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: “There was this wonderful atmosphere,” he told my colleague Laird Borrelli-Persson when tonight’s runway show was announced. “Everybody works together, so it’s been an amazing experience.” Against a backdrop of paintings by the Aboriginal Australian artist Mirdidingkingathi Juwarnda Sally Gabori, the collection leaned less Alber than it did Lutz. In that, it wasn’t dissimilar from the offerings by Magugu and Manas. “It’s very much what I like,” said Huelle, who is a designer wardrobe builder, not a trend chaser. “But it’s also more glamorous and a little more sexy.” Huelle upcycles denim, and denim was a foundational element here, only it was a dark rinse and not pre-worn. Tailoring is another throughline. The cropped vest in his own collection and in this AZ Factory offering are twins, if not identical, then fraternal. At home Huelle has been experimenting with puffed taffeta volumes on the sleeves of jersey tees. At AZF, he dressed up body-con dresses with ruffled rings that encircled the torso, one in black-on-black and the other in a floral camo that was the lineup’s hero print, also appearing on robe coats and an off-the-shoulder trapeze dress. The sequin pants looked like a good time; ditto the crystalized jeans styled with a denim T-shirt. Staying true to the Amigo concept, Huelle came out for a victory lap with members of the AZ Factory team.
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- 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.
- Talk about diving in headfirst! Nobody embraces a theme like Jeremy Scott, a fact he’s reinforced throughout his eight-year run at Moschino, but this season he really went for it. “Everybody’s talking about inflation,” he said backstage. “The cost of everything’s going up: housing, food, life. So I took inflation into the collection.” He wasn’t talking about rising hemlines or oversized volumes either. He meant it literally, as we learned from look 1, a little black dress with Franco Moschino’s iconic heart done up as a mini inflatable “with a nozzle and everything.” By this observer’s count, every look save for a small handful had some sort of inflatable detail, be it a heart-shaped collar or hemline or “broken heart” lapels, one half on either side of neatly tailored jackets. There’s precedent for these kinds of antics. The house founder made a life jacket for his 1989 Cruise Me Baby collection that looked a lot like the vests stored under plane seats “in case of emergency.” Riffing on that idea, Scott added a life preserver ring to the jacket hem of a tweed skirt suit, and cut a trench in caution yellow with black raft handles where the epaulets should be. “Sometimes we feel like we’re drowning,” Scott continued, acknowledging the bad news stories clogging our feeds. “I’m sure you do. I know I do. But no matter what is going on, we have to save space for joy, right? The darker it is, the lighter I have to be.” Making good on that promise, he embellished his evening looks with honest-to-goodness pool floaties. The most inspired of the bunch included a strapless purple column cinched at the waist with the deflated ends of a pink raft, its pneumatic ends creating a train, and another strapless number that was accompanied by a Lilo stole. By the end, Imaan Hammam’s look was more of a floatation device than gown, but that was Scott’s point. Anyone who could use a little buoying up, Scott’s your pool boy.
- (Paris, it has to be said, is enraptured with this look; in the most extreme examples, seen on other designers’ runways, nothing will say spring 2023 like having one knee brazenly flaunting itself, the other having taken a season-long sabbatical by hiding behind fabric, a sartorial vow of silence.) Interestingly (and another little narrative of note from Paris these past days) this was another spring collection heavy on, well, heavier things. It was all part, Hwang said, of thinking about those earlier deliveries, when the sun, like that knee, might need quite a bit of coaxing to come out. These were some of the best pieces here: A fantastic cuddly toy of a fur, made up of upcycled panels of the faux fluffy stuff, or a really rather chic coat, which had been quilted inside, so that the pattern of the padding ‘bled’ through to the surface; it was quietly intriguing and effective both from a practical and decorative point of view. Maybe that’s what Hwang meant when he was talking about the rational and the irrational. If so, here’s another good example: Those undulating bands on his skirts, which could be fastened or unfastened via a series of hook and eye fastenings. All done up, those hooks make for an elegantly graphic embellishment. But start unhooking, letting the panel fall to reveal the body underneath. Well, then you’re in the realms of freeing your imagination as much as the designer who created the skirt you’d be wearing.
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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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