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: Beckham’s lifelong fashion education has clearly taught her a thing or two about subversion. If she’s demonstrated her taste for the “wrong” and “weird” before, this collection flexed a side to her practice that felt like virgin soil. Next to coats with edges cut to reveal their construction and trompe l’oeil leather jackets with the imprint of lapels, tailored jackets had been deconstructed at the back and reduced to their core frame, exposing the naked body. It was an intelligent (and quite Belgian) way of cutting that suited Beckham’s codes and pushed her into a game played by the big guys. “I can’t believe it’s finally happening. I’m very proud of where we’ve come,” she said of her Paris adventure. “With this show, I have enjoyed every single step of the way. When you think of everything we’ve been through, to be doing a show in Paris as an independent brand, it’s a really big deal. It feels like a real moment.” Beckham’s French fashion debut was an ambitious, dramatic, and quite sexual experience, which spoke volumes of her excitement for fashion. And on the day-to-day hamster wheel of Fashion Week, dedication like that is really quite rare.
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- A leather teddy was laser-cut like lace and embellished with thousands of little metal studs. This season’s prints combined tropical flowers, zebra stripes, and the label’s all-caps logo on repeat. Collaged together on soft-cut slip dresses with handkerchief hems worn on top of boyish cargo pants (a recurring silhouette this season), they vaguely evoked Biba, just this side of psychedelic. This section included a couple pairs of jeans. Shredded in precise diamond patterns, this was not your average denim, but it was a whole lot more casual than anything Versace has put on the runway lately, a sign of Donatella’s ambition to expand and diversify her offering. Before the end, the collection moved through the black-to-bright cycle again. Mariacarla’s black suit and sheer shirtdress mid-layer were sharp. The baby dolls, garters, and lace veils in pink, purple, and acid yellow looked torn from Madonna’s “Like a Virgin”–era playbook via Stephanie Seymour in “November Rain.” For the finale, Versace had another pop-culture blast from the past, none other than Paris Hilton in pink chain mail. Rebels of all kinds welcome here.
- Surf culture and beach life continually fascinate the fun-loving Dean and Dan Caten. But why surf and not, say, tennis or soccer or just plain old swimming? “Because surf is sexier, cooler, hotter,” they said backstage before their spring show. “It’s about freedom, strength, being in the ocean. There’s lots of mystique around it—ideas and lifestyle, images, music, a whole lotta culture. Very inspiring.” They enjoy surfing when in Mykonos, which just adds to their love affair with the swells. Surfers have a deceptively laid-back aesthetic, as they’re actually quite fastidious about their looks. For spring, the Catens went for a surfer girl who manages the layered styling to a hilt, elevating it to an effortless fashion form as easy as a lazy suntanning session on the beach. Transparencies were played out to express the leggerezza, that lightness of mood the designers wanted to convey. Tulle mesh, PVC, chiffon, filmy lace, and a whole panoply of sexy sheer fabrics were turned into flares, wrap skirts, leggings, blazers, and XXXL board shorts juxtaposed in an apparently haphazard jumble. The silhouette was kept lean and unfussy despite the riotous styling. Bright colors and shiny liquid surfaces (sequins, glazed nylon, stretch satin) had a tonic, vital vibe, tying the layered lineup of individual pieces into a cohesive mash-up—which, while sounding oxymoronic, gives credit to the Catens’ bravura in mastering the art of orderly, neat, sexy chaos.
- With a winning spring collection Ladislav Zdút and his team are redefining power dressing for today. Their iteration—executed in Nehera’s signature neutrals and enlivened with strokes of persimmon, yellow, and royal blue—is softly structured and smart, with interesting textures and asymmetries. A blazer has one lapel and uneven seams; a two-piece jacket can be worn as half a garment or a whole. Nicely styled, the lookbook makes the argument for layering shirts and wearing skirts over pants. The collection takes its title, Powershift, from a 1990 book of the same name by sociologist and futurist Alvin Toffler. Throughout history, says Zdút, women have traditionally adapted elements of menswear, particularly exaggerated shoulders, when assuming positions of power; this season he wanted to “underline the new feminine confidence,” and demonstrate that power “need not necessarily be expressed by exaggerated shoulders.” One of the most pleasing aspects of this offering is how beautifully it reconciles its contradictions: It borrows functional elements from menswear and uniforms, and uses them to express femininity; catering to city dwellers, it takes inspiration from nature. (The lovely floral print is a collaboration with Juraj Straka, a textile designer from Bratislava who is based in Antwerp.) Effortless is an overused word in fashion, but that’s the vibe of this breezy collection.
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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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