ITEM TYPE: Product is from Rosita Deal, Categories Holidays, Trending, Fandom of mens, womens t-shirt, long Sleeve, hoodie, sweatshirt and plus size, T-Shirt has all sizes and colors Black, Sport Grey, White, Orange, Navy, Light Pink, Light Blue, Red.
MATERIAL: Available Products: Unisex Heavy Cotton Tee, Gildan 5000, Classic fit, 100% Soft cotton (fibre content may vary for different colors), Quality fabric (180 g/m2), Tear away label, Runs true to size, Women Tee, Bella+Canvas 6004, Slim fit with longer body length, 100% Soft cotton (fibre content may vary for different colors), Light fabric (4.2 oz/yd2 (142 g/m2)), Sewn in label, Runs smaller than usual, Unisex Heavy Blend Hooded Sweatshirt, Gildan 18500, Classic fit, 50% Cotton; 50% Polyester (fibre content may vary for different colors), Medium fabric (8.0 oz/yd2 (271.25 g/m2)), Sewn in label, Runs true to size, Unisex Heavy Blend Crewneck Sweatshirt, Gildan 18000, Loose fit, 50% Cotton; 50% Polyester (fibre content may vary for different colors), Medium fabric (8.0 oz/yd2 (271.25 g/m2)), Sewn in label, Runs true to size, Do not use detergent containing chlorine, Do not use detergent, Drying, normal temperature, low heat. Regular ironing can be done by steam or dry ironing, and ironing cannot be more than 110 degrees Celsius, Shipping Information, Product will shipped within 1 to 3 days after payment received, It takes 5 – 7 business days for US Address shipment, It takes 7 – 20 business days for Worldwide Address shipment
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Related Articles: Halfway through a preview of Yusuke Takahashi’s comprehensive CFCL collection for spring, the 37-year-old Tokyo-born designer pulled up a video on his iPhone of his three-year-old daughter. Wearing a mini version of the pale-pink and yellow knitted ‘Pottery’ dress, the stand-out hit from his nascent line, the pre-schooler was shown at a recent CFCL pop-up store event holding up her favorite pieces from the collection, one by one, explaining why she loves them. (Though the label, whose name is an acronym of ‘clothing for contemporary life’ is only two-years-old, Takahashi has already developed a kidswear offering.) “She has just started ballet lessons, so we did a ballet-inspired line for kids,” he said with a smile, adding: “That’s another reason why it’s so important the fabric can be washed in a washing machine.” In addition to being adorable, Takahashi’s pint-sized protégée makes a compelling sales assistant for the brand, which has established a clear identity and mission in a short space of time. Founded on the designer’s conviction that good clothes should be for everyone—an egalitarian philosophy that defined his former boss, the late Issey Miyake’s label, too—CFCL’s recycled polyester pieces have an engineered springiness that means they fit people of all ages, genders and shapes. Takahashi is similarly single-minded about sustainability. In July 2022, CFCL achieved B Corp status with a score of 128—impressive, given that the median score for ordinary businesses who complete the assessment is currently 50.9. The only other fashion brand showing at PFW with B Corp certification is Chloé, which earned an overall score of 85.2 in October 2021. That B Corp status is partly down to Takahashi’s fealty to 3D-computer knitting, which produces seamless garments and eliminates waste.
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- Like many Ukrainian designers, Anna October went through a time of incredible hardship, which she bravely overcame by finding solace in creativity to turn fantasies and dreams into reality—like making her debut spring collection happen or having a garden built from scratch as if by magic. While spending time abroad during the war, she decided to buy a small piece of land in a forest in Ukraine, which she managed to transform into “a pleasure garden. I did it remotely,” she said at a preview, making it sound like a no-brainer. “Planning the garden’s layout and working on the collection simultaneously was so exciting and beautiful.” A friend sent her a pertinent quote from Vita Sackville-West’s book The Garden, which reads: “Small pleasures must correct great tragedies, therefore of gardens in the midst of war I bold tell.” For her first-ever presentation in Paris, October set up a romantic reverie in an art space, which she filled with buckets of flowers, delicate glass vases, and a tent made from a patchwork of white textiles and crocheted pieces; crochet was a recurring theme in the collection. They were intended to honor traditional Ukraine craft.
