This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping
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Last July, when I went to visit the palazzo for the first fittings of Jones’s spring 2022 ready-to-wear show—and later, at the Fendi HQ in Milan in September—the young girls strutting by for their fittings were styled to evoke Lopez stars such as Pat Cleveland and Jerry Hall as they twirled to a soundtrack of Candi Staton’s 1976 hit “Young Hearts Run Free” and Blondie’s 1979 “Heart of Glass.” Jones has long understood how to create a fashion moment—his fall-winter 2017 Louis Vuitton collaboration with Supreme broke the internet, and he opened his first Dior show with Denmark’s Prince Nikolai circling a Brobdingnagian flower statue created with 70,000 roses and peonies by the artist KAWS. A mere four days after presenting that giddy Lopez-inspired collection, Jones pulled off another coup with the unveiling of a collaboration between Fendi and Versace in a show added to the Milan Fashion Week schedule at the 11th hour.
Jones’s library here and in London—where he lives in a brutalist house of punctured concrete, steel mesh, and glass with an indoor lap pool, a striking modernist rug designed by Francis Bacon (and hung by Jones as a tapestry), and a further embarrassment of Bloomsburiana—is remarkable. There are, of course, the first editions, sodden with provenance and including a copy of Orlando—inscribed from Virginia to Vita, no less. (Another book, gifted from Virginia to her inamorata, reveals a streak of unsuspected humor in the eminently serious writer’s character. It bears a note from the author: “in my opinion the best novel I have ever written.” The book’s pages, alas, are all blank.) Jones’s work for Fendi after that first Bloomsbury-infused couture collection (and a pragmatic ready-to-wear debut that put the customer first) referenced the friendship of Lagerfeld and illustrator Antonio Lopez—inspired by a brushstroke Fendi logo by Lopez that Jones unearthed in the Fendi archives in the subterranean depths of Rome’s iconic Palazzo della Civiltà Italiana. (Completed in war-torn 1943 as the centerpiece of a new area of the city shaped by Mussolini and conceived as the symbol of a new Roman empire, the six-story structure is encased in a shell of travertine arches, a de Chirico fantasy with heroic neoclassical statues that has been the brand’s Roman heart since 2015.)
The interiors were painted chalky white—a scheme that Jones decided to keep. “I liked the fact that it was light and peaceful and calm,” he explains. He also added a decidedly unrural snowy carpet underfoot, and kept the arrangements of furniture in the public and private rooms reductive. “I always sleep better in a minimal room,” notes Jones, ever the perfectionist. “I can’t sleep in a mess.” This serene backdrop makes the myriad objects that Jones has collected sing even louder—and what a collection it is. “Between 1910 to 1930 there was a lot going on: Things were changing radically, and fast—especially in painting, which I really am interested in,” Jones says. In the dining room alone there is a Lilypond screen painted by Duncan Grant on the eve of the First World War, like kinetic camouflage; a desk with a similar treatment to its surface; and an Omega Workshops chair blooming with painted poppies. Over the doughty stone chimneypiece, meanwhile, hangs a portrait by Vanessa Bell, while in Jones’s convivial kitchen is a plump teapot that the same artist painted for her sister, Virginia Woolf, who lived with her husband, Leonard, in the nearby village of Rodmell.
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