#Custom-Printed-Fabric-Labels

[bcilabels]

In the competitive world of fashion and apparel, it's the little details that often make a big difference. Custom woven clothing labels are one of those understated yet crucial elements that can elevate your brand identity with style. These labels not only add a professional touch to your garments but also convey your brand's story, quality, and uniqueness. In this article, we'll explore the significance of custom woven clothing labels and how they can help your brand stand out in the crowded fashion market.

[syetiket]

[snaplabels]

[modelsof-color]

Duro Olowu

Olowu was born in Lagos, Nigeria, to a Jamaican mother and Nigerian father.He grew up in Lagos, spending summers in Europe and immersing himself in multiple cultures.

He moved to the United Kingdom when he was 16 , and like his father before him, Olowu studied law in England and later returned to Nigeria.

He soon gave up a legal career and moved back to London to pursue his true vocation as a self taught fashion designer, first designing womenswear collections for the now defunct London based label Olowu Golding.

In 2004, Olowu launched his women's wear label, beginning with a Spring/Summer 2005 collection, his womenswear label is known for its innovative combinations of colors and patterns, harmonious juxtapositions of vintage textiles with custom fabrics, and impeccably tailored silhouettes.

Olowu’s aesthetic vision is informed by his multicultural and international background, art, and other creative practices.

An empire-waist multi print silk dress from his debut collection, discovered by American Vogue editor Sally Singer, became an international hit. Selling out in renowned stores in New York, London and Chicago

In 2005, Olowu won the New Designer of the Year Award at the British Fashion Awards. The only designer to do so prior to their first catwalk show.

In 2009 he was named the Best International Designer at the African Fashion Award

In recent years, Olowu also began curating contemporary art exhibitions in galleries and museums beginning with his highly praised exhibitions, "Material" (2012) and "More Material (2014) at Salon94 gallery in New York.

His first museum exhibition was 2016, the critically acclaimed, "Making & Unmaking" at the Camden Arts Centre in London.

In early 2020, Olowu curated his second museum exhibition,"Duro Olowu: Seeing Chicago" at The Museum of Contemporary Art, Chicago

[vaspider]

This is the last thing I'm going to post about this. Yes, reblogs are turned off. No, I am not tagging anyone's Tumblr or pointing you towards the people involved: I have them blocked. Do not go bother either one of them.

The Tumblr post I responded to earlier tonight went up before I read the actual response emails, because, well. They were sent while I was AFK, and then the Tumblr post containing Razz's response emails was tagged for me while I was, you know, not working. When I finally got to actually read the emails, I hit this line:

I bought the first heat pack during your sale and it said very explicitly in the emails that you guys would send a random one from your supply, no mention that customers needed to put something else in their cart.

Emphasis mine.

And at the point where someone's just fully making stuff up rather than admitting they fucked up, I'm done. So. In the name of my own sanity, I issued a full refund for this order, and:

Hi Razz,

Since you and your friend decided to take this conversation to Tumblr in the 3 or so hours I was AFK spending time with my partners, I hadn't actually gotten an opportunity to go back and read these emails. The first time I saw them was not in my inbox but idly scrolling Tumblr while petting my dog at 11 PM with your friend's, uh… commentary on them. Your assumption that I was condescending and calling you stupid rather than that I'm autistic and speak very precisely is very interesting, in context, and skipping over me saying 'I'm baffled' and 'I'm genuinely confused' to call that 'I think you're stupid' and all of the other really shitty commentary your friend put on those emails is… well, it's a choice. And at first I thought this must be someone out of pocket and white-knighting for you so I was not going to hold you to account for what they said, but then when I went to go block them, I saw your comments, and your posts, so. Yeah, that's fun and cute.

Anyway, the email absolutely did not "explicitly say" that we would be picking from our stock. What it said was, as follows:

"Emet just spent a week going through our entire stock of fabric, adding all of the new patterns & figuring out which designs must be discontinued since the fabrics can't be ordered anymore. She's got all of the closeout heat & cold packs prepped - ready to fill & ship - and you can get one of the discontinued prints FREE with the purchase of any regular-price heating pad, no code required! When they're gone, they're gone, so don't wait! Order by December 14th for domestic heat & cold pack delivery estimated by 12/24."

This section is followed by a selection of 9 New Heat & Cold Pack Patterns, labeled "New Heat & Cold Pack Patterns," followed by another section marked "Closeout Options!" which had 5 of the then 15-20 Closeout patterns, all labeled with CLOSEOUT at the front of the name.

After this was our legally-required footer with our mailing address and the unsubscribe link.

Nowhere in there does it explicitly say that we will be picking the item for you. In fact, it says "you can get one of the discontinued prints free," which would seem to imply you need to pick something.

I'm not sure why I should have assumed that sending you a screenshot would be something inaccessible to you when you… sent me a screenshot. Nobody said you were incompetent. Nobody said you were stupid. Nobody said blind people can't take screenshots. I mean, you took a screenshot of the email that you said explicitly said something it does not at all say, so clearly you personally can take a screenshot, and find that to be a useful tool in communicating. Why would I have thought that responding in kind would be something inaccessible to you? I haven't a clue, but what I do know is that my wife just walked downstairs after her full sleep cycle and said, "Is this still that person?" so … yeah.

