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: 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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- “To me, the body says what words cannot,” Martha Graham, the revered, radical American modern dancer and choreographer, once said. It wouldn’t be crazy to think that’s the kind of statement Anthony Vaccarello of Saint Laurent would concur with. His work for the house has always exalted a corporeal glory; his own view of physicality—strong, celebratory, unapologetic—and the legacy of the house merged to be totally in sync. Graham’s and Vaccarello’s orbits surprisingly spun into each other at his spring 2023 show, which was staged in the almost dreamlike Parisian setting of a grand paved garden replete with a cascading fountain that Marcel Carné would have been thrilled to have filmed upon. (The set was built especially for the show, sweeping staircases, perfectly laid flagstones, and all.) The result: a quietly epic examination of what happens when you both reveal and conceal the body—and the frisson you generate when you make your look long, lean, and loaded with attitude. Backstage, just before the show, Vaccarello mentioned that he’d been looking at the groundbreaking way that Graham dressed her company in tubular dresses for her 1930 production Lamentation, costuming which audaciously emphasized every bit of physical agility from her dancers. Vaccarello first discovered Graham, he said laughing, by being a fan of Madonna’s in the 1990s, when the Material Girl had been busy (rightly) singing Graham’s praises to the sky. But for spring Vaccarello looked back a decade earlier to YSL’s past—the mid-’80s days when models strode those old-school elevated podiums in Monsieur Saint Laurent’s hooded, draped capuche dresses.
- 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.
- Victoria Beckham’s first-ever show in Paris took place on the Friday afternoon of this hallowed Fashion Week schedule. The day before, Rick Owens presented tulle gowns the red of ox blood; in the morning Loewe showed shoes made of deflated balloons; and God only knows what Comme des Garçons has up its mastodon sleeve for Saturday. Invited to the French court of these avant-garde giants, Beckham—who started out in New York and relocated her show to London for her brand’s 10th anniversary—has reached the final chapter in her Heroine’s Journey into Fashion: the Approach to the Innermost Cave. “Things feel perfectly complicated,” she quipped during a preview for a collection that demonstrated all the knowledge she has accumulated during her 10-plus years as a fashion insider—and all the ambition she still harbors. She filled the cloisters of the church within Val-de-Grâce—the military complex where Yves Saint Laurent was hospitalized after his conscription breakdown—with a haunting aria from Madama Butterfly and layered it with a throbbing, ticking, pungent beat by Chromatics.
Rating J Hope On The Street With J Cole Decor Poster Canvas
“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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