Never Mind My Hair I'm Doing Yours Hairstylist Hearbeat Vintage T Shirt
This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: Buy this Cow warning I’m the crazy heifer everyone warned you about sunflower shirt, hoodie, tank top or sweater The canopy-free parasols were a meteorologically ironic insertion into this typically sumptuous Thom Browne show, given the punishing heat in the glass-roof École des Beaux-Arts this afternoon. They were just one small part of a theatrical runway fantasy, in which Browne—recast as Monsieur Brun in his show notes imagined himself as a host at what he called a Versailles country club. Playing Brun was no less than James Whiteside, one of American Ballet Theatre’s principal dancers, who emerged palely powdered with ceruse and tricolor blue bee-stung lips, wearing a high-cut seersucker tutu. He cut a marvelous swath as he prepared for his garden party. This involved overseeing the preparation of 10 “statues,” which were in fact 10 very game models clad in horizontally enormous 2-D trompe l’oeil renderings of the 3-D outfits worn beneath them, which were short suits in various shades of seersucker accessorized with seersucker footballs, basketballs, and baseballs. They were shod in black and white brogued basketballs topped by pulled-high mismatched sports socks. Their outfits were revealed by attendants in sport shorts, pointy-toe corespondent shoes, and Browne-skinny jackets whose skirts barely brushed the matching codpiece/jockstrap also worn below. All this, mind you, before the first look of the collection. Browne’s guests strode onto his metaphorical lawn with more correspondents, these with a curved 2 inches or so exposed inset heel that elevated the ball of the foot above the flat sole beneath it. The outfits, like the latticed football helmet worn by one of the attendants, made lavish use of the wide-to-each-side silhouette created by Marie Antoinette era pannier dresses. In the pieces adorned with prep-staple marine patching, there was another irony in the fashion interplay of whale and whalebone (happily, though, no whale tail). Against that broadening, Ying tugged the narrowing yang of corsetry, from which were suspended literally drop-waist skirts. Pretty much everything was seersucker, sometimes patched, sometimes fringed, sometimes embroidered but always seersucker. Photos of a Yohji Yamamoto lineup never capture the degree of details printed words, an artistic embellishment that you will discover on the clothes up close. Only when poking around backstage after today’s show did the text “I hold you, you hold me” reveal itself on a loose-fitting shirt. The designer, too, usually doles out his thoughts judiciously, as though being forced to explain himself not only demystifies the process but goes against the interpretative aspect of what he creates. Today, he reiterated his fear of an impending climate crisis, as well as his view that gender distinctions in menswear and womenswear have all but evaporated. These talking points manifested as ultra-relaxed ensembles, some bearing near-nonexistent landscapes. Masculine workwear jackets superimposed on suiting were interspersed with more ambiguous silhouettes, namely a dashing duo of full-length windbreakers in deep blue and yellow, worn like dresses. One of the two shirts styled overtop was marked up with the words mother f well, you get the idea. Compared with the humble raw cotton and signature black gabardine, a black velvet grouping introduced a certain grandeur especially those pieces covered in pseudo-historical heraldic emblems. Yamamoto said he experimented with these purely because he wanted to an aesthetic indulgence, essentially. In that vein, some pieces could have been spared the myriad zippered vents and excess bands. If nothing more, they were a reminder that he is not a minimalist. Yamamoto’s approach seemed less conceptual this season, and his commentary was correspondingly direct. “The earth is going to be crazy, really crazy,” he said. “I’m afraid the earth is going to die.” Did he think he would see this in his lifetime? “No, maybe our children and grandchildren.” And yet this wasn’t necessarily an exercise in fatalism. The pair of hands on the side of a garment were they signaling some sort of diplomatic handshake or a more affectionate clasp? “Both,” he replied. So we have a quandary: How can we have an economic theory that does not describe changes in the level of wealth? The fact is, that in typical explanations of the Savings equals Investment identity, one might come across in economics courses, it is implied that somehow this Savings that equals investment DOES include changes in the level of wealth. And that, I believe, is not only not true, it has led to all sorts of confusion. After thinking about this, I realized, that the expression for savings needed an additional element if it was going to include any changes in the level of wealth, I had to do just that. I had to add changes in level of wealth to the expression for savings. To be fair, it wasn’t a question of Simons lobbing criticism of Trump’s America from afar, now that he’s living back in Belgium. He’d been critical enough about the political atmosphere of Trump’s America while he was working at Calvin