I've refunded this order & closed your customer account. It's genuinely worth it to me at this point to lose the money so I never again have to deal with a person who chooses to try to tell me falsehoods about the content of an email that I just told you that I wrote. No further responses will be received by any of our staff.

Spider

I’m not going to waste more time reading paragraphs of you insulting me over not understanding your esoteric definition of closeout and deciding that a blind person can’t be blind if they can take a screenshot. I had a simple question, I practically resolved it myself, and between my first email and the next you leapt to conclusions and treated me like dirt for the crime of not having access to information you never provided in am accessible way.  I choose to speak with a trusted friend over the situation the same way you would speak to your own partners. it was up to them what they did with your own words. Whatever fallout comes of this is on you. I’ve made sure the blind community is aware of your discrimination and as far as I’m concerned that’s the end of this. I hope your shipping costs I never even asked about were worth the income you've lost from me and my extended community since that tiny amount of money appears to be all you care about. 

Razz T. 

Razz,

Go away.

[manic-maniac-man]

HUgE Oct 2012

LATEST NEWS REVIEW NEXT UP

Massimo Piombo is known as the founder of clothing brand Piombo, and was the driving force behind the global Classico Italiano boom in the 90s. This autumn, he will launch a new brand, MP di Massimo Piombo, which incorporates his unique sensibility and aesthetic sense. Using carefully selected materials from around the world, the brand offers modern, playful real clothes for gentlemen in simple yet diverse colors. Also noteworthy are the use of long stoles, mufflers, scarves, and other items wrapped around the neck. Jacket ¥126,000, Stole ¥56,700 (UNITED ARROWS HARAJUKU FOR MEN)

"DIGITAL PLAY ON REFINED SHAPE"

Hermes ties are not only made of luxurious materials, but also have beautiful colors. The lineup will be updated from this fall/winter season. The biggest change is that the width of the blade will be narrowed from 9.1cm to 8cm. The knot part will remain the same size, so the silhouette will be straighter when tied. It goes well with jackets with sharp labels, and it is easier to balance the chest. The newly added designs are eight patterns inspired by digital motifs. Keyboards, cables, graph paper, microchips, and other contemporary and playful patterns are printed in detail. The logo mark hidden on the blade is also unique and seems to be the answer. Of course, the material is the highest quality silk. Although it is a thick twill fabric, it promises a light and elegant tied-up style. Each of the eight designs is available in a wide range of colors. ¥23,100 each (HERMÈS JAPON)

For Fall/Winter 2012, BURBERRY PRORSUM is introducing a new interpretation of the British gentleman with the theme "THE GENTLEMAN." This document case is an exquisite accent to the classical collection, which focuses on "sartorial tailoring" suit styles. The body is made of suede, which has a rich texture. The geometric patchwork, with coloring inspired by college stripes, is impressive. The interior is quilted and features a zip pocket, making it highly functional. A Boston bag in the same material and pattern is also available. ¥147,000 (BURBERRY INTERNATIONAL)

To celebrate the first anniversary of the opening of their flagship store, <Rags MCGREGOR> has released a leather blouson jacket that is the result of a super luxurious triple collaboration. Based on the archives of <Rags MCGREGOR>, the jacket was directed by Tsuyoshi Noguchi and designed by N.HOOLYWOOD, led by Daisuke Obana. It is a piece that is both rugged and sophisticated and irresistible. Advance orders for this special model will be held at "FASHION'S NIGHT OUT", hosted by VOGUE, on September 8th. Only 20 pieces will be available to customers who meet certain conditions, so hurry up. ¥110,000 (Rags MCGREGOR)

"BRITISH MIXTURE STYLE RE-DEFINES THE CLASSIC"

This fall/winter collection, Casely-Hayford has adopted the theme of "mixed culture" and aims to fuse traditional British culture with foreign culture. The collection is sophisticated, incorporating the atmosphere of various eras, with craftsmanship-based fabrics at the core. Of particular note are the jackets and gilets made from original tweed, an arrangement of the traditional Scottish "Keeper's Tweed". TOMORROW LAND was the first to pick up this attractive item with its unique look and has made a special order. The tweed, with its tasteful khaki color and blue pattern that shows a graphical expression, was prepared by Hayford himself with TOMORROWLAND in mind, and is an exclusive item for the store. Although the design is extremely classical, with a structured shoulder line and a label that seems to combine a shawl collar and a notched collar, the originality of the material gives it a modern and stylish impression. It is an item that we highly recommend wearing with a tie. Jacket ¥99,750, Gillet ¥39,990 (TOMORROWLAND)

Engineered Garments has released a special item that is only available at this store. American painter and poet Ben Estes provided poetry inspired by the image of Engineered Garments this fall and winter. NEPENTHES NY has produced a collection of eight of Estes' poems and a pocket T-shirt printed with his charming illustrations and words. Each will be released with Ben's autograph and serial number. You'll want to get your hands on both. T-shirt ¥5,040, Poetry Book ¥3,990 (Engineered Garments)

The theme is "GRAPHIC ABSTRACTION" and the design is simple and slender.

