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What also feels right to him is the prospect of never returning to the old rituals and limitations of sending out collections to walk up and down a runway. In the digital age, the opportunity to show clothes in movement, in different situations, on different kinds of people, and getting at social situations way beyond the narrow conventions of shows has turned out to be far more exciting, he says. “Do we really want to go back at a certain moment to 50 girls in a row who are 16-, 18-years-old, with a perfect size? Anyway, for June and September I don’t want to even think about shows. I don’t know if I’m going to feel the need to do a fashion show. If we are going to do them, it’s not going to be in the same way as before. I think this time is over, and nobody has the need to see a circus like that again. I think there’s now a realness and intensity, with the videos and pictures, and the way that everyone is finding their way to express themselves. And I feel quite well with what we’re doing now.”
“It was important to keep this experience live—to have the specific adrenaline of a show,” Nadège Vanhee-Cybulski was saying last night as the final fittings for the Hermès collection were being finished in Paris. In a logistical feat of timing on the morrow, she was—without a single sign of nerves—about to launch a rolling livestreamed series of Hermès happenings on three continents. Opening with a dance performance choreographed by Madeline Hollander in New York, it cut to the fashion show in Paris with models and Vanhee-Cybulski-–who gave a wave in an Hermès-orange face mask—and finally hopscotched to Shanghai for the second dance piece, directed by Gu Jiani in front of a live audience.
In this strangest of all seasons, several fashion labels have been linking up with people in the performing arts to put the lights on in darkened theaters—Erdem at the Bridge Theatre in London, Valentino at the Piccolo Teatro in Milan, too. For Van Noten, the show-as-dance in his home city also circled back to the relationship he struck up with De Keersmaeker, who emerged as a force in contemporary dance in Brussels at the same time as Van Noten and his fellow designers of the Antwerp Six were on the rise in the late ’90s. Flashes of vermilion and silver, and the slip-dresses in the fall collection, distinctly recall his costumes for De Keersmaeker’s 1998 Rosas company ballet Drumming; the score is Massive Attack’s “Angel” from the same year. That, of course, was a ground-breaking time for the edgy-cool aesthetic that swept from Belgium to challenge the polish of Parisian establishment fashion. Something about it chimes as relevant all over again. “A little bit kind of the wrongness,” as Van Noten put it, “which is also feeling right for this moment.”
Product detail for this product:
Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get.
- Material Type: 35% Cotton – 65% Polyester
- Soft material feels great on your skin and very light
- Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes
- Taped neck and shoulders for comfort and style
- Print: Dye-sublimation printing, colors won’t fade or peel
- Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary
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