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Description
バッククロス子どもエプロン(100～120cm) 撥水ノーアイロン くすみ無地 くすみラベンダー1. 2. 3. 4. 5.COLORFUL CANDY QUALITY COLORFUL CANDY QUALITY cm 5172. 5 5234 100%
1.ノーアイロン、速乾性、軽量。トップクオリティの新素材で快適さを追及！
快適さを追求した新素材は、シワになりにくく、アイロンをかける必要がありません。洗濯してもすぐに乾くので、忙しいパパママからも高評価。
2.水を弾く素材だから、調理実習やお手伝いに最適
水や液体が表面に弾いて滑り落ちるはっ水機能。調理実習やお手伝いなど、調理中や食べこぼしの汚れを防ぎ、汚れてもサッと拭くだけお手入れ簡単です。
3.毎日清潔、軽くてやわらか、快適な着心地
エプロン本体は、洗濯などによる摩擦に強く耐久性に優れています。軽くてやわらかな肌触りなので、動きやすく快適な着心地。
4.ひとりで簡単に着脱できるバッククロスタイプ
肩紐が背中で交差しているので肩からずり落ちにくく、着脱簡単。 三角巾の後ろはずり落ちにくいゴム仕様。サイズが大きい場合は、ゴムを少し縫って調節して下さい。 マスクやハンカチを入れられる便利なポケット付き。
5.キレイなまま長期にわたって使える品質と、安全性。COLORFUL CANDY QUALITY
国際的なテスト機関で堅牢性・安全性確認済みの素材のみを使用。仕入れから製造・販売まで、リスクを入り込ませない一貫体制。キレイなまま長期にわたって使える品質と、安全性。それがCOLORFUL CANDY QUALITY。
快適さを追求した新素材は、シワになりにくく、アイロンをかける必要がありません。洗濯してもすぐに乾くので、忙しいパパママからも高評価。
2.水を弾く素材だから、調理実習やお手伝いに最適
水や液体が表面に弾いて滑り落ちるはっ水機能。調理実習やお手伝いなど、調理中や食べこぼしの汚れを防ぎ、汚れてもサッと拭くだけお手入れ簡単です。
3.毎日清潔、軽くてやわらか、快適な着心地
エプロン本体は、洗濯などによる摩擦に強く耐久性に優れています。軽くてやわらかな肌触りなので、動きやすく快適な着心地。
4.ひとりで簡単に着脱できるバッククロスタイプ
肩紐が背中で交差しているので肩からずり落ちにくく、着脱簡単。 三角巾の後ろはずり落ちにくいゴム仕様。サイズが大きい場合は、ゴムを少し縫って調節して下さい。 マスクやハンカチを入れられる便利なポケット付き。
5.キレイなまま長期にわたって使える品質と、安全性。COLORFUL CANDY QUALITY
国際的なテスト機関で堅牢性・安全性確認済みの素材のみを使用。仕入れから製造・販売まで、リスクを入り込ませない一貫体制。キレイなまま長期にわたって使える品質と、安全性。それがCOLORFUL CANDY QUALITY。
サイズ（単位：cm）
エプロン
着丈：約51／裾周り：約72.5
三角巾
頭囲：約52／長さ：約34
※商品によってサイズに多少の誤差がございます。予めご了承ください。
素材：ポリエステル100%
●使用におけるご注意
※撥水生地の三角巾は、特性上使い始めは生地にハリがある為、事前にお洗濯していただき生地を慣らしてご使用ください。
※ポリエステルには汚れを吸収する特性があり、汚れが強いものと一緒に洗濯してしまうと生地が黒ずんでしまう場合があります。付着した汚れが強いものとは別に洗濯して下さい。
※ポリエステルには防火性がないため、火を近づけると生地が溶けてしまう可能性があります。高温のアイロンでも変形・テカリが出る場合があります。使用する際はご注意下さい、
※乾燥機にかけると変形してしまう可能性があります。もともと乾きやすい生地なので自然乾燥がおすすめです。
※熱と一緒にシワをつけてしまうとなかなか取れないので、洗濯機の脱水や乾燥は短めにしてください。
※高温のお湯だと逆汚染が起こりやすくなりますので、ぬるま湯をおすすめします。
※ポリエステル生地は日光に強い素材ですが、濃い色のものは色落ち色あせしてしまうので陰干しがおすすめです。
※色の濃いものと一緒にお洗濯は避けて下さい。
※洗濯後、長時間放置しないで下さい。
※暑い場所で長期間、他の物と一緒に放置しているとプリントの色移りする可能性があります。
●洗濯について
洗濯により若干の色落ち、濡れた状態での接触により色移りすることがございます。洗濯の際は、他のものとまとめて洗うのはお避け下さい。
●柄の出方について
柄の出方は、生地の裁断により、一点一点異なります。あらかじめご了承ください。
●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
また、お揃い生地商品が完売の際はご了承ください。
その他のご注意点はこちら
※撥水生地の三角巾は、特性上使い始めは生地にハリがある為、事前にお洗濯していただき生地を慣らしてご使用ください。
※ポリエステルには汚れを吸収する特性があり、汚れが強いものと一緒に洗濯してしまうと生地が黒ずんでしまう場合があります。付着した汚れが強いものとは別に洗濯して下さい。
※ポリエステルには防火性がないため、火を近づけると生地が溶けてしまう可能性があります。高温のアイロンでも変形・テカリが出る場合があります。使用する際はご注意下さい、
※乾燥機にかけると変形してしまう可能性があります。もともと乾きやすい生地なので自然乾燥がおすすめです。
※熱と一緒にシワをつけてしまうとなかなか取れないので、洗濯機の脱水や乾燥は短めにしてください。
※高温のお湯だと逆汚染が起こりやすくなりますので、ぬるま湯をおすすめします。
※ポリエステル生地は日光に強い素材ですが、濃い色のものは色落ち色あせしてしまうので陰干しがおすすめです。
※色の濃いものと一緒にお洗濯は避けて下さい。
※洗濯後、長時間放置しないで下さい。
※暑い場所で長期間、他の物と一緒に放置しているとプリントの色移りする可能性があります。
●洗濯について
洗濯により若干の色落ち、濡れた状態での接触により色移りすることがございます。洗濯の際は、他のものとまとめて洗うのはお避け下さい。
●柄の出方について
柄の出方は、生地の裁断により、一点一点異なります。あらかじめご了承ください。
●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
また、お揃い生地商品が完売の際はご了承ください。
その他のご注意点はこちら
Shipping Notes
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4.4 ★★★★★
Based on 18 reviews
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Product Reviews
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000."
On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there.
From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link.
Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name.
The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin.
In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair.
Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited.
Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter.
The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank.
He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007