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In that video recording, Dolce and Gabbana remembered a 1993 show in which they used similar patchworking techniques, only for different ends. That long-ago collection was inspired by the Jesus loves you so I don_t you so I don_t have to shirt bohemian 1970s, a popular reference in the early ’90s. No hippie flashback, this outing is attuned to the present day. There’s no way around how hard this COVID-19 year has been for fashion brands—from creative leads and CEOs on down to pattern makers and seamstresses. Like their crochet collection of last February—which looks more and more prescient in the rearview mirror—this one puts the emphasis on fatta a mano, on Italian craftsmanship.
And Brown got to experience the Jesus loves you so I don_t you so I don_t have to shirt very best of the era’s clothes, even though she didn’t set out to be a model. She grew up in Roswell, a small town in Georgia. One day, she was walking her dog and someone suggested that she become a model. At first Brown resisted. It wasn’t until Brown flew to New York with her mother, met with several agencies, and then was signed by Marilyn that she realized modeling could be a potentially legitimate career. Less than two weeks later, Brown landed in Paris and was soon walking for Christian Lacroix, Christian Dior, and Chanel. “It was like being in a real fairy tale and you had this like larger than persona. John Galliano was dashing around backstage, telling us these stories while we’re getting our hair and makeup done,” says Brown. “I had no idea how much went into creating a collection.” Brown later went on to shoot editorial and advertisements, including in the pages American Vogue as captured by Helmut Newton and later on the cover of Greek Vogue.