I will write about the following, leave one in my ask box.
Dear person I hate,
Dear person I like,
Dear ex boyfriend,
Dear ex girlfriend,
Dear ex bestfriend,
Dear future me,
Dear past me,
Dear person I’m jealous of,
Dear person I had a crush on,
"Visionarias" Liu Wen by Nagi Sakai for Harper’s Bazaar Spain September 2013.
You not finding me attractive is not going to stop me from being attractive.
Death Note art appreciation post.
i want this to be played at my wedding and my funeral
i talked to some random guy and he told me there’s 1000Mbps internet in Kansas. yeh k i know i’m dumb i didn’t know that, but WHAT?
In the 1930s, men’s nipples were just as provocative, shameful and taboo as women’s are now, and men were protesting in much the same way. In 1930, four men went topless to Coney Island and were arrested. In 1935, a flash mob of topless men descended upon Atlantic City, 42 of whom were arrested. Men fought and they were heard, changing not only laws but social consciousness. And by 1936, men’s bare chests were accepted as the norm.
So why is it that 80 years later women can’t seem to achieve the same for their chests? Why can’t a mother proudly breastfeed her child in public without feeling sexualized? why is a 17-year-old girl being asked to leave her own prom because a group of fathers find her too provocative?
[…] I am not trying to argue for mandatory toplessness, or even bralessness. What I am arguing for is a woman’s right to choose how she represents her body — and to make that choice based on personal desire and not a fear of how people will react to her or how society will judge her. No woman should be made to feel ashamed of her body.
sasha backstage at dior ss 08
Christian Rizzo, 1999
Objet dansant à définir
“A line hangs between the back and the proscenium where two dresses hang from a moving metallic structure, their long sleeves sewn together. Two raw dresses, see-through, inlaid with interlaced artificial hair which recalls vegetal fibres. Fans start one after the other while the mobile goes slowly along the line. The dresses begint to have a floating movement, almost imperceptible, then move lightly, until they lift up and turn round on themselves. Between light and shadow –subtly organised by Cathy Olive elegance, delicacy, a device with an hypnotic effect.”
carole bodin, mouvement april / june 2000
Clement Chabernaud for Jil Sander A/W 2006, by Willy Vanderperre.