Horror Halloween we used to smile and then we worked at Johnson Controls shirts

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In 1998, Gwyneth Paltrow turned Horror Halloween we used to smile and then we worked at Johnson Controls shirt . heads on the red carpet. When she attended the premiere of Sliding Doors dressed not in her character’s pared-back wardrobe, but rather in a lace-lined qipao made by Voyage. Suddenly, die-hard minimalists were trading in their Calvin Klein and Donna Karan for the brand’s eclectic, ethereal concoctions—often worn head to toe—with the look reaching runways like Miu Miu and Chanel, too. “Here’s how a humble home-dyed cardigan with a colorful velvet trim changed the face of fashion,” said a Vogue article from 1997, the same year Voyage set up stateside outposts at Barneys and Bergdorf Goodman.

Horror Halloween we used to smile and then we worked at Johnson Controls shirt, hoodie, sweater, longsleeve and ladies t-shirt

“They were quirky and fun, and women felt very freed by them because they were casual and easy to wear,” recalls the costume designer Livia Pascucci Horror Halloween we used to smile and then we worked at Johnson Controls shirt . who dressed Julia Roberts in Notting Hill in one of Voyage’s signature floral-washed slips, which Roberts then wore off-screen, too. “They created this whole strange wall around them, which was very smart because, as you know, once you can’t have something, you want it.”Alas, what comes around goes around, as they say: Eventually, that exclusive door policy and exorbitant price tag led to the label’s demise in 2002. The silver lining? Forgotten by many, its one-of-a-kind riches have landed on the likes of eBay, Etsy, and Poshmark for a fraction of what they once cost. (Think: a shrunken hand-dyed cardigan for $6.50; an amethyst-hued version of Roberts’s own dress for $20.) Now, the hoi polloi can shop Voyage in the comfort of their own homes (or, um, beds). One hell of a trip.Marfa, Texas, isn’t a typical location for a music festival. The population of the tiny town, which sits high on a Chihuahuan Desert plateau, hovers around 2,000. If you were to host a Coachella-size event there, for example, it would absolutely overtake all resources. And it’s not exactly easy to get to, either: it’s a three-hour drive from the nearest airport in El Paso. But Marfa Myths, which has brought more and more people to Marfa for a weekend since its inception in 2014, isn’t your average event. There are only about 1,000 attendees and one show happening at a time, meaning you won’t miss anything for the sake of something else. And how many other festivals can boast a woodworker-in-residence, host a dance party at a campsite, or even provide tours of The Chinati Foundation, the contemporary art museum that Donald Judd founded? None, and that’s precisely part of Marfa Myths’s charm.
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