- Judging by the exuberance at the Lycée Molière, Benjamin A. Huseby and Serhat Isik of GmbH have found their people, or perhaps it’s the other way around. Though launched as a menswear label six years ago, GmbH is actually more like an ecosystem. Fashion is the baseline, of course, but its network spans artists, musicians, DJs, writers, muses, and friends of every stripe who resonate with its message of “decolonizing” attitudes. The spring collection, called Ghazal, after the ancient form of Arabic poetry, officially marked the first time the designers focused on fleshing out a woman’s wardrobe, but it played more like an exercise in continuity. Exploring the tensions between religion, morality, freedom, and sex offered ample fodder—and given that Huseby and Isik are simultaneously easing into their new role at Trussardi in Milan, they managed to pull the whole thing off with flair. “Blurry boundaries were always kind of interesting to us,” Isik offered backstage about a collection billed as “beach to ballroom, and maybe club, opera, and ashram.”
- Grim headlines be damned, Zuhair Murad’s customers are craving pink—the hue worked so well for resort that it was back in force for spring, in solids and prints inspired by natural wonders like Rainbow Mountain in Peru or the Salt Domes of Zagros in Iran as captured by German aerial photographer Tom Hegen. But while Murad’s silhouettes may have been inspired by rock formations sculpted by the wind since time immemorial, the couturier’s through line is freedom of body and spirit. For spring, he channeled that mood through new fabrics and treatments, such as micro-pleated printed organza trimmed with lace at the neckline, or otherwise unadorned draped and pleated satin. The designer also drew an equation between flou and freedom, and what he dialed back in ornamentation he made up for in mash-ups, like splicing lacquer-finished lace with mesh, mixing chiffon with waves of stand-up lace, or—more conservatively—showering an ethereal ecru gown with 3D flowers in re-embroidered silk thread. And in the name of freedom, Murad even joined the bralette bandwagon—not his usual style, but the designer is nothing if not clear-sighted about what his younger base wants to wear. For evening, dresses were molded to the body, their cutouts trimmed in strass. A black jacket, sharply tailored in front, was backless on the flip side. A fuchsia taffeta jacket embroidered with tonal flowers came with matching shorts. Anchoring a draped white jersey dress was a new totem laden with symbolism: a gold-finished phoenix rising from the ashes. Even so, embellishments—some restrained, others not so much—made a strong statement for evening. Gradient beading showered down bustlines; a ’70s-inflected minidress sported a fireworks display of sequins; and russet or slate blue evening numbers channeled The Great Gatsby by way of Murad, sassy fringe and all. Those plus a bronze bustier dress with rays of sequins, for example, will probably land on the red carpet come awards season, right around the time Murad inaugurates his third boutique, in Doha.
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Cher’s arrival at the dispossessed parking garage turned event venue for the Ann Demeulemeester show was a happening all its own. A ripple of applause ran through the cavernous industrial space, and even front-row editors rose from their seats to snap a picture. The brouhaha was even bigger after the show. What happened in between was a restrained study of light and dark (mostly dark), from a studio that counts Martin Margiela alums among its number. The tailoring was masterful: oversized jackets with dropped lapels paired with ample, flowing trousers; long-sleeve, fitted crewneck tops serving as an understated foil for fishtail skirts. Staccato-succinct show notes specified that white cotton shirts—“the absolute icon of the brand”—had “unfolded in other expressions and attitudes,” which meant that some had grown into fitted, floor-length dresses, and others were caught, as if flash frozen, beneath a whisper-thin layer of fine knit in front, their backs cinched by a thin strap or two. The same mantra returned again and again in black or white with subtle plays on texture. The glossy black leather slip dresses with yawning backs looked commercial enough, but the poetry was AWOL. For decades now, the Ann Demeulemeester base has been hooked on a very specific register of weeping willow chic. Despite the occasional tendril floating from a buttonhole, back, or belt—or, inexplicably, rings—that aesthetic seems to have been diluted with the company’s relocation, under new stewardship by Claudio Antonioli, from Antwerp to Milan. Either the studio was playing it safe in uncertain times—in which case they had good company this season—or this outing was some sort of sartorial palate cleanser, a play for time, a prelude to renewed relevancy. Since one of spring’s biggest buzzwords has been optimism, let’s just hope for the latter.
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