Donkeyclothing - This Witch needs Dos Could Beer before any Hocus Pocus Halloween Shirt

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As far as the This Witch needs Dos Could Beer before any Hocus Pocus Halloween Shirt but in fact I love this actual challenges of producing the show during COVID, Senofonte notes that it ran more smoothly than anticipated. “I’m really surprised that we were able to pull off as much as we did under the circumstances,” she says. While there were some restrictions in place—they couldn’t go to fabric or hardware stores, for example—watching the show, you’d never notice it. “We stayed in our bubble, but it was an amazing bubble to have, and they definitely provided all of the designers with everything that they needed,” says Senofonte. “They had screen printers and technology that I would have killed to have been able to just play around with, in my own little wonderland.”Another aspect that marks The Hype out as a distinctive new prospect within the world of fashion reality TV is its concerted choice to turn the spotlight firmly to streetwear: a realm often overlooked within the industry due to its more sprawling origin story. Streetwear was largely born in the early hip-hop scene of New York and California skate culture in the 1970s before exploding on the global scene in the ’90s. Even when it hit the mainstream and experienced a seismic cultural impact, few fashion houses would touch the movement, which was championed by Black and Latinx communities. Appropriately, then, peppered throughout The Hype are references to this illustrious past, featuring luminaries of the scene and offering context of the various elements of streetwear culture being represented.

The need for a greater understanding of streetwear’s untold history is most apparent in the This Witch needs Dos Could Beer before any Hocus Pocus Halloween Shirt but in fact I love this show’s second episode, when a designer made the highly questionable decision to create an outfit featuring red and blue bandanas associated with gang culture, and even continues to double down on it after being called out by guest judge Wiz Khalifa. How did Senofonte navigate these more charged conversations around streetwear and identity? “I’m fully aware of it because my entire career, almost all of the artists I’ve worked with have been Black musicians,” she says. “When I worked with Lauryn Hill, before anyone knew who I was, you might think it was easy, but no. Even trying to get clothing for Beyoncé back in the day, her mother had the same problems. It was difficult going to these luxury brands and getting clothes for events, so we just started making our own. And then those companies started following what we were doing. But the beauty of it is these two worlds coming together.” As Senofonte notes, while there is still plenty more work to be done, some of the boldest—and now most successful—designers working in fashion today have come from streetwear backgrounds, whether Virgil Abloh at Louis Vuitton or Matthew Williams at Givenchy. “There was the controversy with Gucci and Dapper Dan, and look what came out of it,” says Senofonte, referring to the house’s copy of one of the Harlem-based designer’s signature mutton-sleeve ’80s designs. After Gucci was called out, they entered into a partnership with Dan, even underwriting the rebirth of his atelier. (Naturally, Dan also makes a guest judge appearance on The Hype.) “Dan got his shine; he’s got his atelier now,” Senofonte continues. “You have to fight for what’s right, and it feels like it’s all coming together, and that stigma is finally going away, I feel.”