The Australian pearls strung around the Skeleton playing saxophone shirt so you should to go to store and get this necks of Justin O’Shea’s models were absolute whoppers but nothing compared to the size of the balls required to wear this collection. With SSS World Corp, O’Shea is presenting a wardrobe for a specific slice of masculinity of which he is 100 percent a member. Totally (apparently) self-confident, highly body-conscious, and at least in gesture hedonistically inclined, it’s probably a great place to be. It also helps if you have a beard. Some of O’Shea’s models were so O’Shea-like you momentarily suspected they were O’Shea. Any guests enjoying an afternoon moment in the suites above us would have been startled by the “Ace of Spades”–topped soundtrack that rattled around the courtyard garden of the Ritz as the guys rolled across the grass, all barrel-chested braggadocio, in the opening section of suiting. Cut in purposefully early ’80s tones of mink and brown and sometimes patterned by jacquard or enhanced by piping or sequin at the lapel, these were cut high-skirted to display the result of all those squat reps and protein shakes and featured a flared pant shape. Once our bad boys had finished their sartorial strut, they retired to the boudoir in a peignoir featuring Motörhead’s longhorn Satanic skull logo (a collab piece) before re-emerging in a tracksuit or series of short-short and cabana jacket ensembles teamed with the same pimpily color-clashed loafer and hosiery combos from the first time around. One of these featured a very cheeky license-plate print whose registrations listed some of the inspirations O’Shea had turned to when building this collection, including American Gigolo–era Giorgio Armani. Come the close and O’Sheathe real O’Shea at last emerged, on Harley-Davidson’s long-developed first ever all-electric motorcycle, the LiveWire, which looked pretty fantastic. Speaking pre-show about Motörhead’s inimitable lead singer Lemmy, O’Shea had said: “His ideology was very much in line with that of Triple S. It’s like ‘I’m just going to whatever I want and whatever happens is fine and just that’s the way it’s going to be.’ And that’s a great idea of life.” Not wrong. If one decided to measure all wealth on the wealth axis in “real” terms, then the “inflation adjusted value” or “buying power” or “real value” of the savings that is the preservation of investment would be different than when it was first spent. It would still be the same money, in the same amount. but that same money would be worth less in “real” terms at the end of the given time period, than at the beginning, if prices changed over that period, i.e., if there was inflation. This is because inflation is actually a measure of what really did happen, not what the system of two independent variables allows to be described. They take a known amount of spending and total wealth sold at one point in time, and compare it to a known amount of spending and known about of total wealth sold, at another point in time. Notice that is measuring only wealth sold, not all wealth. That is where inflation fits in.
Skeleton playing saxophone shirt, hoodie, tank top, sweater and long sleeve t-shirt
Mobile Suit Gundam, William Gibson’s Neuromancer, Jedi, Wall-E, and “Ridley Scott color-blocking”: these were just a few of the Skeleton playing saxophone shirt so you should to go to store and get this references dropped by Siki I’m as we scanned this collection from orbit. It’s nostalgia for past futures was, as he cheerily pointed out, a big influence here, along with what he described as “my love for ’90s post-punk new wave.” A German-Korean who studied architecture in Oxford and fell into fashion in New York, this designer’s identity lying beneath those layers of inspiration made for a collection in which the cacophony of references struck a fresh and interesting harmony. Soft modernist horn-buttoned suiting and shirting often collarless, sometimes kimono style—in silk charmeuse or worsted wool featured Gundam prints plus a smattering of velcro patching and strapping in order to allow the wearer to play around with the volume of his look and feel like some back-from-the-future badass. Hard vectors of seaming were stitched onto the gently contoured shirting and pants to deliver the dichotomy I’m was aiming for. This dystopian punk 3.0 note was counterpointed by a strong sportswear-rooted section that included a foldable Jedi-Esque poncho totally Tauntaun and some paneled short-shorting that set the thrust course of conversation direct to Berghain (I’m was getting ready for a visit). Whatever your reason for getting into I’m quad stretching or mind-bending—he presents a distinct menswear aesthetic that feels both future-proof (at least for now) and exactingly thought through. If you were looking into that “one value” for all the wealth sold, and wanted to account for wealth in “real terms”, then you are still likely to be measuring the value of the wealth in terms of a given currency. The value for any amount of wealth is measured in terms of what that currency buys at a certain point in time. To translate that into something we might call the real value of that wealth we have to ascertain how much of the same currency would be required to purchase that wealth in an “anchor year”. The ratio of the amount of money needed to purchase the current amount of wealth today versus the amount of money needed to buy the same amount of wealth in the anchor year, gives us the inflation rate. The total “real” wealth sold would a hundred million dollars. The value of wealth sold measured in terms of what that currency would buy in the anchor year is 100 million.