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: There were two sides to the collection Sialelli showed in L’Atelier des Lumières, a former foundry on Rue Saint-Maur, the walls of which he bathed in projections of poetic footage created by the film-maker Joshua Woods. On the narrative side, we were on holiday somewhere between the desert of Marrakech and the coast of Casablanca: yellow and blue coats and miniskirts constructed in shiny eel skin, seaweed-shaped embroideries on jackets, and knitted robes de style that bounced like jellyfish. On the technical side, we were between the pristine and the deconstructed: pristine coats, shorts and mini-skirts frayed at the hems, macramé tops meticulously but coarsely handcrafted in silk tubing, crispy cotton dresses, and stone-washed satin coats that played to the same contrast. Transparent cloqué coats and suits and some of the more prettified robes de style considered, “subdued” would probably be overstating the evolution. But Sialelli did clarify his proposition. Gone were the animated prints, wild art deco ornamentations, and ballroom gestures of previous seasons. In their place, he turned to an earthy palette energized with hits of electric blue and orange, and materials—such as those eel coats, or the plumage that adorned path-clearing ballerinas—that were naturally graphic rather than artificially or animatedly so. Amongst the more complex proposals were some nice options for luxurious tailoring: clean enough to be timeless and sculpted enough to push past pre-collection territory.
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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.
- Exploration of form, rather than narrative, is what drives Melitta Baumeister. It also keeps a steady stream of interns knocking on her door in Washington Heights. They always say, “I want to know how you make these shapes,” says the designer with a laugh. There’s not a single answer to that question. The shoulder points of a witchy dress in the spring collection are formed by a wooden harness. What I’m calling the chair dress makes use of an inflatable, rather than foam, which the designer has employed in the past. Soft boning is used for 3D frills, and one way volume is created is by using pleating on the crossgrain. Pleating, says Baumeister, also replicates the “bounciness” and “wobbliness” of knits. Baumeister is a wizard with lines and circles and squiggles, which she applied for spring with various degrees of intensity. There are plenty of options on the tamer end of the spectrum. Among them are a shirtdress in an exaggerated A-line shape, tent dresses with bubbled hems, an especially smart oversize parka, and generously tailored jackets with extra long and extra skinny sleeves worn with shorts-pants, which can be detached at mid thigh. Some of the pieces in Baumeister’s spring collection place her work in line with what Satoshi Kondo and Yusuke Takahashi are doing at Issey Miyake and CFCL respectively, but her world is her own. It’s one of circus mirror exaggeration and exacting techniques. Wallflowers be warned: There is nothing “safe” about this designer’s work. “I like the extreme points of something,” says Baumeister. “Whether it’s extremely round or extremely pointy, I like to see where the edge of something still being wearable is.”
- 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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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.
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