ANN DEMEULEMEESTER's 2012 A/W collection was decadent, based on a rouette. Among the pieces, these boots stood out as being particularly eye-catching. They feature a double front zip with a military boot motif. Above all, the most attractive feature is the beautiful gradation created by the dip dye, one of the details that symbolizes this season. Don't miss the cool look of the vintage-like leather. ¥162,750 (Pred PR)

Jil Sander's autumn/winter collection was the last season under Raf Simons' direction. What caught the eye the most was the lineup of leather items, including coats, tailored jackets, and pants, all made from calfskin and lambskin. In addition to these items that accentuate the refined masculinity, the simple pullover is also not to be missed. The boxy body and slim arms create an elegant silhouette, controlling the hard material. We recommend pairing it with a plain shirt underneath. ¥255,150 (JIL SANDER JAPAN)

Bow ties have been enjoying a renaissance in recent years. They are popular for their surprising versatility, as they can be worn with both dressy and casual styles. This season, you'll definitely want to go for a patterned look. Our recommendation is the bow tie from DOLCE & GABBANA. They come in a wide variety of patterns, including polka dots, paisley, and small patterns. The chic color scheme, unified in dark tones, is also nice. Made from high-quality materials, they also exude just the right amount of elegance. Pair them with a simple white shirt and jeans for an off-balance look. 22,050 each (DOLCE & GABBANA JAPAN)

[bremser]

Matthew Barney’s Self-Lubricating Frames

A small, lingering question I’ve had for 20 years: what is a “self-lubricating frame”? At the Guggenheim "Cremaster" exhibit and later exhibits, I wondered about this phrase on the label cards of Barney’s film stills, with custom frames, they are described as “chromogenic print in self-lubricating frame.” Perhaps easily answered, but because I wasn’t holding a phone connected to the internet in the museum back then, never answered.

Recently I went to a screening of Matthew Barney’s “Cremaster 3” (2002), with a Q&A between Barney and Martine Syms. Nostalgia lured me to Santa Monica, as I haven’t seen the complete 3-hour film since seeing the entire cycle at San Francisco's Castro Theater in 2003.

While the earlier films retained a video look, "Cremaster 3" (the final film) must have been shot on one of the better HD DV formats of the era at 24P, because it looks very filmic, the degraded 35mm print we watched certainly contributed to that vibe.

If you are new to Barney’s work, his long-term projects like "Cremaster" have sculptural and architectural aspects. Some sculptures could be construed as props and parts of a set for performance. In a gallery setting they are firmly sculpture. A film of the performance becomes its own highly edited and crafted artifact, which is then used in the spaces that exhibit the objects. 

How do framed photographs fit into this system? As with the films, they are artifacts of the performance, a Barney exhibit might have the sculpture (often quite large) in the center of a gallery space, with the framed photographs on the walls, in the same way a video monitor might be on a wall with the dangling headphones.

Barney cites "Cremaster" as beginning in 1994, but this framed football magazine is from 1991, with what became the Cremaster logo applied in the center. This example suggests these framed photographs exist as collectables with some connection to how a sports or music fan collects still images of action, or a cinema fan would collect a production still.

Along with vaseline or beeswax, self-lubricating plastic as used in sculpture or framed photographs can be considered one of Barney's core materials. Was it selected due to the fact it resembles beeswax? Here's another 1991 example, with a black and white silver print.

The "Cremaster"-era prints themselves are exquisitely lit and printed, mostly color, many seem to be photographed by Michael James O’Brien, though I don't recall ever seeing his name on a museum or gallery label. The photographer is like the fabricator of the frame, a craftsperson Barney hires to execute the object. My recollection is they are printed luxuriously matte, which works well with the creamy frames. The "Cremaster 3" prints are of larger dimensions that became popular at the fin de siècle with Gursky, or more relevant to Barney as his own lead actor, the portraits of Rineke Dijkstra. These are titled film stills, the convention of the Cremaster stills seems to be “movie : subject.” (e.g. Cremaster I: Orchidella).

My memory of the framed Cremaster photographs is that they were of somewhat uniform size and look: a creamy beeswax plastic, in line with the other sculpture you might see in his exhibits, no sharp edges, but not particularly different from other plastics you might encounter in our modern wonderland of PFAS.  When I first read "self-lubricating frame," I assumed it was partially a joke, a reference to petroleum jelly/ vaseline, one of Barney’s other preferred materials. Or perhaps lubricated condoms.

Looking online at the auction houses, it appears my memory was way off, there were many variations in size, shape and even color. Ireland is a core part of the "Cremaster" mythology, and this "Cremaster 4" print is in delightful Shamrock Shake green.

