July 19, 2024
RIP Just Fontaine 1933 2023 Thank You For Everything Shirt

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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: 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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  1. She explained that museums there are still closed, so she asked the curator of the Ivan Honchar Museum in Kiev if she could visit its archives, where she found beautiful crocheted doilies from a domestic household in the ’50s. She reproduced and transformed them into a handcrafted, sinuously long slip dress, as well as a tiny brassiere, paired with fluid high-waist trousers with delicate lingerie details. October’s creations are about sensuality, grace, and the beauty of the female body: “I’m not concerned about the styling or the merchandising, as I believe that the body should shape the dress,” she said. “I hope my work is a way to bring harmony and beauty into a woman’s life. A new dress has to be striking; that’s why we don’t do hoodies or sweatshirts but special pieces for moments of happiness and excitement.” It would be easy to feel special in one of her sensuous bias-cut satiny dresses revealing a thin-strapped, crisscross open back, or one patchworked in smooth upcycled silk in delicate shades of shell pink and cream. Drawing attention to the décolletage, a primrose yellow bustier was shaped as a corolla of tulip petals, while a lingerie-inspired top was hand-stitched in a plait pattern, hinting at a Ukrainian symbol of femininity. In Anna October’s vision, life is a place where senses have to be celebrated. It’s a brave, optimistic attitude, which most likely comes when you’ve experienced being so close to losing everything that the miraculous beauty of life and love just jumps at you. “I like my label to be perceived as a date-ready brand,” said October with a smile. “If you want to go for a date, if you want to fall in love, if you are in love—I want you to live that moment in one of my dresses. They’re occasion dresses—but the occasion is just to live a beautiful life and fully enjoy the way you feel and look.”
  2. It was a fitting fanfare for what unfolded: Rianne Van Rompaey in a medical-pink rigorous, ankle-length dress sheathed over her body, its sleeves slit to the shoulder, its waist stitched at the front and pulled apart with strict ruching. Beckham underpinned it with opera gloves in VB-monogrammed lace the color of the model’s skin, matching tights, and high satin heels with almond-shaped toes. It was pretty twisted; a kind of delectably perverse glamour only outdone by the deviation of a bag made of blond-hair-colored tassels that poured out over Van Rompaey’s arm. “It’s a big deal for me to do a show in Paris. It’s been a dream, and therefore the collection has to reflect that,” Beckham said. In the process, she took no prisoners. The months before had seen her restructure her London ateliers to facilitate the artisanal level called for by a Paris show, allowing for the perhaps easy-looking but highly complex construction of dresses such as the aforementioned. It paved the way for beautifully and psychotically draped dresses—some seedily worn over latex tights and gloves—deconstructed cami dresses that looked as if they were about to slip off the body, and perversely bias-cut fishtail gowns in more medical pastels. A black dress was adorned in slashes as if it had been clawed into. Seen in stern succession, these silhouettes were a little bit evil, and incredibly flattering
  3. 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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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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