whenever i go online shopping,
no matter if it's
high end, low end, or in between,
i would always sort the items
from low to high.
not only because it's a safe way to shop
and that it makes me look like
i take budgeting seriously,
but that's the only thing i can afford.

talk about me,
a high middle class kid that tries
DESPERATELY
to not spend so much on
the things he wants
rather than the things he needs
while still unemployed
and in college
as well as getting many allowances from his parents.
you are COMPLETELY allowed to say
that i am spoiled,
i understand and am aware of that.

as i scroll down and observe
the price tags slowly rising up,
$10, $15, $29.99, $49.99, $79.99,
until it hits $3,000,
i not only thought,
"how do you think that
it was a good idea to make that
simple, plain jacket
in such a high price?"
but i also had to admit that
i really did wanted that jacket
since i thought it looked cute.

the problem with that is:
most of the stuff i wish i have
in my wardrobe,
they would all usually be so expensive,
especially since most of the stuff
i want to have is from
high end streetwear brands.

i would see almost every celebrity
wear my future wardrobe,
all looking so confident,
trendy,
iconic,
stylish.

oh, how i wish to be like them, sometimes.
how i wish to be rich.
how i wish to not worry about saving money.
how i wish to just show off iconic outfits
from amazing high end brands.
how i wish to have what i always wanted.

i know i should be content
with what i have.
i mean there always will be
other solutions to wear something
inspired by designer clothes
i've dreamed to have.

but ****, would i look good in that
$3,000 jacket.

Perhatian pria tentang mode pakaian semakin hari kian tinggi. Pria tidak lagi malu menggunakan beragam aksesoris di pakaiannya. Tidak ingin ketinggalan zaman, dan tidak ingin dibilang sebagai korban mode, jadilah mode itu sendiri.

Memperbanyak referensi mode menjadi salah satu acuan untuk bisa menentukan mode yang cocok untuk diri sendiri. Lewat gelaranfashion week salah satunya.

New York Fashion Weeks: Mens, akan kembali digelar pada 1 Februari 2016. Beberapa desainer dan pasar mode akan menampilkan koleksi musim gugur 2016, mulai 1 Februari 2016, seperti dilansir dariNew York Times.

Lebih dari 10 tahun, pertunjukan New York Men telah diselenggarakan bersama dengan pertunjukan wanita setiap Februari dan September.

Diakui oleh Presiden Council of Fashion Designers of America(CFDA), Steven Kolb, semakin maraknya New York Men Fashion Week merupakan hasil bahwa pria sekarang memiliki ketertarikan baru dalam menunjukkan dirinya sendiri kepada dunia.

"Anda bisa melihat itu, hari demi hari, di jalanan. Kami lebih menyadari bagaimana pria berbusana. Kami melihat ketertarikan luar biasa dari masyarakat umum dan industri. Kami memiliki 800 media terdaftar, termasuk media baru dan tradisional, yang ingin bergabung dengan pertunjukan ini," ujarnya.

Dalam acara mode tahunan ini, banyak desainer turut serta, tidak hanya lokal, bahkan internasional seperti desainer Korea, Jepang.

Tidak ketinggalan merek-merek favorit pria, seperti Nautica, Tommy Hilfiger, Calvin Klein, Greg Lauren yang merupakan keponakan dari Ralph Lauren, John Elliott yang membawa busana streetwear. Selain itu, beberapa peragaan tertutup, hanya untuk undangan, seperti Coach, Michael Kors, Theory.Read more at:www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/formal-dresses-2015

take one

gotta make sure the lighting is just right
that silken glow perfect for when the other
first graders take off your dress for you
because dress-up is one thing, but this, another

take two

adjust the camera angle, you wouldn't want
to show your tummy. **** that gut, boy!
no streetwear allowed in the public pool;
you can't keep your hoodie on forever

take three

i cast coal and cherry juice over myself because i'm scared
scared to show it all for what it is on camera but the truth is,
i was clueless, she was strong, and what's the harm in a little
******* when she'll bruise and asphyxiate you otherwise