After that screening of "Cremaster 3," I went on the typical bender of reading old blog posts and writings on the topic. There’s a 2004 doc streaming on Kanopy (the library video app, excellent for art documentaries), where the NYT art critic Michael Kimmelman walks through the Guggenheim Cremaster exhibit with Barney answering questions, explaining references, personal and mythical, cutting to scenes from the relevant films. About nine minutes into the doc, my question is answered. Barney explains about a sculpture they are looking at: “[it's] high density polyethylene, from the same family as Teflon is from, has a resistance to friction. And in that way it’s a self-lubricating plastic, in that it generates its own lubrication.” 

OK! So "self-lubricating" is a description for a class of industrial plastic products, which Barney has fabricated his frames of and adopted the phrase. "Self-lubricating plastic frame" is more accurate if more mundane sounding. There's no liquid aspect to it, but if we were able to rub at it, in a repetitive fashion, could we perhaps notice it was different? It's a specific material - not a condom joke, or even like using the word "giclée" to gussy up "ink jet" print.

This material is described as:

solid lubricants are embedded as microscopic particles in millions of tiny chambers in the fiber-reinforced material. From these chambers, the plastic bushings release tiny amounts of solid lubricant during movement.

Another description of how it works once molded into an industrial form:

The bearing achieves this by transferring microscopic amounts of material to the mating surface, creating a film that lubricates and reduces friction over the entire length of the rail or shaft. 

When you read this and see some of the examples of how it's used in actual products (Linear Bearing for 8mm rod pictured above), this wasn't selected by Barney just because it resembles beeswax, but because conceptually it's a classic Barney material. A plastic, honeycombed with microscopic bits of lubricant! There's an added tension looking at these objects, knowing the material is designed for friction, but will likely never experience it. After the organic forms are molded, the films are shot, the stills are taken, the photographs mounted in the frame, they will only ever be handled by people wearing white gloves.

 (Previously on the topic of artist's frames: Robert Mapplethorpe’s “Kitchen Sink", 2016)

[blogdays]

Fastdtftransfer - Devasa+ (2)

Create dtf design is a printing method that involves printing a design onto a piece of PET film using specialized equipment. This method offers a cost-effective way to create high-quality and durable graphics and labels. Unlike other printing methods like DTG (Direct-to-Garment), DTF requires the use of a film, a powder, a curing oven, and a heat press to complete the printing process. DTF transfers are versatile and can be used on various types of fabrics and garments, allowing for flexibility in design placement. With the ability to customize and personalize designs, DTF printing offers endless possibilities for creating unique and professional apparel. It is important to understand the process and benefits of DTF printing when considering custom uniforms design. Custom uniforms play a crucial role in branding and establishing a company's identity. They serve as a visual representation of a brand's personality and can incorporate unique design your own tshirt, design elements such as colors, patterns, and logos. By incorporating brand elements into custom uniforms, companies can create a strong brand identity and promote their business effectively. Custom uniforms also provide free advertising, as they showcase the company's colors and logo, making an immediate impact on customers. Establishing a brand identity takes time and effort, and custom uniforms can be a powerful tool in achieving this goal. Therefore, it is essential to consider custom uniform design as part of the overall branding strategy. When designing Dtf guidelines, there are several guidelines to keep in mind. Firstly, it is important to ensure that the design captures the brand's identity and message. The design should align with the company's values and target audience, while also being visually appealing and professional. Secondly, the design should be versatile and suitable for various types of garments and fabrics. This allows for flexibility in creating uniforms for different purposes and environments. Additionally, attention should be given to the placement of the logo and other design elements to ensure visibility and impact. Lastly, it is crucial to work with experts who have experience in DTF design and printing to ensure the best results. Their expertise can help guide the design process and ensure that the final product meets the brand's expectations and requirements. By following these guidelines, businesses can create unique and professional DTF custom uniforms that effectively represent their brand and enhance their overall image. Dtf printing in USA,Dtf printing in Canada our website can help you to have information about the issues.

[dayufashion]

Private-label clothing manufacturing Partner

Custom Clothing Manufacturers in China - Dayu Fashion

Dayu Fashion is a custom clothing manufacturer for startups in China and a trusted private-label clothing manufacturer offering full-package apparel development and production services. We specialize in a wide range of garments—from denim jeans and jackets to casual wear, cut-and-sew pieces, and sustainable knitwear and formalwear. Our expertise covers intricate techniques such as embroidery, beading, rhinestone work, and screen printing, DTG, DTF, and sublimation printing, enabling fashion brands to elevate their collections with complex designs and impeccable detailing. At Dayu Fashion, we stand by our core values: quality, reliability, and a commitment to long-term partnerships that help emerging brands grow confidently.

Services Include: Custom design consultation, technical pattern development, fabric sourcing, sample production, bulk manufacturing, quality assurance, packaging, and worldwide shipping logistics.

[lowballdemon]

The Gucci Identity Crisis

What do Kering’s stock price and a Gucci belt have in common? The current trend is for both of them to hang low. 

With the controversial announcement of Demna leaving Balenciaga for Gucci, Kering’s share price dropped by a shocking 11%. Fashion experts have a wide range of opinions on the reason behind this, whether it be a personal distaste for Demna’s design philosophy, perceived lack of finesse or skill, or what seems to be the prevailing consensus: that he doesn’t ‘fit’ at the Italian house. 

