of the same model clones walking on a steel and iron catwalk, wearing the most-amazing mish-mash-of-soles creepers.

I hate to make sense of the concept and the intellectual thoughts that went into a collection, especially of such a beautiful one like this. It's simple to accept that this collection was beautiful because it needed to be beautiful for commercial reasons, but it cannot be said so if it was by one of fashion's great intellectuals. There had to be a message behind any or even every collection, even if it was Resort and Pre-fall or even the bags and the paper-bags.

As the light tubes on the floor flickered and lit up, the collection was well on its way. The show opened with the sharpest of suits, that came in buttons of three and three-pieced. The half-a-dozen or so two-pieced that next came down the runway centered around the colour of blue, or navy to be exact. Uniform, seemed to be the theme for this collection, and well so it was, that the models looked like carbon copies of one another. The only difference between the previous look and the next look was the different hues of navy used. Also, if you noticed well and hard, the silhouettes shifted from tight and snugged suiting to loose-fitting, oversized, baggy t-shirt shapes, sweaters and shorts. And that reminded me of what the uniforms that we wear to school here. Those of the lower grades wore shorts and shirts (due to the terrible heat over here) and those from higher grades wore long pants and the same white shirt.

Uniforms are of a code. Conformity or non-conformity, playing with proportions and breaking the rules, navy blue or denim blue? That was the question you would have to think about. Amidst all of the uniformity, there was that breaking away from the norm. Or you could interpret it as the other way round: amidst all of the different looks, there was that common thread that lines everything together.

The second part of the show still carried the theme of being 'uniform', but the garments were injected with shots of colours, adding a whole new dimension to the meaning of uniformity. It also seemed to suggested a different uniform of sorts, no longer a schoolboy but as quoted from my tweet (ok that sounded weird), "I'm somehow sensing a world cup vibe." After all, it's Italy we're talking about here. Anyway back to the collection, the only variation to the clothes were the colours. Rainbow collared sweaters and loosely cut shirts were to look the same if one were colour-blind. The shapes were limited, but the choice of colours and stripes could go on and on. Basically endless. If there was anything that suggested individuality, it would be the fabric bags that the models were carrying, each embossing a different letter in a varsity college-football-sports lettering (adding on to the sports/world-cup vibe.) Individuality or conformity, that's the question you would have to think about.

I loved the play of proportions, even the awkward ones (because that's how I am). The shoes were also killers; the soles were a mix of soles of wing-tips, espadrilles, trainers, something only the sickest of designers could think about. They were the equivalents of the Armadillos in menswear.

Whatever the concept was, this was one fine collection, even though many were fast to disagree on twitter immediately after the show ended. And did you see the bow that Miuccia Prada did at the end, it was enough to convert any haters (or make them like it a little more.)

June 20, 2010

true colors/colours/technicolors

I wouldn't say I really hated the Jil Sander Spring 2011 menswear show. The neon colours and the op-art stripes may just be a little difficult on the eyes, and you would need to have a lot of guts and feeling like a big happy kid who has not experienced how bitchy life can get, to pull off such bold colour combinations. Lest I get stoned for crossing into unchartered territories of menswear while making such unruly comments, errr....i guess we can say, "that was some awesome garden and there was some nice tailoring going on over there." But it wasn't a complete hate affair for me, there were some colour combinations that I liked and a few pieces that are worth mentioning here.

The pale peach and the stroke of bright purple is definitely a 'I DIE' combination, also the men's equivalent of this.

While I hated how this orange was shown on its own on a pair of pants in the first look, it was quite a different issue when it appeared again in the form of a suit.

These techno, slightly 3D, photographic floral illustrations are quite something. I need to see it up-close.

The tailoring, as previously mentioned, was extraordinary. Raf Simons can never ever go wrong in that department.

This collection was Raf Simons way of breaking away from the Jil Sander aethestic of a clean crisp white shirt. Perhaps it will be the same too for the womenswear collection, and somehow I'm looking forward to it.

