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: The Sacai collection began with a hybridized tuxedo-shirt combination, the pleats of the black jacket and white button-down intermingling at their hems. It was worn with a kicky pair of fitted pleated pants, more like leggings than trousers, that opened into flares a few inches north of the ankles. As the model passed, the silhouette got a “wow, that’s great,” from a seatmate. No small feat on the penultimate day of fashion month. Pleats are the main event at Sacai this season. Designer Chitose Abe’s collection was in progress long before Issey Miyake, the groundbreaking Japanese designer known for his innovative pleats, died in early August. But there’s a connection nonetheless. Miyake’s pleats promised freedom of movement and, while they’re entirely different, so do Abe’s. “I really wanted to express a sense of freedom, and an attitude of positivity and joy,” she said after the show. Abe began her career as a pattern-maker, and it explains her very focused approach. Every category got the pleat treatment, from crisp black and white tailoring to an army surplus MA-1 jacket to soft leather tank dresses. The result was a collection of A-line shapes with the fluidity that she was after, even when it was reined in with a more structured element, like the asymmetric mini layered over a short shirt-dress. Also A-line: most of the sleeves. Abe split jacket arms down the seams and designed shirt sleeves to extend past the fingertips; the models wore them pushed up, which created pooling volumes around the wrists. The room was full of women in Sacai coats, which are distinctive without yielding any sense of practicality. This season’s entry into the canon was a smartly cut trench with exterior pockets attached to its belt and those dramatic split sleeves.
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- Beckham’s lifelong fashion education has clearly taught her a thing or two about subversion. If she’s demonstrated her taste for the “wrong” and “weird” before, this collection flexed a side to her practice that felt like virgin soil. Next to coats with edges cut to reveal their construction and trompe l’oeil leather jackets with the imprint of lapels, tailored jackets had been deconstructed at the back and reduced to their core frame, exposing the naked body. It was an intelligent (and quite Belgian) way of cutting that suited Beckham’s codes and pushed her into a game played by the big guys. “I can’t believe it’s finally happening. I’m very proud of where we’ve come,” she said of her Paris adventure. “With this show, I have enjoyed every single step of the way. When you think of everything we’ve been through, to be doing a show in Paris as an independent brand, it’s a really big deal. It feels like a real moment.” Beckham’s French fashion debut was an ambitious, dramatic, and quite sexual experience, which spoke volumes of her excitement for fashion. And on the day-to-day hamster wheel of Fashion Week, dedication like that is really quite rare.
- 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.
- “There was this wonderful atmosphere,” he told my colleague Laird Borrelli-Persson when tonight’s runway show was announced. “Everybody works together, so it’s been an amazing experience.” Against a backdrop of paintings by the Aboriginal Australian artist Mirdidingkingathi Juwarnda Sally Gabori, the collection leaned less Alber than it did Lutz. In that, it wasn’t dissimilar from the offerings by Magugu and Manas. “It’s very much what I like,” said Huelle, who is a designer wardrobe builder, not a trend chaser. “But it’s also more glamorous and a little more sexy.” Huelle upcycles denim, and denim was a foundational element here, only it was a dark rinse and not pre-worn. Tailoring is another throughline. The cropped vest in his own collection and in this AZ Factory offering are twins, if not identical, then fraternal. At home Huelle has been experimenting with puffed taffeta volumes on the sleeves of jersey tees. At AZF, he dressed up body-con dresses with ruffled rings that encircled the torso, one in black-on-black and the other in a floral camo that was the lineup’s hero print, also appearing on robe coats and an off-the-shoulder trapeze dress. The sequin pants looked like a good time; ditto the crystalized jeans styled with a denim T-shirt. Staying true to the Amigo concept, Huelle came out for a victory lap with members of the AZ Factory team.
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He seemed poised to make the leap to a larger house—one of those Paris big guns—but it never happened. Eventually, he moved to New York and worked briefly for the sportswear company Theory, then returned to Paris and relaunched his own label five years ago; it was a small operation and his attenuated tailoring and gothic evening gowns didn’t find a big audience. Then the pandemic happened; it was an especially cruel time for emerging businesses like his, but a creative spark came. Theyskens started piecing together fabric scraps accumulated over two decades, cooking them up—literally—into some of the most heavenly frocks this side of the couture. Bias-cut puzzles of silk, lace, and velvet leftovers, each a one-of-a-kind gem, they’re so labor-intensive to make they can’t be retailed in stores, but that doesn’t mean he’s not selling them. Though they can cost $25,000 or more, there’s now a waitlist. This collection is the third in a series. It’s grown beyond willowy patch-worked dresses to include a knit all-in-one featuring roughly 10,000 jet beads, a duster coat assembled from leather off-cuts embroidered one-by-one on tulle, and the sort of long, lean, just shy of severe tailoring Theyskens favors. The willowy patch-worked dresses have evolved too. He’s built them with shoulder pads for a new sense of structure and cut some with slits, which is the kind of silhouette that red carpet types favor. Together, the three-season trilogy makes for a very convincing job application should the right position become available.
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