The 100-year anniversary of DELMA 1924 Tourbillon is a preeminent example of experience and commitment to enduring quality and design Fucked in the head shirt. All DELMA timepieces are imbued with strength and refinement. From classic and dress models for lasting appeal to sports and racing watches for extreme adventure, each DELMA timepiece is created with attention to style and performance. These characteristics were evident in 1924, and they remain inherent in their watches today. For the centenary timepiece DELMA sought something special, a 100 % Swiss proprietary movement encompassing its own design ideas. Furthermore, the DELMA 1924 Tourbillon, appropriately limited to 100 pieces had to be a postdated classic, imbued with the brand’s DNA and respectful of its rich heritage. The gravity defying tourbillon positions the escapement and regulating organ within a cage that revolves 360° every 60 seconds. It sits at the heart of the Caliber DT100.01 a hand-wound movement with a prodigious power reserve of 105 hours. Unlike most watches, which feature an index-regulated balance, the DELMA 1924 Tourbillon is equipped with a variable-inertia balance, delivering superior precision. The balance is fitted with a shock absorption system and the movement is shock-protected up to 5000 G. In addition, the Caliber DT100.01 comprises non-magnetic components such as the alloy hairspring and Glucydur balance wheel, hence it can withstand magnetic fields up to 2000 gauss. Consistent with fine watchmaking, the movement is beautifully decorated. The baseplate is adorned with perlage, while the bridges, visible via the exhibition caseback, are embellished with Côtes de Genève and golden text. A sprinkling of blue screws subscribes to horological tradition, while the movement is ruthenium-treated and dressed in a contemporary dark gray finish. The sable black dial is rich in nuanced detail, notably legible, and affords sight of the captivating tourbillon. The hour and minute hands are palladium, nickel-plated, and lined with white Super-LumiNova® BGW9. They are teamed with matching applied hour markers to provide a harmonious look. The 41 mm case is formed of 316L stainless steel. All surfaces of the case are brushed aside from the highly polished beveled edges spanning the top and sides of the case. The crown nestles between the shoulders of a crown protector and is equipped with an attractive grip that facilitates easy manipulation. Fitted with a stainless-steel bracelet featuring a deployant clasp, the DELMA 1924 Tourbillon is supplied in a sumptuous presentation box containing an additional black Italian leather strap. Quick-release spring bars allow the wearer to switch to the strap, or vice-versa, without requiring the use of tools.

Fucked in the head shirt ,hoodie, sweater, longsleeve and ladies t-shirt

For her part, Fucked in the head shirt Pelly is enamored with the “really iconic prints that resonate with a lot of hip-hop artists” as well as the silhouettes of this modern era, like bodysuits and jumpsuits that are “sexy, but still ladylike.”. “Hip hop and fashion intersect on a level that’s all about storytelling and self-expression,” Pelly adds. “When I was working with Ice, it was really important to me that she was always perceived, especially being from New York, as a girl who demonstrates a level of fashion knowledge and taste. Especially thinking about Foxy Brown, Lil’ Kim and all of the fashion icons and female rappers from New York, I really wanted to make sure she followed suit.”. The Pucci aesthetic not only aligns with the spirit of hip hop: Stylist Anna Trevelyan explains it’s also ideal for the stage. “Artists need to stand out on stage in a huge stadium, so this approach works really well for those tour looks,” she says. “Camille knows how to create looks that flatter every female form and are comfortable at the same time, which is such a big win.” (Accordingly, Trevelyan put Alicia Keys in custom Pucci looks that combined Afrofuturistic references with “a bit of a psychedelic ’70s feeling” for her tour last summer.). Another big draw for performers and their teams is the manner in which Miceli and her team work, according to the stylists Fashionista spoke with. Tyson remembers how, shortly after Miceli was appointed artistic director, she reached out to the brand with a custom look request for an upcoming music video. “We got invited to the showroom, and we brought Gunna, Future and Flo Milli, and that’s really what helped this resurgence,” she says of the 2021 meet-up, which led to years of collaboration. “They started inviting us to the shows, and we started really flooding social media with it. They allowed us to pull, and they treated us like family and really helped us be able to do a lot of cool custom things.”. Pelly recalls a similar experience, working on Ice Spice’s “Princess Diana” music video. It felt “very in line with Pucci,” according to Pelly: “It was sexy, it was playful, it was very feminine.” She sourced a Pucci bikini top and shorts in an “iconic Pucci print,” but didn’t actually work with the brand directly — when the visual dropped, though, Pucci reached out and started to build a relationship. “A brand can just email you and say thank you, but for a brand to say thank you to your face and say ‘come to where we are, see the show, let’s do another look’… It’s so old-school now. I feel like everything’s via email these days or phone. That just felt really good,” Pelly remembers of going to the Spring 2023 show with Ice Spice, who wore a custom look that took notes from Marilyn Monroe’s hair flip and the brand’s archive. Working with a label like Pucci doesn’t just elevate the artists wearing the brand — it opens a door for stylists by aiding in their craft. “Working with a brand that holds so much history, I start doing way more research and then coming up with better references,” Pelly says. “It really stimulates your creativity. It’s such a beautiful part of our job.”. Rappers have always been style influencers, and today’s generation proves how the energy of their clothes can translate to personal confidence. Despite fashion’s historic tendency to exclude these artists, Miceli has proven to be intentional in developing relationships with them and their teams.