1. You are my sweetest downfall. I loved you first.

    (Source: misplacedmelodies, via itsalwayspunny)

  3. what-do-i-wear:

    Shoes – Jennie-Ellen, Jeans – Topshop (here), Bag – Lindex, Jacket – Notion 1.3 (here) (image: victoriatornegren)


  4. "You tell me it matters, what they all say. I have listened and long ago I stopped. Just tell me it matters and I will listen to you and I will want to be convinced. You tell me that what is said is making a difference, that those words are worthwhile words and mean something."
    — "After I Was Thrown in the River," Dave Eggers
  5. (Source: hannahlosadler, via blk-swan)

  6. vroomheid:

    Martin Margiela spring / summer 1998

    Three photo-scenarios for 1-minute video film sequences. The collection explored the transformation of a two-dimensional garment which becomes three-dimensional on the human body. During the presentation, while men in white lab-coats held up the clothes on hanger, the video was projected on five towers covered with white cotton cloth. Ten items from the collection were presented through 10 film sequences of 1 minute each. It showed images of women – neck-down – wearing the clothes, preceded by text descriptions like: “the shoulder line of these garments has been brought totally forward onto their front.”

    (Source: dekonstruktivisme, via omahryamotafanclub)


  8. julin-casabalcnas:

    ezra on his way to steal your girl  

    but gets rejected

    (Source: caiodeamorim, via ezrakoenig)

  9. vroomheid:

    Martin Margiela spring / summer 1997

    This season, Margiela’s showroom comprises white decor with a field of imitation sunflowers planted on the floor. (All sales and press meetings take place amid the flowers.) The tailor’s dummy is the foundation of the collection. A simple, unfinished square of fabric becomes a skirt or a dress with an irregular hemline. Linings, interface, ties, sleeves, shoulder pads, squares of fabric: these inter-connective sinews are the stuff of Margiela’s design. His analysis of the circulatory systems of fashion has become the material one wears: recycling the foundations of fashion and turning them inside out. The model wears a tailor’s dummy that has been cut open, autopsied. Like the serial killer in Silence of the Lambs, the wearer of the dummy hides their body behind another, thereby blurring the distinction between what is real and what is facsimile.

    (Source: dekonstruktivisme, via natashaholy-deactivated20140312)