June 16, 2010

resort and prettiness and marketing strategies

I never knew what resort collections were for before I wrote this post. In a way, I always thought a resort collection was for the transition between fall and spring. Wikipedia states that it was originally meant for wealthy customers vacationing in the mediterranean (or wherever warm) during winter, but somehow this changed in the recent years. The May issue of Vogue writes that "the fashion seasons have become so out of sync with the season we're actually living", that in winter, you wouldn't be able to find a fur coat in stores but only bikinis and shorts." But essentially, as Vogue writes, "pre-fall and resort collections are now worth about 70 percent of a retailer's budget, the main lines just 30 percent. That's why pre-fall (and also Resort collections) are so powerful, they have a longer selling period before the season sales start as compared to the Spring and Fall lines." It's just for commercial sake, that's what most people say.

So enough about marketing strategy and economics, it's throwing my brain into a dizzy funk, and aren't resort collections supposed to be pretty and pretty and pretty and pretty and relaxing and stuff.

Thakoon

Can we start with Thakoon please, because it is the first resort collection I really loved. The starting point for the whole collection was photographer Malick Sidibe's portraits of African youths in the 1960s and in fact, the whole lookbook was made to look like the original photos. Which meant, yeah a photoshoot, but a photoshoot with the white cloth background visible and just looking very raw and maybe less scripted (though it's obvious Thakoon wanted it to look like this). Everything was perfect right down to the blue purple pink hair, to the use of seemingly random props like a plastic bag or a puppy on leash. The prints were simple, which reminded me of Louis Vuitton SS10 but of slightly watered-down patterns, the construction of the clothes were deceptively simple. And I place the utmost emphasis on the word deceptively. The jagged edges of the dress above do remind me of those found on cardboard and if meant to be so, the use of a plastic bag as a prop would just be sheer genius. The massive pleats, or that's what I can make up of, on the other dress are also quite amazing, somewhat giving the waistline a sculpted 3-dimensional volume (if you get what I mean). My favourite would have to be the one on the right. The whole mish-mash hair situation there is indeed quite mind-blowing, and so are the 90s nerd glasses (THE NERDS ARE BACK!), and the skirt length is pretty much very perfect.


While one part of the collection focused on the use of prints and colors, the other half centered around the use of sheer whites, which was light and frothy and just too fresh, which I think I'm comparing it to coffee foam. And that's pretty apt because that's how resort collections should be like in my book.

Stella McCartney


What can I say, I was never a Stella McCartney fan. Until this collection came along and I've been a McCartney convert ever since. There was the feminine, beautiful, girly frocks and there was the masculine quality in the suits but there was that feminity in that masculinity. Stella McCartney can do no wrong with a suit, and I've always had something for women in a jacket and pants. In this case they are just about the only thing, with the exception of Freja Beha Erichsen of course, that can make any straight woman be confused about her sexuality. There was also that attention to details in Stella McCartney's super sharp suits that you would find most common in menswear: the use of suspenders gave it a nice classic touch, and the slightest detail of polka dots on the pants, are exactly what make menswear so attractive.

Then there were the floral prints, if there isn't anything more spring/summer/resort-y than that. But technically it should be called floral paintings rather than floral prints, because these massive illustrations were unabashedly all over, making the lovely frocks a camouflage gear for an ambush among garden fields. Now wouldn't that be rad for a summer sport. And that blue floral laced dress that Tommy Ton took up close,  I DIE!

Proenza Schouler

Hmm...what can I say about the Proenza Schouler collection? Ethnic, tribal, nah that would be too kitschy, too Elle/Marie Claire-ish. So how should I put in a much more glamorised and sophisticated way (only befitting of Proenza Schouler ever since they became the kings of New York)? Let me sum it up for you, it was PRINT-EXPLOSION IN THE UTMOST CRAZIEST POSSIBLE WAY, AND OH-EM-GEE DID YOU SEE THOSE SHOES AND EVERYTHING! And the MODELS, can we please discuss the use of models here? How is that Jack McCollough and Lazaro Hernandez always get the models right, I am Team Sun FeiFei (the best asian thing to come along ever since instant noodles and Hyoni Kang and Liu Wen) and Kate Kosushkina all right!

