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: Demna has had his own experience of war—he fled Georgia with his family when he was a young boy of 10. Being gay compounded his struggles. “I’ve felt like I’ve been punched in my face for being who I am,” he said, but “you have to stand up and continue walking, kind of like this crusade of discovering who you are and defending that.” He called this a “very me show.” It was heavy on grafitti’d hoodies and ravaged jeans, but there was also evening wear, in clingy T-shirt jersey or glamorous pleats. These were survivors against the odds, a point Demna made by sending out men clutching baby carriers propped with eerily lifelike dolls. “Naturally I’m an optimist, but I cannot be very optimistic right now,” he said. “I think this show actually expresses that very much—the music, the set, it spoke about the moment in which we live.” The soundtrack by BFRND was actually quite terrifying. To finish, Demna sent out a dress made from cut-up parts of black Balenciaga Lariat bags, a make-do-and-mend masterpiece that also pointed up our nasty overconsumption habits. Remember, he sent every last piece through the mud, a “sacrilege” by luxury standards. Using fashion to comment on the crises that plague us is a tricky business. Of course Demna wants us to shop, and of course his bosses do, too. But when it comes time to spend, my money’s on the guy who looks around and is terrified, not the sleepwalkers.
Dramatic Walt Disney Animation Studios 100th Anniversary Official 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.
- 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.
- At the moment this Givenchy show was due to start in the Jardin des Plantes—outdoors—it was raining in a concerted and highly depressing manner. Luckily Valentino had started so late, and, thanks to footwear dramas, gone on so long, that the fashion traffic jam was around 30 minutes late squeezing its way to this show. The rain calmed as we crawled onwards. What had seemed an imminent catastrophe was scaled down by the time we arrived to mere potentially preventable disaster. The set-up was a runway and benches made of cork. We wiped them down and sat on our umbrellas to avoid getting soaked unmentionables. You were better off wearing dark pants—that cork stained. By the time the first models emerged there was blue above. A fascinating piece in the New York Times had already created an anticipatory contextualization for what was a radical shift under Matthew Williams. He’d brought in Carine Roitfeld—no longer working with MaxMara—as a stylist and shifted the emphasis of what that newspaper’s writer Jessica Testa inferred was a house with no distinct codes. But was that so? What we got was a sandwich fashioned from couture flavored bread—delicate, feminine, sometimes derivative and a little processed—that was filled with a highly-flavored LA mayonnaise. The ruching on the opening, excellent dresses, was an Hubert staple. The boucle jackets, conversely, did not belong here: this was a brazen sample to drop. During one weird moment the show transitioned to Williams’s home territory of streetwear infused contemporaneousness—great denim, slouchy combats, all of that—just as the soundtrack segued into Fleetwood Mac’s Everywhere; the most vanilla track one could ever imagine this highly progressive music-lover choosing. I looked across the runway and noticed that Ye was tapping the toes of his Balenciaga gumboots in time. Things were getting weird. The closing phase was rather magnificent, although the party was often at the back. A red dress featured a gorgeous swooping rear hemline that curved from the shoulder to sacrum. Another dress was tied up at the back in a series of bows: simple but lovely. These, Williams said afterwards, were part of a series of archival looks that he and Roitfeld had dug up from the archives and reworked. So this is a house with codes, after all. Was Willams losing his mind when that storm came in? He feigned calm, saying: “I was thinking that their skin would look beautiful with the water on it. And the liquid in the hair… it would look incredible. And that it would be more dramatic in the rain.” He added of Roitfeld’s involvement: “She understands the house and the Parisian woman. So we built the collection together—it’s a dialogue between us. The beautiful thing about the brand is that it speaks to different women. It’s good to speak to everybody.” Even if the risk in trying to speak to everyone is that you end up connecting with no-one. However Williams, I suspect, could still untie the knotty problem that is Givenchy. As the Times of New York pitched it, he just needs time. But will he get it?
Additional Walt Disney Animation Studios 100th Anniversary Official Poster Canvas
The Hadids brought the noughties nostalgia full circle: Gigi in a sculpted cargo suit that echoed McCartney’s Savile Row days; Bella in a shrunken vest and low-riding trousers with rhinestone-encrusted cut-outs around the hips that would have had Shakira circa Whenever, Wherever spilling kisses like a fountain. Right now, there’s no bigger gold vein in youth-oriented fashion than Y2K dressing. While at Chloé, McCartney’s influence on the era was so vast that you might wonder why the brand’s current custodian, Gabriela Hearst, hasn’t mined those archives already. Asked if it feels weird to see her own work revived in such a big way, McCartney sighed. “It makes me feel extremely old! My daughter, who’s 15, all she does now is go into my closet and take all my original things. And I’m like, ‘Oh, but I make similar things now.’ She’s not interested. She just wants the ’90s.” Nostalgia wasn’t, however, the driving force behind McCartney’s choice to adapt and reissue these pieces. The Japanese artist Yoshitomo Nara was. She used his depictions of children as motifs on garments, and focused the collection around his slogan, “Change the History.” “I want to look back at my history and redefine where I started and where I am now and what the next Stella looks like,” said McCartney, explaining her trip down memory lane. For her, of course, that transition has everything to do with sustainability. She re-evoked the 2000s through the finest technology the 2020s have to offer: garments in regenerative bio-diverse cotton that “encourages nature”; shoes in plant-based materials like faux leather made out of grape skins; bags in mycelium mushroom leather; and rhinestone pieces created without animal glues and solvents. In a season that’s seen Dolce & Gabbana reviving their Y2K archives with the help of Kim Kardashian, and the likes of Versace and Fendi taking the era’s low-slung trousers to new gravities, McCartney’s reenergizing of the fashion history she helped shape in such a big way felt both ethically and epically right.
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