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: Contrary to popular opinion, fashion people do eat—at least the many who attended Ellen Hodakova Larsson’s debut runway show in Paris did. Each seat held a napkin and fork; at the end of the runway was a many-tiered white chocolate cake that models and guests tucked into postshow, some with the provided utensils, others with their fingers. Why cake? “Well, I think it’s time to celebrate this way of working [with a lot of handcraft using existing materials] instead of just seeing the industry as a business,” said Larsson. “I think fashion brings joy—that’s why you start doing it, so I really want to bring this feeling back. I’m also very proud that we are actually doing this and that we spend so much time doing this together, our small team, so the cake is just a celebration for the collection.” Though she’s just three seasons into her career, the spring lineup looked back to what had come before. Woven belts returned, but this time they were used to create a “lady” dress with hourglass curves. Its enticing undulations stood in contrast to the opening look, made of men’s leather shoe uppers that had a solidity that commanded the body to conform to its shape. Another deconstruction of masculinity came in the form of a reworked and waxed pinstripe skirt suit. As Larsson is interacting with vintage garments, it’s not surprising that time is a recurrent theme in her work.
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- 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.
- The scene at Dion Lee today was like a look book by the New York–based Australian designer come to life. In the space—an empty floor in a Hudson Yards building with a breathtaking view of the city’s skyline—a lineup of influencers, models, and more stood around in full looks by the brand. All tall, slender, and muscular. All very cool. All, of course, very Dion Lee. The label’s offering usually teeters between day and night. Its knits and cargos feel both rave ready and casual enough to wear during the day, while its miniskirts, leather separates, and dresses feel dressed up enough for an evening out—perfect for a day-to-night-to-day lifestyle. But for spring Lee expanded on both ends of the spectrum. His very chic and well-cut tailoring and denim (in a just-right, grayed-out wash) offered a more dressed-up daywear assortment, while his floor-length slinky knit dresses and skirts and metallic fringe separates introduced a true evening selection. Backstage after the show, Lee pointed out that this season he honed his interest in patterns of anatomy. “I like to place things on the body in a way that relates to the structure of our form,” he said in reference to his cutouts and layering. This is something Lee does extremely well. He understands the human shape, particularly the muscular and slender type he prioritizes in casting, and knows precisely what areas of the body to uncover or enhance. His clothes are incredibly sexy; they’re alluring and exact, aggressive but curiously inviting. It would be interesting to see him build around other body types, as one often sees his clothes out in the city, and they tend to adapt well to different shapes. Lee also experimented with moto language over the summer. (Perhaps a nod to Rosalía’s Motomami? He outfitted her tour.) These padded and more industrial fabrications worked surprisingly well with his recurring monstera leaf motif, which now bleeds past tops and dresses into footwear and handbags. He said he looked to establish a relationship between nature and what he sees in his daily city life. The designer also introduced a scuba capsule, the bodysuit of which wouldn’t look out of place in a club—it’s Dion Lee, after all.
- Back in the heyday of Blogspot, there were few destinations better than Goths in Hot Weather. The niche website specialized in real-world snapshots of fully-dressed and made-up goths defying “the day star” and engaging in regular summer activities such as garden parties, sunny café lunches, and days at the beach. It’s a universal phenomenon, but—due to this country’s high concentration of goths—perhaps a particularly British one. After five years in England, Riccardo Tisci (so often labeled “goth” by the fashion press at the dawn of his career) has gained a better understanding of the intricacies and eccentricities of British society—such as the beach and summer culture that inspired his spring collection for Burberry. “British summer is very different to anywhere else in the world, because Britain is basically built on big cities on the water. That means you really see people dressing on the beach, because you never know when it’s going to rain or when there’s going to be sun. The beauty is the goth on the beach, like these kids we filmed the other day,” he said after the show, referring to the show’s goth-tastic teaser filmed in Margate. “Or, you’ll see a wedding, or someone who’s gone there at lunch time to read. It’s all different personalities.” Since Tisci brought a more sensual spirit to Burberry, its swimsuits have risen to best-seller status. That fact, mixed with his homage to the beach-going goth, created a collection of swimwear fusions and hybrids. Working with a cast that included some of Britain’s most famous models—Naomi Campbell, Karen Elson, Erin O’Connor—Tisci incorporated swimsuit elements like bikinis and bathing suit cut-outs into dresses and tailoring, which simultaneously incorporated the trademarks of the goth wardrobe: lace, netting, perforation, gothic fonts, and crinkled negligees he attributed to the punk era that paved the way. De- and reconstructed outerwear evoked the dress codes of the industrial corner of the goth population, with dissected hoods and sleeves tied around the waists of trench coats and three-piece suits with big-buttoned gilets replacing the traditional vest. For all the humorous references that informed the collection, the show was a solemn affair.
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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.
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