Gucci accounts for over 50% of its parent company's revenue, and Demna is known for his ability to convert press into profit. Looking past subjectivities of beauty, taste or fashionability, the move appears a wise business decision. Through the eyeglass of an investor, whether Demna’s oversized silhouettes and distressed textures would transfer into Gucci’s history is irrelevant.

Francois-Henri Pinault is not trying to ‘Be Different’ as Demna's Balenciaga hoodies loudly dictate. Rather, the entire idea of brand identity - particularly in the case of a massive legacy brand like Gucci - is absent. When fashion is corporatized and revenue-focused, brand identity doesn’t matter, or in Gucci’s case, is nearly non-existent.

For a recap on Gucci’s history, the brand started as a family-owned luxury leather goods brand. Inspired by aristocratic equestrian customs, Gucci would inject elements of such into their products. Most notably, the iconic green-red-green stripe descends from the colors of a classical saddle girth strap. 

Gucci saddle, late 20th century sold on auction at Sotheby's.

Other examples include the horsebit loafer, with a saddle slung across the bridge of the foot or the Jackie bag. Originally named the Fifties Constance, the bag uses the patina of a bamboo cane to emulate the silhouette of a horseshoe.

Seminal motifs that would become core to the Italian maison introduced throughout the family-owned era include the emblematic interlocking double G, flora pattern and displays of masterful craftsmanship and opulence through exotic leathers, suedes and animal hide. 

Flora scarf (left) designed for Princess Grace Kelly of Monaco. Jacqueline Kennedy (right) carrying her eponymous bag.

Sale of ready-to-wear clothing began in the mid-1960s, while presentation of collections began at New York City’s St. Regis in the 1970s. During this time under family management and design, clothing would mainly draw influence from the fundamentals that distinguished their leather goods. 

Marion York for Gucci's Fall 1973 collection. Foxfur trimmed coat, clutch and horsebit loafers. Photo by Pier Schermann for WWD.

Gucci 1981 Campaign. Loosely fitting garments and floral prints dominated the collection, spotlighting luxury and prestige.

Following a tumultuous period of family conflict, Tom Ford was hired to revive the label - marking the transition of Gucci into a modern high fashion brand. Tom Ford’s initial collections drastically strayed from the traditional Gucci image, creating hypersexualized and passionate garments.

Kate Moss for Gucci Fall/Winter 1995 in Milan- Tom Ford’s official debut. A blue silk v-cut button-up with dark blue denim jeans. Ford’s direction heavily contrasts with previous collections - emphasizing a sharp and tailored silhouette, with texture through fabric as opposed to more organic shapes, colorful patterns and exotic animal furs and skins.

Carmen Kass for Fall/Winter 2002 in Milan. Ford’s tenure de-emphasized motifs like the double-G and monogram. A more generic conception of clothing is epitomized in Crucifix necklaces, and all black looks, accentuating form and the body figure.

Gucci Spring/Summer 1997 Campaign. Sensual poses and references to intercourse starkly differentiate the preceding age of conservative and sophisticated luxury.

2004 saw disagreements with Pinault Printemps Redoute (now known as Kering) lead to Ford’s departure and the promotion of Alessandra Facchineti for womenswear, John Ray for menswear, and Frida Giannini to accessories. Giannini would eventually take over the full position in 2005, continuing down a similar direction while relaxing the raw sexual aggression of Ford’s vision. Towards the end of her directorship, she began drawing inspiration from all sources, including Art Deco and the Victorian Era.

Gucci Spring/Summer 2011 menswear. Tom Ford’s sensibilities represented in impeccably tailored suits, with an atmosphere of informality through relaxed styling choices, like rolled up sleeves.

Giannini would also revive the Jackie bag and flora print, reintroducing color into her collections. Nevertheless, her era would see even less ostentatious branding on clothing and bags, which would eventually lead to her firing and the introduction of the now-infamous creative vision of Alessandro Michele in 2015.

Alessandro Michele moved far away from Ford’s ultra-femininity and ultramasculinity, expressing that “you can be more masculine by showing your femininity.”

Gucci Spring/Summer 2015 Menswear. Michele’s first runway, he erases the divide between gender roles, designing menswear for women and womenswear for men.

Michele’s inspirations drew from an even wider variety than Giannini - from popular 2010s streetwear branding and simplicity to the renaissance’s frills and extravagance. A single glance at the collections originating from Ford/Giannini’s design philosophies and Michele’s maximalist garments is enough to display the divergence in Gucci’s trademarks. 

Gucci Spring/Summer 2001 under Tom Ford and Fall/Winter 2017 under Alessandro Michele. Solid colors and thorough fabric detailing contrast with vibrant embroideries and androgynous draping.

Despite Gucci’s enormous financial success under Michele’s vision, he would leave in 2022 with analysts citing ‘brand fatigue’, the same reason that brought the end of the aristocratic family-owned and Ford/Giannini eras.

With a short-lived tenure under Sabato de Sarno, minimalism was brought to the forefront as he sought to restore Gucci’s exclusivity and fix its overexposure.

