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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: At the moment this Givenchy show was due to start in the Jardin des Plantes—outdoors—it was raining in a concerted and highly depressing manner. Luckily Valentino had started so late, and, thanks to footwear dramas, gone on so long, that the fashion traffic jam was around 30 minutes late squeezing its way to this show. The rain calmed as we crawled onwards. What had seemed an imminent catastrophe was scaled down by the time we arrived to mere potentially preventable disaster. The set-up was a runway and benches made of cork. We wiped them down and sat on our umbrellas to avoid getting soaked unmentionables. You were better off wearing dark pants—that cork stained. By the time the first models emerged there was blue above. A fascinating piece in the New York Times had already created an anticipatory contextualization for what was a radical shift under Matthew Williams. He’d brought in Carine Roitfeld—no longer working with MaxMara—as a stylist and shifted the emphasis of what that newspaper’s writer Jessica Testa inferred was a house with no distinct codes. But was that so? What we got was a sandwich fashioned from couture flavored bread—delicate, feminine, sometimes derivative and a little processed—that was filled with a highly-flavored LA mayonnaise. The ruching on the opening, excellent dresses, was an Hubert staple. The boucle jackets, conversely, did not belong here: this was a brazen sample to drop. During one weird moment the show transitioned to Williams’s home territory of streetwear infused contemporaneousness—great denim, slouchy combats, all of that—just as the soundtrack segued into Fleetwood Mac’s Everywhere; the most vanilla track one could ever imagine this highly progressive music-lover choosing. I looked across the runway and noticed that Ye was tapping the toes of his Balenciaga gumboots in time. Things were getting weird. The closing phase was rather magnificent, although the party was often at the back. A red dress featured a gorgeous swooping rear hemline that curved from the shoulder to sacrum. Another dress was tied up at the back in a series of bows: simple but lovely. These, Williams said afterwards, were part of a series of archival looks that he and Roitfeld had dug up from the archives and reworked. So this is a house with codes, after all. Was Willams losing his mind when that storm came in? He feigned calm, saying: “I was thinking that their skin would look beautiful with the water on it. And the liquid in the hair… it would look incredible. And that it would be more dramatic in the rain.” He added of Roitfeld’s involvement: “She understands the house and the Parisian woman. So we built the collection together—it’s a dialogue between us. The beautiful thing about the brand is that it speaks to different women. It’s good to speak to everybody.” Even if the risk in trying to speak to everyone is that you end up connecting with no-one. However Williams, I suspect, could still untie the knotty problem that is Givenchy. As the Times of New York pitched it, he just needs time. But will he get it?
Relevant Jon Jones Is The Heavyweight Champion Of The World At UFC 285 Decor Poster Canvas
- (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.
- The Sacai collection began with a hybridized tuxedo-shirt combination, the pleats of the black jacket and white button-down intermingling at their hems. It was worn with a kicky pair of fitted pleated pants, more like leggings than trousers, that opened into flares a few inches north of the ankles. As the model passed, the silhouette got a “wow, that’s great,” from a seatmate. No small feat on the penultimate day of fashion month. Pleats are the main event at Sacai this season. Designer Chitose Abe’s collection was in progress long before Issey Miyake, the groundbreaking Japanese designer known for his innovative pleats, died in early August. But there’s a connection nonetheless. Miyake’s pleats promised freedom of movement and, while they’re entirely different, so do Abe’s. “I really wanted to express a sense of freedom, and an attitude of positivity and joy,” she said after the show. Abe began her career as a pattern-maker, and it explains her very focused approach. Every category got the pleat treatment, from crisp black and white tailoring to an army surplus MA-1 jacket to soft leather tank dresses. The result was a collection of A-line shapes with the fluidity that she was after, even when it was reined in with a more structured element, like the asymmetric mini layered over a short shirt-dress. Also A-line: most of the sleeves. Abe split jacket arms down the seams and designed shirt sleeves to extend past the fingertips; the models wore them pushed up, which created pooling volumes around the wrists. The room was full of women in Sacai coats, which are distinctive without yielding any sense of practicality. This season’s entry into the canon was a smartly cut trench with exterior pockets attached to its belt and those dramatic split sleeves.
- During the course of the show, he started to introduce bright saturated colors as a contrast—electric blue, acid green, emerald green—which looked at their most dazzling when deployed for the dream-it-and-we-can-make-it technical marvel of his pleated sequin pieces, such as a shrug it on coat, or a sweeping floor-length backless evening dress. (How often does one see pleated sequins, particularly when the folds run on the bias? Like, never. Difficult to do doesn’t even begin to describe it.) Of course, what was going on here wasn’t some old school narrative of a shift from one trend to another: Nothing so first degree. What Piccioli has triumphed at these past few years is the way he has challenged himself, the house he oversees, and the industry itself, to keep thinking differently, respectfully, democratically. (Consider how, at the end of his show, he led the models out onto the street, so the crowds outside could see the collection.) He has proven himself to be a particularly sensitive and thoughtful protagonist. His spring collection was dubbed Unboxing, as in thinking out of the…. Such as: Refuting the notion he could only work with uberstar models. The cast here was almost all unknowns, some of whom had never walked a show before; the better, Piccioli thought, for the audience to focus on who they are as individuals and not on their status in the industry. (Which might have explained why a few found the heels tricky.) Or challenging the orthodoxy of fashion speak, in this case, the term minimalism. Backstage, Piccioli laughed at the idea that sequins couldn’t be thought of as minimal. For him, he said, it all came down to the idea of how you designed to be reductive without taking away. Being behind the scenes gave another insight into what was going on here. Pinned up above a moodboard was a quote from Richard Avedon (Piccioli had recently visited the late photographer’s ongoing retrospective in Milan.) “My photographs don’t go below the surface… I have great faith in surfaces. A good one is full of clues,” Avedon said. In other words, in Piccioli’s view, a designer can only give their vision. The rest of us have the right to interpret what he presents, to look further and deeper, in whatever way we like.
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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.
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