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ITEM TYPE: Brand: Byztee – Trendy Shirt: When you shop at Byztee, you can find high-quality T-shirts that will keep you cool and comfortable whether it’s hot outside or freezing outside. We also work to give our clients the best customer service by upholding customer satisfaction guidelines and adopting an open-door policy.
MATERIAL: Product Description: For both men and women, we only utilize premium 100% cotton t-shirts that have a long-lasting finish. Because our shirts are always available in large sizes, you can be confident that they will fit you perfectly and enhance your appearance. Its fabric, including the hoodie, sweater, tank top, long sleeves, and v-neck T-shirt is made of. CLASSIC UNISEX T-SHIRT: 100% cotton is used for solid colors, 50% cotton and 50% polyester is used for Heather colors (Sport Grey is 90% cotton and 10% polyester), and 60% cotton and 40% polyester is used for Antique colors. UNISEX HOODIE AND SWEATSHIRT: 50% polyester and 50% cotton. cloth that is incredibly strong and smooth and is made from specifically spun fibers, making it ideal for printing. The majority of pollutants can’t harm polyester fibers, and they also withstand stretching and shrinking. UNISEX LONG SLEEVES: Combed and ringspun cotton of 100% Airlume (fiber content may vary for different colors). Heather hues are 52% cotton, 48% polyester, while solid colors are 100% cotton (Athletic Heather is 90% cotton, 10% polyester). UNISEX TANK TOP: Tri-blend colors are 50% polyester, 25% cotton, and 25% rayon, while solid colors are 100% cotton, heather colors are 52% cotton, 48% polyester, and athletic heather is 90% cotton, 10% polyester. KID CLASSIC TEE: Our most popular tee for kids. The Youth Tee fits both men and women equally. This midweight shirt is often composed of 100% cotton and is comfortable to the touch. Only Light Heather Grey (90/10 cotton/polyester) and Dark Heather Grey (50/50 cotton/polyester) are exceptions. Shipping And Return Policy at Byztee: We at Byztee are committed to providing our clients with high-quality apparel in original designs that uphold our corporate values of accessibility and affordability. We are dedicated to offering high-quality goods at competitive prices. All of the nations where we offer shipping and delivery services will receive it, Hoodie, Sweater, Tank Top, Long Sleeve, and V-neck T-shirt. Delivery of the item will take 5-8 business days in the US and 10-15 business days for clients in the EU. We sincerely appreciate that you took the time to read our item description, and we sincerely hope that it provided you with enough information to make an informed decision. Please get in touch with us at: [email protected] if anything is still unclear or if you have any questions. Enjoy your day!

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Related Articles: For Akris’s 100 birthday, Albert Kriemler put on a show at the Palais de Tokyo, with a 2011 Ugo Rondinone rainbow sculpture proclaiming We Are Poems arching over the pools. Kriemler has a strong affinity for art, and he said he worked months negotiating the loan; the agreement was just finalized this morning. For the finale, he made chiffon dresses in each color of Rondinone’s rainbow, and another in a creamy beige with rainbow stripes on the inside of its vertical pleats. He often works with artists on the collections, but given the important milestone, he took himself for a collaborator this season. Akris, for those who missed its first century, is a Swiss company renowned for the fine quality of its fabrics. Beyond his strong connections with artists, Kriemler has a reputation for exacting designs and a minimalist’s eye for embellishment. He has no social media presence; timelessness, not viral trends, is what he’s after. For the celebration, he selected nine pieces from the company’s archives to walk the runway (in the selling showroom, there are reeditions). “I was so impressed [by] how modern my clothes look today,” he said. The double-face cashmere coat that opened the show dates to 1978; a black single-face cashmere trench from two years later. They handily made Kriemler’s point about the timelessness of Akris’s products, but if you couldn’t pick the vintage pieces out of the lineup, that’s partly because he lifted some of the motifs and applied them elsewhere; the large gold buttons that appear throughout the collection were taken from a circa 1979 navy cashmere caban. Also interesting was a gabardine suit in twisted wool from 1993. He explained, “I have to redo it and I don’t really know if we’ll succeed, because these yarns just don’t exist anymore.” He had a similar challenge re-creating a lace from the 1980s: “The original lacemaker asked for six months to reproduce it.” That these resources and skills are fading with the passing of time is perhaps not surprising—we live in a fast-fashion world—but it is sad. So it was cheering to hear the story behind the collection’s multicolored hearts. The hearts were the first print made by the Como-based manufacturer Gianpaolo Ghioldi for Akris. At first Ghioldi was wary about Kriemler’s request to work together. In the late ’80s, when Kriemler came knocking, Ghioldi only supplied to couturiers. But eventually Kriemler won him over. Today, Ghioldi’s son runs the company, and it’s the base for all of Kriemler’s digital prints. What comes around, goes around—hearts, rainbows, and vintage Akris.

