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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: But it’s also due to the rigor with which he collaborates with suppliers, many in Japan’s Tohoku, Hokuriku and Kanto regions, whom he knows from his Miyake days designing menswear. His willingness to challenge them on everything from switching to renewable energy sources to cutting down on water consumption is admirable—and documented in detail on CFCL’s website. For spring, his fifth collection, Takahashi wanted to temper his cocooning silhouettes and zingy colors to focus on elegance. “Knitwear has a history of casual wear, it’s not used for suits or evening dress,” he said. “So for our first presentation for PFW, I was thinking about authentic elegance. I was looking at Yves Saint Laurent’s Le Smoking. But I wanted to combine elegant eveningwear with comfort.” A slim-cut double-faced knit blazer in black with a gentle peplum and a navy lining fit the bill, as did cupro-recycled-polyester mix trousers with the pleat sewn in. Elsewhere, Takahashi has been thinking about science fiction, and the futuristic aesthetic of Stanley Kubrick’s 2001: A Space Odyssey. Body-skimming and bell-shaped dress styles were reworked in sheer knit with a dry touch, intended to be layered over wide-leg pants and skirts. Delicate peplum-flared cardigans were paired with flared trousers. In accessories, woven pouch bags worn as wristlets have also proved popular and were reworked for spring in cobalt blue and bubblegum pink. In October, Takahashi will open his brand’s first store in Tokyo, with a second planned for next year. He already has over 100 doors in Japan, and has his sights set on expansion in Korea, Vietnam and China, as well as Paris. “People feel a sympathy with our clothes, because they are made for urban life,” Takahashi said. “Not so many brands focus on function—wrinkle-resistance, quick-dry, easy to wash and care for—as well as elegance. But it’s just the beginning.”

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1. 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.
2. And just like that, boom! Everything changed. Last March, Pierpaolo Piccioli sent out a Valentino collection that included a 48-look homage to the power of fuchsia, and the audience at his show today had clearly got the memo and dressed accordingly. Just about everywhere you looked, that color reigned supreme on clients and celebs alike, though none looked as major in it (and I will brook no argument on this) as Erykah Badu, who worked it from the tip of her towering stovepipe hat to the trailing hem of her feathered coat. (Even more major: The way Ms. Badu adorably bobbed up and down in her seat, phone in hand, primed to film Piccioli’s appearance on the runway at the end of his show the minute he popped out from backstage.) So there was every eye in the room training itself on Piccioli’s opening salvo for next spring, and what did we get? No more Think Pink, that’s for sure. Instead, a caped dress in the palest of beiges that was graphically emblazoned with the house’s V logo. The marque was over absolutely everything, including the gloved bodysuit worn under the dress (silky knit body-suiting, designed to counteract the diaphanous nature of his fabrics and make women feel more comfortable about wearing such gauzy materials, was a constant refrain here). It was even painted across the model’s face, an incredible effect courtesy of the deft hand (and ceaseless imagination) of Pat McGrath. That was just the start. Piccoli focused his look on mostly beautifully cut flowing, undulating dresses, short or long, some scissored away at the waist (inspired by the slashed canvases of artist Lucio Fontana) and soft suiting that was androgynous with or without the feathery trims, in myriad shades of ivory, beige and brown, his celebration of the beauty of every skin tone.
3. And just like that, boom! Everything changed. Last March, Pierpaolo Piccioli sent out a Valentino collection that included a 48-look homage to the power of fuchsia, and the audience at his show today had clearly got the memo and dressed accordingly. Just about everywhere you looked, that color reigned supreme on clients and celebs alike, though none looked as major in it (and I will brook no argument on this) as Erykah Badu, who worked it from the tip of her towering stovepipe hat to the trailing hem of her feathered coat. (Even more major: The way Ms. Badu adorably bobbed up and down in her seat, phone in hand, primed to film Piccioli’s appearance on the runway at the end of his show the minute he popped out from backstage.) So there was every eye in the room training itself on Piccioli’s opening salvo for next spring, and what did we get? No more Think Pink, that’s for sure. Instead, a caped dress in the palest of beiges that was graphically emblazoned with the house’s V logo. The marque was over absolutely everything, including the gloved bodysuit worn under the dress (silky knit body-suiting, designed to counteract the diaphanous nature of his fabrics and make women feel more comfortable about wearing such gauzy materials, was a constant refrain here). It was even painted across the model’s face, an incredible effect courtesy of the deft hand (and ceaseless imagination) of Pat McGrath. That was just the start. Piccoli focused his look on mostly beautifully cut flowing, undulating dresses, short or long, some scissored away at the waist (inspired by the slashed canvases of artist Lucio Fontana) and soft suiting that was androgynous with or without the feathery trims, in myriad shades of ivory, beige and brown, his celebration of the beauty of every skin tone.

Rating RIP The Legend Just Fontaine 1933 2023 Shirt

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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