Klein, what with his American Psycho and other horror movie thematics. Now, though, after a couple of seasons when he’d diverted his energies into exploring a certain European elegance in his own collection, his raw anger against the power of corporate USA was back with a vengeance. His work is exclusionary to the extent that you need to be qualified to understand what it means. This time, he refused to speak after the show to give any gloss on his meaning and layered references. Maybe he didn’t trust himself to answer questions about why the set was populated with standard office chairs, bound in black plastic tape. Or to add anything to what could be read, partially or wholly, in his textual graphics. His boys seemed to belong to some underground crew may be the last surviving boys on Earth, possibly the victims or maybe the perpetrators of some toxic social endgame. There were more text labels reading “RS-LAB,” which explained the lab coats, but why the hospital gowns? Why boxer shorts and padded gloves that looked as if they might be made for handling radioactive chemicals? Styling and heavy meaning apart and this might sound frivolous, considering it was also a plumb-center commercial collection for all of Raf Simons’s fans, of whatever age. The arty, painted T-shirts, the leather coats, the colorful baggy sweatshirts, and overshirts. Whatever post-American psychological fallout is going on in Simons’s life, it hasn’t affected his ability to serve his faithful audience. Maybe it’s improved it. I leave it to the reader to review the linked answer or to refer to Chapter 2 of my book, Enlightened Capitalism, for a more detailed explanation. As such, I then concluded that this savings that equals investment, this savings that is “the preservation of investment money” is just that, the preservation of money. Even though money is a form of wealth and is included in any calculation of total wealth, this “savings that is the preservation of money”, only describes wealth (in the form of money) that exists at the start of a period of economic activity, and continues to exist (as the same amount of money) at the end of that period. The savings that is “the preservation of investment” does not describe any new wealth creation, and, in fact, does not describe ANY change in the level of wealth, increase or decrease. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: Etsytees This product belong to trung-cuong Never Mind My Hair I'm Doing Yours Hairstylist Hearbeat Vintage T Shirt This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: Buy this Cow warning I’m the crazy heifer everyone warned you about sunflower shirt, hoodie, tank top or sweater The canopy-free parasols were a meteorologically ironic insertion into this typically sumptuous Thom Browne show, given the punishing heat in the glass-roof École des Beaux-Arts this afternoon. They were just one small part of a theatrical runway fantasy, in which Browne—recast as Monsieur Brun in his show notes imagined himself as a host at what he called a Versailles country club. Playing Brun was no less than James Whiteside, one of American Ballet Theatre’s principal dancers, who emerged palely powdered with ceruse and tricolor blue bee-stung lips, wearing a high-cut seersucker tutu. He cut a marvelous swath as he prepared for his garden party. This involved overseeing the preparation of 10 “statues,” which were in fact 10 very game models clad in horizontally enormous 2-D trompe l’oeil renderings of the 3-D outfits worn beneath them, which were short suits in various shades of seersucker accessorized with seersucker footballs, basketballs, and baseballs. They were shod in black and white brogued basketballs topped by pulled-high mismatched sports socks. Their outfits were revealed by attendants in sport shorts, pointy-toe corespondent shoes, and Browne-skinny jackets whose skirts barely brushed the matching codpiece/jockstrap also worn below. All this, mind you, before the first look of the collection. Browne’s guests strode onto his metaphorical lawn with more correspondents, these with a curved 2 inches or so exposed inset heel that elevated the ball of the foot above the flat sole beneath it. The outfits, like the latticed football helmet worn by one of the attendants, made lavish use of the wide-to-each-side silhouette created by Marie Antoinette era pannier dresses. In the pieces adorned with prep-staple marine patching, there was another irony in the fashion interplay of whale and whalebone (happily, though, no whale tail). Against that broadening, Ying tugged the narrowing yang of corsetry, from which were suspended literally drop-waist skirts. Pretty much everything was seersucker, sometimes patched, sometimes fringed, sometimes embroidered but always seersucker. Photos of a Yohji Yamamoto lineup never capture the degree of details printed words, an artistic embellishment that you will discover on the clothes up close. Only when poking around backstage after today’s show did the text “I hold you, you hold me” reveal itself on a loose-fitting shirt. The designer, too, usually doles out his thoughts judiciously, as though being forced to explain himself not only demystifies the process but goes against the interpretative aspect of