ITEM TYPE: Poster Canvas from Byztee is premium poster canvas. Get wall art that you’ll love printed on premium canvas prints, framed art prints, poster prints, and more, all of which ship quickly and come in custom sizes.
MATERIAL: Poster Information: Edge-to-edge printing with no borders on 200 GSM paper. 36 inches x 24 inches, 24 inches x 16 inches, and 16 inches x 12 inches are the dimensions. American-made printing. This object is not framed. Canvas Information: Please choose between Framed or Unframed Canvas: Unframed canvas: You will only get one roll; they have simply printed images on a canvas that cannot be hung. You must create your bespoke frames and mount them in your manner. Framed canvas: Each image is already framed so that the canvas can be stretched. After receiving the item, all you have to do is hang it up. The already attached hook makes hanging quick and simple. 36 inches x 24 inches, 24 inches x 16 inches, and 16 inches x 12 inches are the dimensions. Symbolic artwork is printed on strong, water-repellent, and wear-resistant materials. 360 gsm woven, artist-quality ultra-thick matte canvas. Long-lasting lightfast canvas prints and UV archival inks that prevent fading. Protective coating that deters spills and scratches. Printing on one side. Customer Satisfaction Guarantee: Please request a REPLACEMENT or REFUND using the email provided with the merchandise if you have any problems. Now that you’ve reached the top, click Add to Cart to start your preferred experience.
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Related Articles: Exploration of form, rather than narrative, is what drives Melitta Baumeister. It also keeps a steady stream of interns knocking on her door in Washington Heights. They always say, “I want to know how you make these shapes,” says the designer with a laugh. There’s not a single answer to that question. The shoulder points of a witchy dress in the spring collection are formed by a wooden harness. What I’m calling the chair dress makes use of an inflatable, rather than foam, which the designer has employed in the past. Soft boning is used for 3D frills, and one way volume is created is by using pleating on the crossgrain. Pleating, says Baumeister, also replicates the “bounciness” and “wobbliness” of knits. Baumeister is a wizard with lines and circles and squiggles, which she applied for spring with various degrees of intensity. There are plenty of options on the tamer end of the spectrum. Among them are a shirtdress in an exaggerated A-line shape, tent dresses with bubbled hems, an especially smart oversize parka, and generously tailored jackets with extra long and extra skinny sleeves worn with shorts-pants, which can be detached at mid thigh. Some of the pieces in Baumeister’s spring collection place her work in line with what Satoshi Kondo and Yusuke Takahashi are doing at Issey Miyake and CFCL respectively, but her world is her own. It’s one of circus mirror exaggeration and exacting techniques. Wallflowers be warned: There is nothing “safe” about this designer’s work. “I like the extreme points of something,” says Baumeister. “Whether it’s extremely round or extremely pointy, I like to see where the edge of something still being wearable is.”
Basic Marcus Rashford Is Player Of The Month For February Of Manchester United Decor Poster Canvas
- “To me, the body says what words cannot,” Martha Graham, the revered, radical American modern dancer and choreographer, once said. It wouldn’t be crazy to think that’s the kind of statement Anthony Vaccarello of Saint Laurent would concur with. His work for the house has always exalted a corporeal glory; his own view of physicality—strong, celebratory, unapologetic—and the legacy of the house merged to be totally in sync. Graham’s and Vaccarello’s orbits surprisingly spun into each other at his spring 2023 show, which was staged in the almost dreamlike Parisian setting of a grand paved garden replete with a cascading fountain that Marcel Carné would have been thrilled to have filmed upon. (The set was built especially for the show, sweeping staircases, perfectly laid flagstones, and all.) The result: a quietly epic examination of what happens when you both reveal and conceal the body—and the frisson you generate when you make your look long, lean, and loaded with attitude. Backstage, just before the show, Vaccarello mentioned that he’d been looking at the groundbreaking way that Graham dressed her company in tubular dresses for her 1930 production Lamentation, costuming which audaciously emphasized every bit of physical agility from her dancers. Vaccarello first discovered Graham, he said laughing, by being a fan of Madonna’s in the 1990s, when the Material Girl had been busy (rightly) singing Graham’s praises to the sky. But for spring Vaccarello looked back a decade earlier to YSL’s past—the mid-’80s days when models strode those old-school elevated podiums in Monsieur Saint Laurent’s hooded, draped capuche dresses.
