TEAM GALLIANO

bienenkiste:

Vivienne Westwood Spring/Summer 2012

346 ♥

ejakulation:

Diamonds, Nick Knight films Kate Moss, from one Madison Avenue skyscraper to another, while she talks to artist Sarah Morris about where exactly Johnny Depp hid her diamond necklace, 1995

154 ♥

a-state-of-bliss:

Vogue Italia Sept 1997 - Kirsten Owen by Steven Meisel

132 ♥

You can only go forward by making mistakes.

— Alexander McQueen (via tat-art)

117 ♥

anthropomorphise:

(by nastya kaletkina)

397 ♥

63 ♥

supermodelgif:

Givenchy fall/winter 1998

100 ♥

the-widows-of-culloden:

Shalom Harlow at Givenchy by Alexander McQueen, RTW SS 1999

87 ♥

bosconos:

Vika Kuropyatnikova for Dazed & Confused august 2008 by Philippe Yard and Césarie Yard

1211 ♥

$vroomheid: Martin Margiela spring / summer 1997 “Margiela drops the original brand name, leaving only the inscription “semi-couture.” Semi-couture translates as “almost like haute couture” or “as if tailored,” i.e somewhere in between ready-to-wear and haute couture. These days, almost every designer makes semi-couture because it costs only a fraction of haute couture to produce. The many meanings of semi-couture are worth following up, because it teaches us a lot about Margiela’s other interests. To surrealists like Dalí and Man Ray, the dummy formed the ultimate fetishisation of the naked female body, and all Surrealists thought themselves as inventive as Pygmalion. They dressed and photographed mannequins profusely, and decorated them with the strongest of objects. They often posed and photographed models as living dummies, nearly always in sexual allusions, in Man Ray’s living, female Coat Stand from 1920.” — Chris Dercon on Maison Martin Margiela, Semi-Couture$

248 ♥

33 ♥

howtobeafuckinglady:

Black models who aren’t Naomi Campbell: Debra Shaw

807 ♥

Cover of A Magazine, 2005, curated by Haider Ackermann.
Make-up: Inge Grognard Photo: Ronald Stoops

1971 ♥

308 ♥