De Sarno for Gucci's Spring-Summer 2024 collection. An oversized coat with a grey collared button-up and red-shorts.

Retaining principles of both the extreme tailoring from Ford’s time as well as baggy, draped silhouettes from Michele’s collections, he was quoted as wanting to “see you wearing Gucci, not Gucci wearing you”. Nevertheless, he stepped down in 2025, opening the door for the current posterboy of controversy into the house, Demna.

Gucci has reinvented itself and its image thrice now. While certain motifs may retain their presence through each iteration at varying levels, motifs aren’t enough to shape a comprehensive or powerful brand impression. Evidently, the idea of continuation has always been a relatively short-lived notion in the minds of Gucci’s consumers.

That isn’t to say that a strong image isn’t a good thing. Rick Owens’ obsession with grotesque contours and abstraction has created him a cult-like following. Despite Hermes’ history of hiring designers from both ends of the spectrum in the discreet Martin Margiela and glamorous Jean-Paul Gaultier, it has still maintained its nature of exclusivity and muted luxury.

Nevertheless, such a nebulous concept in the case of a label like Gucci is irrelevant to its success - and other conglomerate-owned maisons make this clear. If you were to look at one collection from Marc Jacobs and one from Virgil Abloh at Louis Vuitton, it would be false to say that there was an acute preservation of design philosophy or expression. Neither for John Galliano and Maria Grazia-Chiuri at Dior or Alexander McQueen and Matthew Williams at Givenchy. And still, collections are bought and shareholders made richer. 

Whether Demna’s signatures appeal to you or not, his inevitable overhaul of Gucci’s brand identity and reduction of previous designer’s philosophies is not a valid criticism of Kering’s choice. Evident from his work at Balenciaga, it is undeniable that Demna will be able to reinvent the house and bring it back to the vanguard of fashion discourse.

[bcilabels]

Printed Fabric Labels For Clothing

Printed fabric labels play a crucial role in the fashion and apparel industry, offering a versatile and cost-effective way to brand clothing items. These labels are typically made from materials like cotton, satin, or polyester and are printed with essential information such as brand names, washing instructions, and fabric compositions. Their versatility makes them ideal for various types of clothing, from casual wear to high-end fashion.

One of the main benefits of printed fabric labels for clothing is their durability. The ink used in the printing process is designed to withstand repeated washing and wear, ensuring that the label remains readable and intact throughout the life of the garment. Additionally, these labels are soft to the touch, minimizing irritation when in contact with the skin.

Another advantage is customization. Printed labels can be tailored to meet specific design preferences, offering a wide range of colors, fonts, and sizes to match the brand's aesthetic. This customization allows for flexibility in label design, whether you're looking for something minimalist or detailed.

[mundanewizardy]

Burnt Oak and Disillusionment

The acrid scent of burnt oak and disillusionment was the first thing Clark noticed each morning. It clung to the threadbare drapes of his third-story walk-up apartment, seeped into the cracked linoleum of his kitchen, and, he suspected, permanently permeated the very fibers of his ancient pajamas. He was a wizard. That fact, once capable of stirring a faint tremor of wonder in others, now felt less like a calling and more like a particularly irritating genetic predisposition.

This particular Tuesday, the alarm on his enchanted bedside table – a chipped porcelain gnome whose eyes glowed precisely at 6:30 AM with a low-level Ignis spell – failed to rouse him. Instead, he awoke to the insistent, high-pitched whine of a faulty Levitation charm emanating from the toaster. His bread, still stubbornly refusing to toast, hovered three inches above the slot, trembling slightly, like a small, infuriated cloud.

"Bugger," Clark mumbled, swiping a hand through his perpetually unkempt grey hair. He’d spent twenty years in Wand Quality Control, and the sheer volume of shoddy craftsmanship he encountered daily was a cosmic joke. Every item in his apartment, from the self-stirring coffee mug that occasionally stirred itself into a violent froth, to the cleaning broom that swept only in erratic, angry circles, was a testament to his profession's failures.

He pulled on a robe that had once been a respectable midnight blue but now resembled a dishcloth left too long in a potion of unknown origin. His reflection in the bathroom mirror, a gaunt man with eyes that had seen too many fizzling hexes and too many corporate memos, barely registered. The bathroom mirror, incidentally, was supposed to apply a Glow of Youth charm every morning, but more often than not, it merely highlighted his prominent nose hairs with an alarming green luminescence.

Breakfast was a solitary affair. A single, magically-preserved apple (its freshness guaranteed for "up to three millennia," the label promised, though Clark suspected the fine print mentioned "optimal conditions in a vacuum") and the aforementioned defiant toast. He managed to force the bread down with a muttered counter-spell, but it still felt like eating a disgruntled cloud. The coffee, brewed by the perpetually over-caffeinated kettle, was passable, though it always made a peculiar gurgling sound that suggested deep-seated existential angst.