what he creates. Today, he reiterated his fear of an impending climate crisis, as well as his view that gender distinctions in menswear and womenswear have all but evaporated. These talking points manifested as ultra-relaxed ensembles, some bearing near-nonexistent landscapes. Masculine workwear jackets superimposed on suiting were interspersed with more ambiguous silhouettes, namely a dashing duo of full-length windbreakers in deep blue and yellow, worn like dresses. One of the two shirts styled overtop was marked up with the words mother f well, you get the idea. Compared with the humble raw cotton and signature black gabardine, a black velvet grouping introduced a certain grandeur especially those pieces covered in pseudo-historical heraldic emblems. Yamamoto said he experimented with these purely because he wanted to an aesthetic indulgence, essentially. In that vein, some pieces could have been spared the myriad zippered vents and excess bands. If nothing more, they were a reminder that he is not a minimalist. Yamamoto’s approach seemed less conceptual this season, and his commentary was correspondingly direct. “The earth is going to be crazy, really crazy,” he said. “I’m afraid the earth is going to die.” Did he think he would see this in his lifetime? “No, maybe our children and grandchildren.” And yet this wasn’t necessarily an exercise in fatalism. The pair of hands on the side of a garment were they signaling some sort of diplomatic handshake or a more affectionate clasp? “Both,” he replied. So we have a quandary: How can we have an economic theory that does not describe changes in the level of wealth? The fact is, that in typical explanations of the Savings equals Investment identity, one might come across in economics courses, it is implied that somehow this Savings that equals investment DOES include changes in the level of wealth. And that, I believe, is not only not true, it has led to all sorts of confusion. After thinking about this, I realized, that the expression for savings needed an additional element if it was going to include any changes in the level of wealth, I had to do just that. I had to add changes in level of wealth to the expression for savings. To be fair, it wasn’t a question of Simons lobbing criticism of Trump’s America from afar, now that he’s living back in Belgium. He’d been critical enough about the political atmosphere of Trump’s America while he was working at Calvin Klein, what with his American Psycho and other horror movie thematics. Now, though, after a couple of seasons when he’d diverted his energies into exploring a certain European elegance in his own collection, his raw anger against the power of corporate USA was back with a vengeance. His work is exclusionary to the extent that you need to be qualified to understand what it means. This time, he refused to speak after the show to give any gloss on his meaning and layered references. Maybe he didn’t trust himself to answer questions about why the set was populated with standard office chairs, bound in black plastic tape. Or to add anything to what could be read, partially or wholly, in his textual graphics. His boys seemed to belong to some underground crew may be the last surviving boys on Earth, possibly the victims or maybe the perpetrators of some toxic social endgame. There were more text labels reading “RS-LAB,” which explained the lab coats, but why the hospital gowns? Why boxer shorts and padded gloves that looked as if they might be made for handling radioactive chemicals? Styling and heavy meaning apart and this might sound frivolous, considering it was also a plumb-center commercial collection for all of Raf Simons’s fans, of whatever age. The arty, painted T-shirts, the leather coats, the colorful baggy sweatshirts, and overshirts. Whatever post-American psychological fallout is going on in Simons’s life, it hasn’t affected his ability to serve his faithful audience. Maybe it’s improved it. I leave it to the reader to review the linked answer or to refer to Chapter 2 of my book, Enlightened Capitalism, for a more detailed explanation. As such, I then concluded that this savings that equals investment, this savings that is “the preservation of investment money” is just that, the preservation of money. Even though money is a form of wealth and is included in any calculation of total wealth, this “savings that is the preservation of money”, only describes wealth (in the form of money) that exists at the start of a period of economic activity, and continues to exist (as the same amount of money) at the end of that period. The savings that is “the preservation of investment” does not describe any new wealth creation, and, in fact, does not describe ANY change in the level of wealth, increase or decrease. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: Etsytees This product belong to trung-cuong