Moving on, Proenza Schouler felt very put together, the layers coming on top of another was quite perfect, especially the long sleeved t-shirt over a bibbed-sweater/dress combination. As Jack McCollough and Lazaro Hernandez had put it "Resort is about real clothes for our friends. There's something about reality that feels fresh right now." And so there came the lovely frocks, but much more attention was paid to the fabrics than before: the textures and the embroideries; the metallics and the prints, were inspired by their trip to India. My personal favourite was the Baja hoodie over a long sleeved t-shirt that Sun FeiFei was wearing. I am not really a fan of street-wear but this was so cool and so slouchy, somehow perfect for hippie days during late fall or early spring. The open-toed sandals here are also too sicccckkkkkkk, even though it would be even more PERFECT if they were in heels. So, are you dying already?

pictures are via style.com and streetpeeper.com

May 29, 2010

friday favourites: marc jacobs spring 09

While 2010 may be the year of minimalism fueled by Phoebe Philo for Celine, it is however (at least to me), so much better to see colours and prints rather than camel and beige for Spring. And it was exactly what Marc Jacobs was all about for Spring 09. There were so many references in this collection, so many cultures, so many different identities, so many characters, so much colors and prints. Mary Poppins goes to Dubai, Japanese artisan meets Parisian florist, King and I set in Calcutta, or a Yves Saint Laurent Ballets Russes collection redux, as Nicole Phelps put it, there were so many interpretations to this collection, all quirkier than the one suggested earlier. This collection was a perfect statement on how far imagination could take you.

While each look was styled (very perfectly) crazier than the last, the collection still felt very coherent. The mish-mash of different cultures were able to gel together: while layers and accessories were distinctly different, each look was topped (literally) with the craziest straw hat ever conceived.  It was just incredible to see the coming together of a variety of prints, fabrics, and colours for each look, and while it is usually not the easiest to pull off, the geniosity (is there such a word?) of Marc and his team of stylists managed to make it look so effortless. Take for example, the first look from the second collage: it brought to mind kimonos and geisha, but given an European twist and definition in the form of a jacket and knee-length skirt, and held together by a cummerbund-sash-obi-belt, accessorized with chunky necklaces (very artisanal, I thought), the dopiest shades and finished with a cute little straw hat. Now just imagine the story behind this look, or if you have the time, for all 53 looks.

The truth be told, it was very hard selecting the looks for this collage. I'm a hoarder, I guess and when I like something, I would love to get my hands, or in this case, show everything. There wasn't much thought when putting together the collages, but come to think of it, each could tell a story of its own. The first with the background of Paris (I imagine a Chinese immigrant in the City of Lights), the second a photo of Florence (to me, a place where art flourishes and originated, perfect for imagining any of these women strutting their stuff down one of the back alleys), the third a photo of flowers and bicycle (a bicycle, VINTAGE BICYCLE, HOW VERY APT! And flower complementing the metallic floral prints of Jourdan Dunn. HOW VERY APT AGAIN).

It was one of the happiest, feel good moments of fashion.

 

Background photos are from this amazing flickr album by an amazing photographer called Natasha.

March 20, 2010

Of Orange, Purple and Collars

Obviously Miu Miu can never be as good as Spring, but Fall was nonetheless still very fun and young. Bright poppy colours, oversized bow collars, replaced the naked ladies, cat and bird prints we saw at Spring, and it was all very cartoonish in a good way. In some way, the nude bow collars did resemble neck braces, but I did love how weirdly exaggerated they were. And the foamy, structured fabrics made it even more cartoonish.

For the later part of the show, the Miu Miu girls grew slightly older, the silhouettes became much more darker and sophisticated. They became less playful and more provocative. The necklines became lower, and even though flower embellishments adorned the clothes, they were much more darker, some in fuller bloom, some have slightly withered (or it could be just the color) as compared to the earlier part. And the shoes.......I didn't get how it was put together but it was weirdly awkward cool.

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