Grateful Dead The Aloha Shirt

Product Description

Designing the kits Grateful Dead The Aloha Shirt for Olympic and Paralympic athletes to compete in is hardly a simple task. It’s one that takes in the demands of multiple, wildly different sports, as well as comfort, performance and some kind of unifying aesthetic that shows a gymnast, a sprinter and a breakdancer are on the same team. So it’s no surprise that this level of juggling quite often leads to kits like the Adidas one being worn by Team GB for the Paris Olympics – one that feels a little generic, and “designed by committee”. If you asked Midjourney to design a British Olympic kit, it might look something like this. Included in the press images are taekwondo practitioners Bianca Cook and Caden Cunningham, long jumper Jazmin Sawyers and sprinter Nethaneel Mitchell-Blake for the Olympics, which start in July, and Olivia Breen and Zak Skinner, who both take part in long jump and sprints, along with their sprint counterpart Thomas Young for this year’s Paralympics, which begin in August. There’s no doubt they look great but look closer and it’s possibly more from the fact that these are young people full of hope and excitement for an upcoming multi-sport event than the clothes they are wearing.

Grateful Dead The Aloha Shirt, hoodie, sweater, longsleeve and ladies t-shirt

Unisex shirt

Women’s shirt

Longsleeve shirt

Sweater

Hoodie

In 2013 Grateful Dead The Aloha Shirt the Rana Plaza garment factory collapsed, killing nearly 1,200 low-wage garment workers. The eight-storey complex in Dhaka, Bangladesh, had manufactured clothing for Walmart, JCPenney, Primark and Mango, among others. The collapse was a tragedy – and a media tipping point. For a while it really felt like the realities of fast-fashion production were reaching the masses. How could anyone read about the deaths of those workers and walk into a Primark again? Wasn’t it clear that the conditions and exploitations at Rana Plaza were endemic to the entire fast-fashion industry? For years I remained a loyal reader of the blogs. Then the bloggers moved to Instagram. But the internet was changing. The fashion girls I loved were becoming more like advertisers, tagging the brands in their outfits in every post and occasionally doing sponsored content. Instagram became like a shopping mall, adding features that allowed you to buy clothes straight from the app. I missed the uniqueness and idiosyncrasy of the blogging era. The fashion subcultures I loved were subsumed by the logic of algorithms.