This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: Buy this Cow warning I’m the crazy heifer everyone warned you about sunflower shirt, hoodie, tank top or sweater The canopy-free parasols were a meteorologically ironic insertion into this typically sumptuous Thom Browne show, given the punishing heat in the glass-roof École des Beaux-Arts this afternoon. They were just one small part of a theatrical runway fantasy, in which Browne—recast as Monsieur Brun in his show notes imagined himself as a host at what he called a Versailles country club. Playing Brun was no less than James Whiteside, one of American Ballet Theatre’s principal dancers, who emerged palely powdered with ceruse and tricolor blue bee-stung lips, wearing a high-cut seersucker tutu. He cut a marvelous swath as he prepared for his garden party. This involved overseeing the preparation of 10 “statues,” which were in fact 10 very game models clad in horizontally enormous 2-D trompe l’oeil renderings of the 3-D outfits worn beneath them, which were short suits in various shades of seersucker accessorized with seersucker footballs, basketballs, and baseballs. They were shod in black and white brogued basketballs topped by pulled-high mismatched sports socks. Their outfits were revealed by attendants in sport shorts, pointy-toe corespondent shoes, and Browne-skinny jackets whose skirts barely brushed the matching codpiece/jockstrap also worn below. All this, mind you, before the first look of the collection. Browne’s guests strode onto his metaphorical lawn with more correspondents, these with a curved 2 inches or so exposed inset heel that elevated the ball of the foot above the flat sole beneath it. The outfits, like the latticed football helmet worn by one of the attendants, made lavish use of the wide-to-each-side silhouette created by Marie Antoinette era pannier dresses. In the pieces adorned with prep-staple marine patching, there was another irony in the fashion interplay of whale and whalebone (happily, though, no whale tail). Against that broadening, Ying tugged the narrowing yang of corsetry, from which were suspended literally drop-waist skirts. Pretty much everything was seersucker, sometimes patched, sometimes fringed, sometimes embroidered but always seersucker. Photos of a Yohji Yamamoto lineup never capture the degree of details printed words, an artistic embellishment that you will discover on the clothes up close. Only when poking around backstage after today’s show did the text “I hold you, you hold me” reveal itself on a loose-fitting shirt. The designer, too, usually doles out his thoughts judiciously, as though being forced to explain himself not only demystifies the process but goes against the interpretative aspect of what he creates. Today, he reiterated his fear of an impending climate crisis, as well as his view that gender distinctions in menswear and womenswear have all but evaporated. These talking points manifested as ultra-relaxed ensembles, some bearing near-nonexistent landscapes. Masculine workwear jackets superimposed on suiting were interspersed with more ambiguous silhouettes, namely a dashing duo of full-length windbreakers in deep blue and yellow, worn like dresses. One of the two shirts styled overtop was marked up with the words mother f well, you get the idea. Compared with the humble raw cotton and signature black gabardine, a black velvet grouping introduced a certain grandeur especially those pieces covered in pseudo-historical heraldic emblems. Yamamoto said he experimented with these purely because he wanted to an aesthetic indulgence, essentially. In that vein, some pieces could have been spared the myriad zippered vents and excess bands. If nothing more, they were a reminder that he is not a minimalist. Yamamoto’s approach seemed less conceptual this season, and his commentary was correspondingly direct. “The earth is going to be crazy, really crazy,” he said. “I’m afraid the earth is going to die.” Did he think he would see this in his lifetime? “No, maybe our children and grandchildren.” And yet this wasn’t necessarily an exercise in fatalism. The pair of hands on the side of a garment were they signaling some sort of diplomatic handshake or a more affectionate clasp? “Both,” he replied. So we have a quandary: How can we have an economic theory that does not describe changes in the level of wealth? The fact is, that in typical explanations of the Savings equals Investment identity, one might come across in economics courses, it is implied that somehow this Savings that equals investment DOES include changes in the level of wealth. And that, I believe, is not only not true, it has led to all sorts of confusion. After thinking about this, I realized, that the expression for savings needed an additional element if it was going to include any changes in the level of wealth, I had to do just that. I had to add changes in level of wealth to the expression for savings. To be fair, it wasn’t a question of Simons lobbing criticism of Trump’s America from afar, now that he’s living back in Belgium. He’d been critical enough about the political atmosphere of Trump’s America while he was working at Calvin Klein, what with his American Psycho and other horror movie thematics. Now, though, after a couple of seasons when he’d diverted his energies into exploring a certain European elegance in his own collection, his raw anger against the power of corporate USA was back with a vengeance. His work is exclusionary to the extent that you need to be qualified to understand what it means. This time, he refused to speak after the show to give any gloss on