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: Laura and Deanna Fanning have previously expressed frustration at a regular remark from retailers viewing their womenswear line for Kiko Kostadinov: “So, where are your frocks?” Determined to dress women in decisive day-to-nightwear, they design pieces that make you look twice—a dress with poppers that transforms into a vest and mini skirt from their spring/summer 2022 collection recently made it into Dua Lipa’s wardrobe, for instance. It was a little surprising, then, to see floaty silk-georgette and chiffon midi dresses wafting through the high-school gymnasium that served as their show venue for their Paris Fashion Week debut. Were they feeling the Paris romance? “We wanted to push ourselves through things that are a bit more draped,” the sisters said, nodding, backstage after the show. “It was a bit of a risk but it’s been fun to play with the transparencies, the delicate and ephemeral. The collection was about fantasy for us—fantasy and hope.” Kiko fans—and judging from the number of fashion insiders toting the label’s popular Trivia bag around Paris this week, they are numerous—will be pleased to know that the fantasy came with the Fannings’ habitual made-you-look edge. A pretty azure-blue dress had an ab-baring cut-out and was styled with off-beat chain-link necklaces worn across the body, from which dangled juicy-hued beads. Another style layered an elegant asymmetric turquoise slip over apple green silk-georgette. A clingy dress featuring pastel shades of mesh layered over one another boasted a pleasing neckline, folding out from the bust like a napkin in a fancy restaurant. What made them work was a playful deftness and sporty edge in the styling. The 19-year-old British model Mia Regan, sat front row, and is emblematic of the pretty-tough girls that wear Kiko, seemed taken with the cowl-neck mini dresses, too.
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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.
- 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.
- They were visions of languid elegance, dressed to the nines with myriad jeweled accessories, the maquillage as immaculate as the hauteur they were so gifted at projecting. Vaccarello riffed on all the draping and hoods for a slew of beautifully rendered dresses cut from jersey in two different weights: one heavier and opaque, giving a more constructed look; the other lighter and gauzier, gently—and barely—veiling the body underneath. Some of these dresses were slipped under sweeping great coats and trenches—which fell in narrow columnar proportions from big shoulders in leather, tweed, or wool—or paired with more leather in the form of capacious blouson jackets that nipped inwards as their cut moved toward the waist. (Vaccarello deftly mimicked the silhouette and made it more day with a draped sweater with a hood over tapering track pants—and in contrast, loosened everything up with a series of terrific pajama suits, the standout in ivory polka dots on black.) Vaccarello’s color palette was gloriously muted but definitive, taken from the clothes shot on Polaroid from YSL fittings back in the day: soft browns, purples, camels, olives, and taupes, their tones heightened by the substantial jeweled or Claude Lalanne–esque gold cuffs. There were barely-there sandals and satiny pumps with high-cut vamps and gleaming metallic shades. Everything came together to create a look that was finished, polished, considered, and—time to bring back this word, clearly—done: a riposte to the idea that everything is heading us toward some inexorable slide into bland, dull, uniform, social-media-hyped coolness. Yet ’30s or ’80s, it didn’t really matter. What drives Vaccarello is where we are right now. Despite the historical referencing, his push is to always exist in the present. You can trace that from this collection back through his last few women’s runway shows. It’s a thread that takes you from the bold-shoulder blazers and latex of winter 2020 to the Belgian-y swaggering coats and floor-trailing skirts he did for fall to tonight’s offering. Let’s call what Vaccarello is doing empower dressing. It doesn’t rest on the outward gestures—the width of the shoulders, the height of the heels, or the length of the skirts. Instead, it reflects what’s within, unspoken, but undeniably powerful and potent.
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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.
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