His commute to the Department of Mystical Ordinance and Regulation (DMOR) was, as usual, a study in urban magical entropy. The floating buses, designed for silent, effortless transit, frequently bucked and groaned, their Repulsion charms sputtering, causing them to drift precariously close to the grimy facades of the high-rise towers. People barely noticed. Magic was common, after all. It was hardly even special. A broken invisibility cloak might send a businessman tumbling down the street, but most simply stepped over him with a sigh, muttering about "unionized gnomes." Today, his bus, the Number 7, seemed to momentarily shudder, as if the very fabric of its enchantment twitched. For a brief second, the streetlights outside flickered with an un-electrical cold blue, and the familiar cityscape seemed to stretch just a hair too far before snapping back. Clark rubbed his eyes. Must be the poor lighting.

He adjusted his spectacles, which, despite having a Clarity of Vision enchantment, were perpetually smudged. He clutched his worn briefcase, filled with a thermos of lukewarm, slightly-too-salvaged tea and a stack of requisition forms for replacement Stabilization runes. The forms themselves were magical, designed to duplicate when filled out correctly, but they often just dissolved into glitter or spontaneously burst into minor flame.

He passed by "The Daily Grind," a café where the barista, a young warlock with too much enthusiasm, would greet each customer with a custom "Mood-Enhancing Charm." Clark had once accidentally received an "Extreme Optimism" charm and spent the entire morning laughing maniacally at a malfunctioning Teleportation circle. Never again. Now, he just nodded grimly.

His office, located on the 17th floor, was a grey box within a grey box. The automatic door, enchanted with a Welcome spell, would sometimes instead blurt out "Uninvited Intruder!" causing minor panic attacks. Clark usually sidled in quickly to avoid the theatrics. His cubicle, a cramped space adorned with a single, sickly potted fern that occasionally vibrated ominously, housed his primary tools: a desk, a chair, and a pile of faulty wands.

Today's batch was particularly grim. The first, a simple birch wand, was supposed to emit a harmless Light spell. He gave it a flick, and instead, it produced a faint, high-pitched squeal that instantly shattered the glass of his water bottle. The second, designed for Cooling Charms, simply coated everything in a fine layer of green slime that smelled faintly of industrial solvent. Clark stared at the slime. It seemed to pulse. He wrote down "Unforeseen Bio-Hazardous Byproduct" on the defect form. The forms, powered by low-level thought-to-text charms, often misinterpreted his weary internal monologues, resulting in phrases like "Wand #734: Emits existential dread. Recommend immediate de-enchantment and perhaps a long nap for the user."

His coworker, a perpetually cheerful sorceress named Brenda, floated by on her hover-chair, humming a cheerful tune. Her chair, at least, seemed to function correctly. "Morning, Clark!" she chirped, her voice like tiny, magical bells. "Got any good ones today? Oh, and did you see the new memo?"

Clark sighed, wiping a smear of green slime from his desk. "Just another day in paradise, Brenda. What memo now?"

Brenda practically vibrated with excitement. "The 'Standardized Enchantment Recalibration Protocol v. 3.0'! It's all about streamlining our 'Inter-dimensional Compliance Initiatives'! Mr. Thorne says it's going to revolutionize our whole department!"

Clark stared at the charred corner of his desk, where a minor Conflagration spell had spontaneously erupted from a faulty wand just moments before. He extinguished it with a casual wave of his hand, producing a puff of smoke that smelled vaguely of burnt toast and bureaucratic dread. "Revolutionary, indeed."

He knew what "streamlining" and "revolutionizing" meant in DMOR-speak: more forms, new codes, mandatory training modules on incomprehensible jargon, and ultimately, no actual improvement, just a heavier workload. The world wasn't getting better; it was just becoming more thoroughly documented in its decay. He sat back, feeling the slow, heavy weight of the endless, absurd cycle settle upon him. And the wands kept coming in.

[snaplabels]

At Snap Labels, we understand that branding is everything. That’s why we offer fully customizable designs, allowing you to choose the size, shape, and material that best fits your needs. Our team of experts is available to assist with design adjustments, ensuring your labels meet both aesthetic and functional requirements. We also provide quick turnaround times and competitive pricing, making high-quality label printing accessible for businesses of all sizes.

Customer satisfaction is at the core of our business. We take pride in delivering premium labels with precision and care, helping our clients elevate their brand identity. Whether you need a small batch of custom stickers or bulk label printing, we’ve got you covered.

[printingservicesaustralia]

From Digital to Offset: Understanding Various Types of Printing Techniques

1. Digital Printing: Faster, more efficient and more convenient

Digital printing is one of the most popular and viable printing options available today. This involves transferring images directly to paper or other media using PDFs and other digital files. This approach has gained traction due to speed and low setup costs, making it ideal for short runs or scheduled projects.

Applications: Digital printing is widely used to print marketing materials such as brochures, flyers, business cards and banners. It is also commonly used in printing custom products such as photo books, invitations and garments.

Advantages:

· Speed: Digital printing is faster than printing methods, making it suitable for fast turnaround jobs.

· Cost-effective in smaller quantities: There are no setup fees, making it more affordable for smaller publishing businesses.

· Customization: Digital printing allows for easy personalization, perfect for targeted marketing.

However, digital printing doesn’t always produce the same depth of color or texture as other methods, especially on larger pieces.