take four

i knew this time, but i liked that way her teeth raked over
my bottom lip, it satisfied that near-catholic compulsion
i had to atone, to hurt myself to better myself, it was sweet
the sweetest bloodwine my adolescent pre-**** self would ever have

take five

my god i deserved you. we deserved each other. until, of course,
the stones you used to give me -- agate, citrine -- landed on my
dusted cheekbones, in the middle of love, sometimes because your nose was stuffy and you felt you couldn't breathe and it was cathartic to take out your frustration on objects (hello, hi, i am not one)

take six

and the truth is, i'm too tired to write a take six, and i've long abandoned this metaphor, and take six will be a poem of its own, in ways, take six is my teenage finale, my rite of passage, my understanding of myself as a vessel of men's aggression
and far too few sunsets have passed for me to write it, anyways, and far too few footsteps over the land below the car where i was *****, and far too little writing on how this has affected me, my psyche, my masculinity, any sense or semblance of self outside of victim, and ******* i'm not ready i'm just not ready so don't push me with this take six, business, alright?

CUT

Christophe Lemaire is a no frills, no fuss designer. After working as the artistic director of Lacoste and Hermès, Lemaire decided to give his full attention to his independent fashion brand, Lemaire, with partner Sarah-Linh Tran. The brand, which focuses on elevated pieces for everyday life, completed two very successfulcapsule collections with Uniqlo (both of which were called Uniqlo x Lemaire). When the time came for a third collection, however, Lemaire wanted to take his role at Uniqlo one step further, even if it meant personally devoting less time to his growing independent brand. "[It was] a little bit agitating, because I had just decided to focus on my own brand," Lemaire explains. "I didn't want to go back to more discussion, but I felt it was really something interesting to do, and I always dreamt of working for Uniqlo."

This summer, Lemaire was appointed as artistic director of the new Uniqlo Paris R&D; Centre, where he leads research and development for the LifeWear brand, and has designed a new Uniqlo line, Uniqlo U. The line takes clothing basics to a new level, focusing on quality and luxury to redefine Uniqlo's familiar essentials such as t-shirts and down jackets. The result is what Lemaire has strived to do with his own brand—everyday clothing for everyday life—for a wider audience. "It's a little bit of a humble approach, putting the same level of heart and passion that you can have in high fashion, but into an industrial product," says Lemaire.

NATALIA BARR: You said that you left your role at Hermès to focus on your own brand. Is your own brand still such a big priority for you?

CHRISTOPHE LEMAIRE: That's why I hesitated. I really thought about it a lot. I just wanted to make sure I would be able to set the right team, because I very much believe in the collective work and the team dynamic. With the right team, you can really save so much time and energy. Whereas if you don't have the right environment and the right support from the company, or the right team, it can be extremely tiring and frustrating. Today, I can say I have this great team at Uniqlo and of course at Lemaire. Also, at Lemaire, there is Sarah-Lin [Tran], my partner. We decided to not work together on this new Uniqlo project, so she would focus more on Lemaire, and I spend my time between Uniqlo and Lemaire. With great teams on both sides, it works—it's exciting and inspiring.

BARR: How did your past roles at other brands prepare you for this role you have now?

LEMAIRE: Being a head designer or art director or just even a designer, you need a certain level of experience and maturity. It's true that I've made mistakes, but I know I shouldn't do them again. [There are] so many things I've learned, and I'm still learning, actually. At Lacoste, I learned how to drive in a very conservative environment. I had to learn how to do politics, how to talk, how to explain, and how to communicate a vision, and the necessary link between marketing and creative teams. Also, very important, the shop experience, which was actually very frustrating at Lacoste. At Hermès it's different. I learned, maybe more than anywhere else, how to work around a legacy, and how to integrate a strong brand culture into my work. Also, to work with a completely different projection system and craftsmanship. Every company, of course, teaches you so much humanly and professionally [about] yourself and your creative process.