his meaning and layered references. Maybe he didn’t trust himself to answer questions about why the set was populated with standard office chairs, bound in black plastic tape. Or to add anything to what could be read, partially or wholly, in his textual graphics. His boys seemed to belong to some underground crew may be the last surviving boys on Earth, possibly the victims or maybe the perpetrators of some toxic social endgame. There were more text labels reading “RS-LAB,” which explained the lab coats, but why the hospital gowns? Why boxer shorts and padded gloves that looked as if they might be made for handling radioactive chemicals? Styling and heavy meaning apart and this might sound frivolous, considering it was also a plumb-center commercial collection for all of Raf Simons’s fans, of whatever age. The arty, painted T-shirts, the leather coats, the colorful baggy sweatshirts, and overshirts. Whatever post-American psychological fallout is going on in Simons’s life, it hasn’t affected his ability to serve his faithful audience. Maybe it’s improved it. I leave it to the reader to review the linked answer or to refer to Chapter 2 of my book, Enlightened Capitalism, for a more detailed explanation. As such, I then concluded that this savings that equals investment, this savings that is “the preservation of investment money” is just that, the preservation of money. Even though money is a form of wealth and is included in any calculation of total wealth, this “savings that is the preservation of money”, only describes wealth (in the form of money) that exists at the start of a period of economic activity, and continues to exist (as the same amount of money) at the end of that period. The savings that is “the preservation of investment” does not describe any new wealth creation, and, in fact, does not describe ANY change in the level of wealth, increase or decrease. Product detail for this product: Fashion field involves the best minds to carefully craft the design. The t-shirt industry is a very competitive field and involves many risks. The cost per t-shirt varies proportionally to the total quantity of t-shirts. We are manufacturing exceptional-quality t-shirts at a very competitive price. We use only the best DTG printers available to produce the finest-quality images possible that won’t wash out of the shirts. Custom orders are always welcome. We can customize all of our designs to your needs! Please feel free to contact us if you have any questions. We accept all major credit cards (Visa, Mastercard, American Express, Discover), PayPal, or prepayment by Check, Money Order, or Bank Wire. For schools, universities, and government organizations, we accept purchase orders and prepayment by check Vist our store at: Etsytees This product belong to trung-cuong Never Mind My Hair I'm Doing Yours Hairstylist Hearbeat Vintage T Shirt This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping If you love this shirt, please click on the link to buy it now: Buy this Cow warning I’m the crazy heifer everyone warned you about sunflower shirt, hoodie, tank top or sweater The canopy-free parasols were a meteorologically ironic insertion into this typically sumptuous Thom Browne show, given the punishing heat in the glass-roof École des Beaux-Arts this afternoon. They were just one small part of a theatrical runway fantasy, in which Browne—recast as Monsieur Brun in his show notes imagined himself as a host at what he called a Versailles country club. Playing Brun was no less than James Whiteside, one of American Ballet Theatre’s principal dancers, who emerged palely powdered with ceruse and tricolor blue bee-stung lips, wearing a high-cut seersucker tutu. He cut a marvelous swath as he prepared for his garden party. This involved overseeing the preparation of 10 “statues,” which were in fact 10 very game models clad in horizontally enormous 2-D trompe l’oeil renderings of the 3-D outfits worn beneath them, which were short suits in various shades of seersucker accessorized with seersucker footballs, basketballs, and baseballs. They were shod in black and white brogued basketballs topped by pulled-high mismatched sports socks. Their outfits were revealed by attendants in sport shorts, pointy-toe corespondent shoes, and Browne-skinny jackets whose skirts barely brushed the matching codpiece/jockstrap also worn below. All this, mind you, before the first look of the collection. Browne’s guests strode onto his metaphorical lawn with more correspondents, these with a curved 2 inches or so exposed inset heel that elevated the ball of the foot above the flat sole beneath it. The outfits, like the latticed football helmet worn by one of the attendants, made lavish use of the wide-to-each-side silhouette created by Marie Antoinette era pannier dresses. In the pieces adorned with prep-staple marine patching, there was another irony in the fashion interplay of whale and whalebone (happily, though, no whale tail). Against that broadening, Ying tugged the narrowing yang of corsetry, from which were suspended literally drop-waist skirts. Pretty much everything was seersucker, sometimes patched, sometimes fringed, sometimes embroidered but always seersucker. Photos of a Yohji Yamamoto lineup never capture