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: After four weeks of late nights and early starts, the fashion pack could be forgiven for power napping as they waited for a show to start on a Sunday afternoon. The temptation was even greater at Ottolinger, where seating comprised a giant tessellated pile of mattresses. That is, until the techno started pumping. Backstage, designers Christa Bösch and Cosima Gadient explained they wanted guests to feel as if they were waking up and heading out into the world full of GIF-y, girl-bossy ebullience. “It’s like in the morning when there’s really warm light, and you have a good feeling about the day. You start the day upbeat, you go off and you sign a deal—it’s not an average day; it’s a really good day,” said Gadient with a laugh. If it took a little creative license for this writer to imagine inking a business deal in the show’s opening look—a deconstructed belt–meets–bra top whose straps covered the nipples and little else, paired with low-slung leather-look trousers made from recycled polyester—the audience didn’t share such prudishness. Gen Z’s love of near nudity knows no bounds, and the fan base that lounged on the mattresses wearing skin-baring looks from the Berlin-based label would think nothing of wearing a crop top to talk shop. The designers recently launched a pre-collection that they said had allowed them to tackle more conceptual ideas in their runway shows. No longer beholden to showing denim and mesh dresses, which are their big commercial hits, this freed them up to present deconstructed biker jackets and skintight bodysuits. Ironically, though, the strongest pieces were arguably the most commercial, especially the dresses that draped and hugged the body with some rubbery-looking embellishments. Dipping items in rubber is a trait that reads recognizably Ottolinger: The punked-up court shoes, which saw a classic pump wrapped in a futuristic rubber-like casing, were as covetable as the diamanté jewelry dipped in brightly colored rubber that currently sells well on the label’s website. They’d do well to continue hammering home those codes as the Y2K trend keeps rolling and numerous other labels look to replicate their success with the sexy and the skintight.
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- On some looks you could see the fossilized traces of “normal” pieces—a biker here, a gown there—but all were distended and distorted and blown up or reduced via twists and aggregations of imagination. This was not regular sizing either, Salomon-collab sneakers apart. The pieces were dark embraces. Some of the models wore headpieces in folded card flowers or apparently hodgepodge steampunk-ish assemblages, half-helmet, half-crown. Created under a briefing by Gary Card and Valériane Venance, these looked to resemble virgin crants, the maiden’s garlands in which young, prematurely deceased women were buried in pre-Reformation England. They were chilling. In look 12 that sinister aspect washed against the buoying impression of the cloth-clad shapes below that appeared to urge the wearer up again. On a possibly boring personal note, watching and then reviewing this collection today has made me flash back to my earliest seasons, eons ago, when I used to feel like a nervous fraud at every show I attended. In the absence of Sarah Mower for a season (she’s at a happy family event), I was handed a shot at Comme, and it revived that gnawing question that nagged me back then: What gives me the right to have an opinion about this? I was gripped by the same impostor syndrome that Edward Enninful (of all nonimpostors) describes so surprisingly and finely in his autobiography. And I guess the answer is, if you don’t feel like an impostor sometimes, then you probably shouldn’t be here at all.
- 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.
- It might run down the sleeves of a second skin tailored jacket, or slither down the sides of a hip-cleaving skirt in crushed velvet, a new fabric for him. More ruching worked its way diagonally across dresses which looked like they could be slipped on as easily as a T-shirt, while others had been worked with a ruffled effect (also new for Tron) that was anything but fussy or frilly. There were scuba-like leggings with tiny cut-outs at the waistband, with one-shouldered tops, and plenty of columnar or softly draped dresses with open backs, as if Tron had just taken a length of fabric and magicked it around the body, the ease of the pieces belying the kind of technical skill needed to create them. (Let me tell you something you likely already guessed: That’s a lot of skill.) Tron has been quietly working away, honing and perfecting his idea of Atlein for a while now, but this collection felt like a bit of a breakthrough moment; greater fluency in his articulation of technique, ever more commitment to sustainability (many of his fabrics were yet again upcycled or recycled) and eschewing anything extraneous in pursuit of clothes which felt strong, and real, and adult. This season’s shows marked the rather strange crossroads fashion is at: looks lighting up like fireworks on social media, and disappearing as quickly; powerful, inescapable brand statements played out on a global scale. What’s an indie designer versed in the art of making meant to do? For his part, Tron is clear. “With this collection, I’ve made peace with myself, as to who I am as a designer,” he said. “I’m focused like I’ve never been before.”
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It was a fitting fanfare for what unfolded: Rianne Van Rompaey in a medical-pink rigorous, ankle-length dress sheathed over her body, its sleeves slit to the shoulder, its waist stitched at the front and pulled apart with strict ruching. Beckham underpinned it with opera gloves in VB-monogrammed lace the color of the model’s skin, matching tights, and high satin heels with almond-shaped toes. It was pretty twisted; a kind of delectably perverse glamour only outdone by the deviation of a bag made of blond-hair-colored tassels that poured out over Van Rompaey’s arm. “It’s a big deal for me to do a show in Paris. It’s been a dream, and therefore the collection has to reflect that,” Beckham said. In the process, she took no prisoners. The months before had seen her restructure her London ateliers to facilitate the artisanal level called for by a Paris show, allowing for the perhaps easy-looking but highly complex construction of dresses such as the aforementioned. It paved the way for beautifully and psychotically draped dresses—some seedily worn over latex tights and gloves—deconstructed cami dresses that looked as if they were about to slip off the body, and perversely bias-cut fishtail gowns in more medical pastels. A black dress was adorned in slashes as if it had been clawed into. Seen in stern succession, these silhouettes were a little bit evil, and incredibly flattering
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