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: 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.
Critical The Crossover Official Poster Of Disney Decor Poster Canvas
- 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.
- Talk about diving in headfirst! Nobody embraces a theme like Jeremy Scott, a fact he’s reinforced throughout his eight-year run at Moschino, but this season he really went for it. “Everybody’s talking about inflation,” he said backstage. “The cost of everything’s going up: housing, food, life. So I took inflation into the collection.” He wasn’t talking about rising hemlines or oversized volumes either. He meant it literally, as we learned from look 1, a little black dress with Franco Moschino’s iconic heart done up as a mini inflatable “with a nozzle and everything.” By this observer’s count, every look save for a small handful had some sort of inflatable detail, be it a heart-shaped collar or hemline or “broken heart” lapels, one half on either side of neatly tailored jackets. There’s precedent for these kinds of antics. The house founder made a life jacket for his 1989 Cruise Me Baby collection that looked a lot like the vests stored under plane seats “in case of emergency.” Riffing on that idea, Scott added a life preserver ring to the jacket hem of a tweed skirt suit, and cut a trench in caution yellow with black raft handles where the epaulets should be. “Sometimes we feel like we’re drowning,” Scott continued, acknowledging the bad news stories clogging our feeds. “I’m sure you do. I know I do. But no matter what is going on, we have to save space for joy, right? The darker it is, the lighter I have to be.” Making good on that promise, he embellished his evening looks with honest-to-goodness pool floaties. The most inspired of the bunch included a strapless purple column cinched at the waist with the deflated ends of a pink raft, its pneumatic ends creating a train, and another strapless number that was accompanied by a Lilo stole. By the end, Imaan Hammam’s look was more of a floatation device than gown, but that was Scott’s point. Anyone who could use a little buoying up, Scott’s your pool boy.
- 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.
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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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