- During the course of the show, he started to introduce bright saturated colors as a contrast—electric blue, acid green, emerald green—which looked at their most dazzling when deployed for the dream-it-and-we-can-make-it technical marvel of his pleated sequin pieces, such as a shrug it on coat, or a sweeping floor-length backless evening dress. (How often does one see pleated sequins, particularly when the folds run on the bias? Like, never. Difficult to do doesn’t even begin to describe it.) Of course, what was going on here wasn’t some old school narrative of a shift from one trend to another: Nothing so first degree. What Piccioli has triumphed at these past few years is the way he has challenged himself, the house he oversees, and the industry itself, to keep thinking differently, respectfully, democratically. (Consider how, at the end of his show, he led the models out onto the street, so the crowds outside could see the collection.) He has proven himself to be a particularly sensitive and thoughtful protagonist. His spring collection was dubbed Unboxing, as in thinking out of the…. Such as: Refuting the notion he could only work with uberstar models. The cast here was almost all unknowns, some of whom had never walked a show before; the better, Piccioli thought, for the audience to focus on who they are as individuals and not on their status in the industry. (Which might have explained why a few found the heels tricky.) Or challenging the orthodoxy of fashion speak, in this case, the term minimalism. Backstage, Piccioli laughed at the idea that sequins couldn’t be thought of as minimal. For him, he said, it all came down to the idea of how you designed to be reductive without taking away. Being behind the scenes gave another insight into what was going on here. Pinned up above a moodboard was a quote from Richard Avedon (Piccioli had recently visited the late photographer’s ongoing retrospective in Milan.) “My photographs don’t go below the surface… I have great faith in surfaces. A good one is full of clues,” Avedon said. In other words, in Piccioli’s view, a designer can only give their vision. The rest of us have the right to interpret what he presents, to look further and deeper, in whatever way we like.
- “To me, the body says what words cannot,” Martha Graham, the revered, radical American modern dancer and choreographer, once said. It wouldn’t be crazy to think that’s the kind of statement Anthony Vaccarello of Saint Laurent would concur with. His work for the house has always exalted a corporeal glory; his own view of physicality—strong, celebratory, unapologetic—and the legacy of the house merged to be totally in sync. Graham’s and Vaccarello’s orbits surprisingly spun into each other at his spring 2023 show, which was staged in the almost dreamlike Parisian setting of a grand paved garden replete with a cascading fountain that Marcel Carné would have been thrilled to have filmed upon. (The set was built especially for the show, sweeping staircases, perfectly laid flagstones, and all.) The result: a quietly epic examination of what happens when you both reveal and conceal the body—and the frisson you generate when you make your look long, lean, and loaded with attitude. Backstage, just before the show, Vaccarello mentioned that he’d been looking at the groundbreaking way that Graham dressed her company in tubular dresses for her 1930 production Lamentation, costuming which audaciously emphasized every bit of physical agility from her dancers. Vaccarello first discovered Graham, he said laughing, by being a fan of Madonna’s in the 1990s, when the Material Girl had been busy (rightly) singing Graham’s praises to the sky. But for spring Vaccarello looked back a decade earlier to YSL’s past—the mid-’80s days when models strode those old-school elevated podiums in Monsieur Saint Laurent’s hooded, draped capuche dresses.
Basic Marcus Rashford Is Player Of The Month For February Of Manchester United Decor Poster Canvas
There were two sides to the collection Sialelli showed in L’Atelier des Lumières, a former foundry on Rue Saint-Maur, the walls of which he bathed in projections of poetic footage created by the film-maker Joshua Woods. On the narrative side, we were on holiday somewhere between the desert of Marrakech and the coast of Casablanca: yellow and blue coats and miniskirts constructed in shiny eel skin, seaweed-shaped embroideries on jackets, and knitted robes de style that bounced like jellyfish. On the technical side, we were between the pristine and the deconstructed: pristine coats, shorts and mini-skirts frayed at the hems, macramé tops meticulously but coarsely handcrafted in silk tubing, crispy cotton dresses, and stone-washed satin coats that played to the same contrast. Transparent cloqué coats and suits and some of the more prettified robes de style considered, “subdued” would probably be overstating the evolution. But Sialelli did clarify his proposition. Gone were the animated prints, wild art deco ornamentations, and ballroom gestures of previous seasons. In their place, he turned to an earthy palette energized with hits of electric blue and orange, and materials—such as those eel coats, or the plumage that adorned path-clearing ballerinas—that were naturally graphic rather than artificially or animatedly so. Amongst the more complex proposals were some nice options for luxurious tailoring: clean enough to be timeless and sculpted enough to push past pre-collection territory.
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