2. Offset printing: Better quality, greater volume production

Offset printing or offset lithography is one of the most common and reliable methods of printing large volumes. This process involves transferring an image from a metal plate to a rubber cushion, then pressing the image onto paper. It is known for its image quality and is particularly suitable for more demanding stability applications.

Applications: Offset printing is ideal for many productions, such as magazines, magazines, catalogs, and larger merchandise.

Advantages:

· Higher Image: Offset printing produces sharper, cleaner images with more accurate colors, making it ideal for jobs that require higher quality print work.

· Cost effective for large volumes: Although the initial process is more expensive than digital printing, offset is more expensive when printing in large quantities.

· Consistency: Offset printing provides consistent results throughout printing, ensuring that each print is perfect.

3. Screen Printing: Robust and versatile

Screen printing, also known as silk screening, uses grid stencils to ink various surfaces. The process is particularly popular for printing products such as t-shirts, mugs and promotional materials, as it produces vibrant and long-lasting colors.

Application: This process is widely used for creating custom clothes, clothing, signs and even posters.

Advantages:

· Durability: Screen printing is extremely durable, making it ideal for products that require durability.

· Versatility: Works with a variety of materials including fabrics, plastics and metals.

· Bold colors: Screen printing is known for producing vivid and opaque colors, making it popular for more visual images.

However, like offset printing, screen printing can be cost-effective in small volumes due to its setup costs.

4. Flexographic printing: Perfect for packaging

Flexographic printing, commonly referred to as flexo, uses flexible rubber or photopolymer plates to transfer images onto a variety of materials such as plastic, foil, paper, etc. It is most often used in packaging, labels and packaging.

Application: Flexo printing is commonly used to print labels, flexible packaging, boxes, and other packaging.

Advantages:

· Faster and more efficient: Flexographic printing offers faster production speeds, making it ideal for larger orders.

· Extensive alignment: This technique can print on virtually any substrate, including porous materials such as plastic and metal objects.

· Production efficiency: Flexographic printing can produce high-quality, consistent results, especially with larger print sizes.

5. Gravure Printing: High-volume gravure printing

In gravure printing, or rotogravure, the image is engraved onto a cylinder, which is then applied to the print. High-resolution images and continuous tone images are often printed with this technique.

Application: Gravure printing is widely used for printing packaging, magazines, catalogs and wallpaper.

Advantages:

· High Quality: Graver produces beautiful images with beautiful details and rich colors.

· Ideal for long-term printing: Although setup costs are high, gravure is cost-effective for very large runs, making it perfect for mass-market printing.

Conclusion: Choosing the Right Printing Method

The type of printing method you choose depends largely on the needs of your project, including volume, budget, and desired output. If you’re looking for quick, smooth printing with a fast turnaround time, digital printing could be the right fit. Offset printing or gravure printing can provide consistent results for high quality, intense production. For special applications such as custom garments or packaging, screen printing and flexographic printing stand out as excellent options.

If you want to get high-quality printing services, it is important to choose someone who is skilled in the specific technique that best suits your project. Whether you print a few brochures or thousands of labels, the right printing techniques ensure that your content looks professional and effectively communicates your message.

[goldenpinof]

I have a question about IRL merch — did their clothing used to be better quality and it has gotten worse, or is it just the calendars that were worse this year? I ask bc I just got a shirt and sweatshirt from another content creator for the Same Price as dnp merch and the difference between them is crazy. Like I don’t think the dnp clothing feels cheap or whatever but the other merch just has a much thicker fabric and the sweatshirt is much softer on the inside. I don’t buy a lot of content creator merch in general so I’m not sure which of these is the norm for clothing quality!

(everything i have pre-crafts merch is UK manufactured and shipped)

i'd say it got worse overall. i am biased, though. they switch from one t-shirt company to another all the time, the same with longsleeves and hoodies. sometimes the material quality is good, sometimes it's sooo thin 🥲

the printing quality is inconsistent now, but idk how it was before 2022, not because i don't have older merch (i do), but because i haven't asked anyone and weren't paying much attention back then.

i also wanna point out that sometime around WAD (could be earlier) they stopped making their own branded labels*. Dan's "don't talk to me" longsleeve has DH label, but then... WAD doesn't (which can be understandable; the marble ii shirt also doesn't, but ii longsleeve does have printed D&P "label"), and all merch after their comeback has the original label of the company where they bought it. it's not about quality, i understand that, i just wanted to point out that they stopped making their merch more unique (i guess, i could call it that). i get that it's cheaper for them to not touch labels, but like, some old merch is just... cute. the new one? basic. for the same price!

*WAD leather jacket has a customized label - the only item. but the jacket itself was custom-made, i guess, so i'm not surprised.

i remember when dnp were selling candles, the shipping wasn't organised well enough and i knew people who got their candles broken. and someone told me that there was a problem with Phil's hot chocolate at the customs in one of Latam countries. dare i say, it wasn't handled correctly by IRL Merch (no chocolate, no refund in the end). all of that was pre-WAD. again, not the merch quality, per se, sorry.