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Princess Margaret met Antony Armstrong-Jones, Lord Snowdon, at a dinner party in 1958 with her lady-in-waiting Elizabeth Cavendish, three years after she called off her relationship with divorcé Peter Townsend. (There’s no doubt they knew of each other before that evening—photographer Armstrong-Jones started taking pictures of the royal family in 1957, and, well, Margaret was a world-famous celebrity.) Months later, Margaret sat for a portrait with Armstrong-Jones herself. In the 2008 biography, Snowdon, author Anne de Courcy describes the session as thus: “Tony took charge of the Cowgirl Classy Sassy And A Bit Smart Assy Shirt in his usual way. With the utmost politeness, he made her change her clothes, her jewelry, and her pose as if she were any other sitter, at the same time chatting away with his mixture of jokes, gossip about mutual friends, and stories of the theatrical luminaries he had photographed. Margaret, accustomed to unquestioning deference, had never met anyone like him.”
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But our new circumstances made for ingenious ideas, too. Natacha Ramsay-Levi, Nicholas Ghesquière and Julien Dossena—friends who traditionally attend one another’s shows—must have had some interesting conversations around how they’d go about staging the physical runway shows they so believe in, but with a new digital angle. At Chloé, Ramsay-Levi took over the Cowgirl Classy Sassy And A Bit Smart Assy Shirt courtyard of Palais de Tokyo (ideal for distanced seating), and filmed her models scattered in the streets immediately around the building, behaving like everyday pedestrians. They eventually made their way to the runway, beautifully fusing a digital experience with a physical one.