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1. The usual pandemonium outside the Dolce & Gabbana show was cranked up to 11 this afternoon. Three days ago, Kim Kardashian touched down in Milan and posted a pic of herself disembarking a PJ with the hashtags #CiaoKim and #DolceGabbana. The designers have been linked to the Kardashians since this past May, when they wardrobed Kourtney Kardashian and Travis Barker’s wedding in Portofino. At a press conference this morning, Kim said that today’s collaboration came about when Dolce and Gabbana discovered that the clotheshorse brought her own collection of vintage D&G to the nuptials, including “some pieces that even they didn’t have in their own archives.” The proposal went something like this: Kim would act as curator, selecting pieces from past collections, specifically the 20-year period between 1987 and 2007 (conveniently spanning the Y2K years that are trending at the moment), and the designers would rework those pieces for today, but subtly, so that the links between then and now are obvious enough for the social media audience, where so much of fashion communication plays out in 2022. The benefits for Dolce & Gabbana are plenty. The Kardashian-Jenners in attendance today boast a combined 652 million followers. As for Kim, hooking up with Dolce & Gabbana doesn’t just burnish her high-fashion image, but thanks to the internet’s capacity to flatten time, it somehow also stretches her influence. She became a household name in 2007 when Keeping Up With the Kardashians began airing, but with this partnership she’s put her stamp on two extra decades. Damn, she’s good at the fame game. Explaining her affinity for the brand at the press conference, Kim said, “Yes, I have this futuristic alien Barbie personality, which I like. But in my soul I feel very sensual Italian mob wife at the same time. I don’t know if that’s appropriate to say.” Of course, Dolce & Gabbana has worked the sensual Italian wife trope to its own ends, as editorials and ad campaigns of D&G favorites from back in the day—including Eva Herzigova and Helena Christensen, who sat in the front row—attest. On the runway, corsets, wiggle dresses, and lingerie sets were stitched with labels at the hip or wrist identifying the year they were first presented. At the same time, other pieces served Kim’s own interests. “It’s very Skims-y,” a seatmate said, nodding at a stretch-jersey number circa 1990 and a new one made in its image. For those of you living under a rock, Skims is Kim’s $3.2 billion shapewear brand. Presumably, all of this is future content for Hulu’s The Kardashians show, too; season two premiered a couple of nights ago. All the top fashion brands are getting into the entertainment business. Dolce & Gabbana has always been an early adopter. With Kim’s help it just raised the stakes.
2. A while back, whilst in Paris, Thom Browne caught a version of the Cinderella story at the magnificent gilded folly that is the Opéra Garnier. I suspect it was Cendrillon by Jules Massenet. This afternoon Browne returned to Napoleon III’s most magnificently OTT architectural memento to present a production of his own: what he called “An American prom mixed with Cinderella mixed with the Paris Opera.” Just in case we didn’t know what to expect, Gwendoline Christie provided disambiguation. She emerged in a full-length single-breasted white-piped braided blazer—double vented—and some marvelous golden sandals with little effigies of Hector (who got lots of walkies this season) at the front of each foot. After a slow mosey around the golden halls she returned to ours and began spritzing herself in cologne and brushing her locks. And then she told us of what was to come: “Thom loves his little stories—and this is going to be a very long story.” We settled into our golden chairs. And the story went a little bit like this. Four rouge-lipped hot boys came and removed Christie’s dressing table, wearing quintessential Browne gray tailoring and kilt: salarymen at a Scottish reel. Then came 21 opera coats—the first in a tri-clolor arrangement—with collegiate numbers on each back: I noted every number. The came five frock coats, and three swing skirts with petticoats, plus one white witch extra. And then all 21 coat-wearers returned with their unders revealed: all polka dot tailoring and pastels and peek-a-boo underwear. As a Brit, it was impossible not to see the tradition of pantomime—but was this a projection? The best section by far ran 52 to 56, when the punks invaded the assembly. Westwood was an unavoidable comparison, but it was convincingly great (as was Joan Jett on the PA) unto itself.
