Don’t wanna do anything else.

Don’t wanna do anything else.

It’s here it’s here! Bb thickening full form mousse and creme contour. Gitchu sum

It’s here it’s here! Bb thickening full form mousse and creme contour. Gitchu sum

nprfreshair:

Good morning! Here is Willie as Vincent and Marge as the Girl with the Pearl Earring.

insolacion:

David Barton

Reblogged from Ethos or Pathos

Hipster Jarna gets a new necklace

(Source: opcion)

Reblogged from RedSea

diychristmascrafts:

DIY Easy Stamped Leather Tie Clip Tutorial from Lovely Indeed here. If you didn’t have metal stamps you could use regular stamps with ink, but there is a link to a letter and number stamping set for $12.70.

Reblogged from D&D
moscowballet:


Junya Watanabe F/W 2000, “Techno Couture”

As a designer for Comme des Garçons, Junya Watanabe excelled by fusing Kawakubo’s confrontational approach to traditional form with his own love of hyperbole and ironic historicism. Impressed by his interest in tactile manipulation, Rei Kawakubo helped Watanabe found his own fashion house, which currently offers some of the most avant-garde constructions in Japanese fashion.
The ruff’s accelerated inflation to shoulder-wide dimension in the sixteenth and seventeenth centuries did not anticipate Junya Watanabe’s torso-encompassing rendering of the style. To accomplish the extraordinary scale of his ruff, Watanabe required a polyester chiffon that could hold its shape. No silk organza was able to do so. Despite all its reliance on technological innovation for the fabric, this design, from Watanabe’s “Techno Couture” collection, was stitched together by hand.

moscowballet:

Junya Watanabe F/W 2000, “Techno Couture

As a designer for Comme des Garçons, Junya Watanabe excelled by fusing Kawakubo’s confrontational approach to traditional form with his own love of hyperbole and ironic historicism. Impressed by his interest in tactile manipulation, Rei Kawakubo helped Watanabe found his own fashion house, which currently offers some of the most avant-garde constructions in Japanese fashion.

The ruff’s accelerated inflation to shoulder-wide dimension in the sixteenth and seventeenth centuries did not anticipate Junya Watanabe’s torso-encompassing rendering of the style. To accomplish the extraordinary scale of his ruff, Watanabe required a polyester chiffon that could hold its shape. No silk organza was able to do so. Despite all its reliance on technological innovation for the fabric, this design, from Watanabe’s “Techno Couture” collection, was stitched together by hand.

(Source: spring1999)

Reblogged from RedSea
Reblogged from