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: 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?
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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.
- 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.
- “To me, the body says what words cannot,” Martha Graham, the revered, radical American modern dancer and choreographer, once said. It wouldn’t be crazy to think that’s the kind of statement Anthony Vaccarello of Saint Laurent would concur with. His work for the house has always exalted a corporeal glory; his own view of physicality—strong, celebratory, unapologetic—and the legacy of the house merged to be totally in sync. Graham’s and Vaccarello’s orbits surprisingly spun into each other at his spring 2023 show, which was staged in the almost dreamlike Parisian setting of a grand paved garden replete with a cascading fountain that Marcel Carné would have been thrilled to have filmed upon. (The set was built especially for the show, sweeping staircases, perfectly laid flagstones, and all.) The result: a quietly epic examination of what happens when you both reveal and conceal the body—and the frisson you generate when you make your look long, lean, and loaded with attitude. Backstage, just before the show, Vaccarello mentioned that he’d been looking at the groundbreaking way that Graham dressed her company in tubular dresses for her 1930 production Lamentation, costuming which audaciously emphasized every bit of physical agility from her dancers. Vaccarello first discovered Graham, he said laughing, by being a fan of Madonna’s in the 1990s, when the Material Girl had been busy (rightly) singing Graham’s praises to the sky. But for spring Vaccarello looked back a decade earlier to YSL’s past—the mid-’80s days when models strode those old-school elevated podiums in Monsieur Saint Laurent’s hooded, draped capuche dresses.
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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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