3. For Akris’s 100 birthday, Albert Kriemler put on a show at the Palais de Tokyo, with a 2011 Ugo Rondinone rainbow sculpture proclaiming We Are Poems arching over the pools. Kriemler has a strong affinity for art, and he said he worked months negotiating the loan; the agreement was just finalized this morning. For the finale, he made chiffon dresses in each color of Rondinone’s rainbow, and another in a creamy beige with rainbow stripes on the inside of its vertical pleats. He often works with artists on the collections, but given the important milestone, he took himself for a collaborator this season. Akris, for those who missed its first century, is a Swiss company renowned for the fine quality of its fabrics. Beyond his strong connections with artists, Kriemler has a reputation for exacting designs and a minimalist’s eye for embellishment. He has no social media presence; timelessness, not viral trends, is what he’s after. For the celebration, he selected nine pieces from the company’s archives to walk the runway (in the selling showroom, there are reeditions). “I was so impressed [by] how modern my clothes look today,” he said. The double-face cashmere coat that opened the show dates to 1978; a black single-face cashmere trench from two years later. They handily made Kriemler’s point about the timelessness of Akris’s products, but if you couldn’t pick the vintage pieces out of the lineup, that’s partly because he lifted some of the motifs and applied them elsewhere; the large gold buttons that appear throughout the collection were taken from a circa 1979 navy cashmere caban. Also interesting was a gabardine suit in twisted wool from 1993. He explained, “I have to redo it and I don’t really know if we’ll succeed, because these yarns just don’t exist anymore.” He had a similar challenge re-creating a lace from the 1980s: “The original lacemaker asked for six months to reproduce it.” That these resources and skills are fading with the passing of time is perhaps not surprising—we live in a fast-fashion world—but it is sad. So it was cheering to hear the story behind the collection’s multicolored hearts. The hearts were the first print made by the Como-based manufacturer Gianpaolo Ghioldi for Akris. At first Ghioldi was wary about Kriemler’s request to work together. In the late ’80s, when Kriemler came knocking, Ghioldi only supplied to couturiers. But eventually Kriemler won him over. Today, Ghioldi’s son runs the company, and it’s the base for all of Kriemler’s digital prints. What comes around, goes around—hearts, rainbows, and vintage Akris.

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The centerpiece of the Hermès show was a large dune. We were camping—or better make that glamping, given the environs. “The Hermès girls are taking a bivouac, a big hike in the desert, and setting up a camp at sunset to have a party, a big rave,” Nadège Vanhee-Cybulski said backstage. After a couple of years of lockdowns, the vacation industry came roaring back this summer. Instagram feeds were awash with content from picturesque spots, a sort of one-upmanship of far-off destinations—Patagonia, Kenya, Alaska. All that long-distance travel, that living outdoors, requires a different kind of gear than our urban existence does, and we’ve made kitting ourselves out part of the fun. Vanhee-Cybulski—a day hiker more than a camper, she confessed—had clearly studied the utilitarian details of outdoor equipment. The back of a tech-fabric raincoat rolled up to reveal an underlayer of breathable mesh, and slim-line dresses were built with user-friendly zips that allow their wearer to customize the look. Elastic cording, though less adaptable, evoked the tension and release of tent construction. She didn’t push the metaphor too far. A hooded rain poncho in the supplest leather wouldn’t be worth much out in the elements, for example, and the platform sandals couldn’t get far in the wild, but they do hew to the experienced trekker’s cardinal rule: They’re remarkably light. What the season’s theme gave Vanhee-Cybulski a chance to do was play with gorgeous desert colors: a whole palette of earthy tans, browns, and terra-cottas, as well as luscious sunset hues. A terrific dress in color-blocked shades of pink was designed to evoke flags rustling in the wind. The scarf-print numbers looked even better with a pair of 3D glasses. As ever, what the Hermès ateliers can get up to with leather is impressive. A dress with circular leather appliqués that got subtly bigger from neck to hem was a breezy knockout.

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