the degree of details printed words, an artistic embellishment that you will discover on the clothes up close. Only when poking around backstage after today’s show did the text “I hold you, you hold me” reveal itself on a loose-fitting shirt. The designer, too, usually doles out his thoughts judiciously, as though being forced to explain himself not only demystifies the process but goes against the interpretative aspect of what he creates. Today, he reiterated his fear of an impending climate crisis, as well as his view that gender distinctions in menswear and womenswear have all but evaporated. These talking points manifested as ultra-relaxed ensembles, some bearing near-nonexistent landscapes. Masculine workwear jackets superimposed on suiting were interspersed with more ambiguous silhouettes, namely a dashing duo of full-length windbreakers in deep blue and yellow, worn like dresses. One of the two shirts styled overtop was marked up with the words mother f well, you get the idea. Compared with the humble raw cotton and signature black gabardine, a black velvet grouping introduced a certain grandeur especially those pieces covered in pseudo-historical heraldic emblems. Yamamoto said he experimented with these purely because he wanted to an aesthetic indulgence, essentially. In that vein, some pieces could have been spared the myriad zippered vents and excess bands. If nothing more, they were a reminder that he is not a minimalist. Yamamoto’s approach seemed less conceptual this season, and his commentary was correspondingly direct. “The earth is going to be crazy, really crazy,” he said. “I’m afraid the earth is going to die.” Did he think he would see this in his lifetime? “No, maybe our children and grandchildren.” And yet this wasn’t necessarily an exercise in fatalism. The pair of hands on the side of a garment were they signaling some sort of diplomatic handshake or a more affectionate clasp? “Both,” he replied. So we have a quandary: How can we have an economic theory that does not describe changes in the level of wealth? The fact is, that in typical explanations of the Savings equals Investment identity, one might come across in economics courses, it is implied that somehow this Savings that equals investment DOES include changes in the level of wealth. And that, I believe, is not only not true, it has led to all sorts of confusion. After thinking about this, I realized, that the expression for savings needed an additional element if it was going to include any changes in the level of wealth, I had to do just that. I had to add changes in level of wealth to the expression for savings. To be fair, it wasn’t a question of Simons lobbing criticism of Trump’s America from afar, now that he’s living back in Belgium. He’d been critical enough about the political atmosphere of Trump’s America while he was working at Calvin Klein, what with his American Psycho and other horror movie thematics. Now, though, after a couple of seasons when he’d diverted his energies into exploring a certain European elegance in his own collection, his raw anger against the power of corporate USA was back with a vengeance. His work is exclusionary to the extent that you need to be qualified to understand what it means. This time, he refused to speak after the show to give any gloss on his meaning and layered references. Maybe he didn’t trust himself to answer questions about why the set was populated with standard office chairs, bound in black plastic tape. Or to add anything to what could be read, partially or wholly, in his textual graphics. His boys seemed to belong to some underground crew may be the last surviving boys on Earth, possibly the victims or maybe the perpetrators of some toxic social endgame. There were more text labels reading “RS-LAB,” which explained the lab coats, but why the hospital gowns? Why boxer shorts and padded gloves that looked as if they might be made for handling radioactive chemicals? Styling and heavy meaning apart and this might sound frivolous, considering it was also a plumb-center commercial collection for all of Raf Simons’s fans, of whatever age. The arty, painted T-shirts, the leather coats, the colorful baggy sweatshirts, and overshirts. Whatever post-American psychological fallout is going on in Simons’s life, it hasn’t affected his ability to serve his faithful audience. Maybe it’s improved it. I leave it to the reader to review the linked answer or to refer to Chapter 2 of my book, Enlightened Capitalism, for a more detailed explanation. As such, I then concluded that this savings that equals investment, this savings that is “the preservation of investment money” is just that, the preservation of money. Even though money is a form of wealth and is included in any calculation of total wealth, this “savings that is the preservation of money”, only describes wealth (in the form of money) that exists at the start of a period of economic activity, and continues to exist (as the same amount of money) at the end of that period. The savings that is “the preservation of investment” does not describe any new wealth creation, and, in fact, does not describe ANY change in the level of wealth, increase or decrease. 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