BARR: What is it about Uniqlo that made you dream of working there?

LEMAIRE: If I really think about what drove me from the beginning to become a designer, it is really the idea of trying to make everyday life a little bit better—to make it more functional, more desirable, to improve quality of life somehow. Through designing clothes, I try to bring solutions to people, and I'm interested in the everyday relationship we have to clothes. I'm not a designer who is very interested in baroque or in fantasy or in the fantastic side of fashion. This exists and this is important, but I'm interested in the very real dimensions. I'm interested in the poetry of reality. I try to bring as much taste, smartness, quality, functionality, and aesthetic qualities to everyday clothes. I'm interested in the intimate relationships we can have with those good clothes that we may have in our closets. I think we all have those particular pieces of clothes that we really like, because it ages well, because it fits you well, because you feel comfortable, and you feel confident in those clothes. All those aspects of good design are what I'm interested in. I'm trying just to do good clothes, clothes that you need as much as you want. For me, Uniqlo is an amazing environment. They have an amazing production system, and they have this capacity of bringing the best quality at the best price. There is something very democratic about it, which I really appreciate.

BARR: What was the inspiration for the Uniqlo U collection?

LEMAIRE: When we met with my team to start the very first collection, I told them, "Let's forget about themes and mood boards. Let's start from a different point of view. You have to leave for two months all of a sudden. What would you put in your suitcase? What are the twenty essential pieces that you will need and how would you design it to be cool, and you'll want to wear it?" That's just a different approach. It's about trying to propose, every season, the perfect wardrobe of elevated basics.

BARR: How is this collection different from your past collaborations with Uniqlo?

LEMAIRE: The past collaboration was very much a collaboration between Lemaire and Uniqlo. It was very much Sarah-Lin and I bringing a Lemaire twist to a Uniqlo environment. This one was different, because we really are extremely faithful to the DNA. I had to convince Uniqlo about that because at first, they wanted us to do a new collaboration. Then we said, "No, we have to focus on our brand." Then they said, "Why don't we put your name on the label, and it's Christophe Lemaire for Uniqlo?" And I said, "No. Fashion people will care, but I don't think Uniqlo consumers will. Let's try to bring more style into basics, and let's touch real people all around the world, people who don't really care who Christophe Lemaire is." It's not a short designer collaboration. The idea is to bring another layer of constant product that is Uniqlo, and complementary to the main line.

BARR: How do you approach designing a collection that is meant to carry basics in a fresh and artistic way?

LEMAIRE: This is what I've always been interested in, trying to make timeless, functional, real clothes. Everywhere I've been working, I always had in mind the final destination of the clothes, which is the consumer. For me, the fashion show, the image, the shooting, is just a step. It's just a moment, but it's not the final destination. There are so many things to do within that concept of basic with a twist. It's very subtle. It's a thin line between becoming too fashionable or becoming boring. You have to find this balance to create something that is obvious, but at the same time exciting. I don't know if we achieved that, but this is what we had in mind. How we get to that, it's difficult to explain. It depends, but it might be the color, the details, or the choice in the material. I'm proud of what we came up with in terms of product. I don't think a fast fashion brand can really say the same about the quality of the product. We come up with products that are of good qualities in terms of lasting and the way it ages. If not, it's a failure for us.

BARR: Do you have a favorite piece or part of the collection?

LEMAIRE: That's a tricky one. The sweaters are amazing. The knitwear is very good quality. My personal favorite is a simple crewneck sweatshirt for men that I wear every day, just because of the quality of it. It's a French terry. It's quite heavy and round. We were actually surprised to be able to do that for Uniqlo, because even in the good sportswear, streetwear brands, you can't find that quality. Simple things like that, that make my life easier.Read more at:http://www.marieaustralia.com/mermaid-trumpet-formal-dresses | www.marieaustralia.com/blue-formal-dresses