The sunglasses can make anyone—be it Lil Uzi Vert or Lisa Rinna—look like they’ve landed from the year 3022. Ye himself appears to have mixed feelings about the term futuristic, though. “Saying something is in the future takes out the accountability of it needing to exist in our reality, and the fact that it’s 2022 and we don’t have the future we thought we were going to have,” he says. “Certain things are more futuristic, and a lot of things are less futuristic than we thought we would have. Obviously, I’ve been defined as a futurist. I’ll put it like this, it’s going to rhyme, it’s going to be poetry: Since we’ve been defined as futurists, we will define what the future is.” Ye says that the conversations he, Swanepoel, and Knight had on set were centered around leaving a better world for future generations: “People are so quick to think it’s going to be so dystopian, but I feel it’s going to be James Turrell spaces and Nick Knight photos and foods from localized farms with no pesticides.”
While these images are—at their core—showcasing sunglasses, the collaborators involved spoke to me of a bigger vision. Another photo shows Swanepoel with a hefty backpack standing under what looks like a solar eclipse. Collectively, they resemble an ad for a science fiction movie. But this film has a twist. “Having spent some of my life with the man, I believe that is his fundamental thing: He wants to make the world a better place,” Knight says of Ye. “He said to me the other day, it should be like a dystopian movie, but with a happy ending. Why do those movies always have a sad ending? Why can’t there be one where it works out and it’s a better place?” Stephen Jones remembers the first time he saw the Queen with absolute clarity: as a young boy growing up in rural Cheshire, he was enamored by the outfits she would wear while touring the Commonwealth, beamed into his television at home from all four corners of the world. “She was acutely aware of the power of fashion, and I think she was very respectful of the craft of fashion too,” Jones recalls. “She knew that her appearance was a metaphor which could be used in many different ways.”
Over the following decades, as Jones became one of the most celebrated and respected British milliners in history, the Queen would become a recurring figure within his work—whether the silkscreened prints he made as part of his art foundation course in 1975, featuring images of the Queen set against a richly colored sky, or the tweed crowns he crafted for Vivienne Westwood, memorably captured by Nick Knight for a cover of i-D magazine in 1987 worn by Westwood herself. “Vivienne adored the Queen’s tweeds as a little girl, so it was completely a tribute,” Jones remembers. Jones became part of the royal establishment himself in the following years, whether through his role as a go-to milliner for Diana, Princess of Wales, who was first introduced to Jones’s work by Jasper Conran in the early 1980s, or his appointment as an OBE in 2010. But his appreciation of the Queen’s style extends beyond the rarefied realm of royalty, with Jones even noting that when he was knocking around the punk scene or hitting up the Blitz club with the New Romantics in the late 1970s, their iconoclastic take on her style came from a place of admiration, too. “What we loved was the glamour, the spectacular jewelry, hats, clothing,” Jones says. “The fact that she was unapologetic about it and wore what she believed in.”
6 Easy Step To Grab This Product:
- Click the button “Buy this shirt”
- Choose your style: men, women, toddlers, …
- Pic Any color you like!
- Choose size.
- Enter the delivery address.
- Wait for your shirt and let’s take a photograph.
This product belong to duc-truong