http://hiptoyourjive.tumblr.com/

the-raging-bull:

Danielle Test

This girl I knew told me her bfs first gf just blew air on his dick bc she thought that was a blowjob

thedoppelganger:

A Private View
Magazine: Wallpaper March 2013
Photographer: Robi Rodriguez
Model: Alla Kostromichova

Yes I’ve been a bad bad girl I’ve been careless with a delicate man

mariacarlabosscono:

Shirley Mallman photographed by Michael Thompson for Vogue Paris March 1997

organization:

Veronique Branquinho
i-D Sept. 2001
Photographer: Vanina Sorrenti
Stylist: John Hullum

I had an okay day bc it was cold enough to wear my turtleneck and I listened to patti smith in the car

oh yes I really love when gore blogs reblog pictures of me. that’s not scary at all

moldavia:

Hussein Chalayan Grey Line S/S 2012

cotonblanc:

audrey marnay
yves saint laurent, january 2002
postcards from the edge of the catwalk
photography iain r webb

saloandseverine:

Dutch # 33 May/June 2001
Karen Elson by Thomas Schenk

organization:

Y’s bis LIMI
Soen Apr. 2001
Photographer: Rosemary
Styling: Naoko Kikuchi
Model: Kae

cotonblanc:

The creations of this Berlin-born designer fulfil a seemingly paradoxical dual function, providing psychological protection while spotlighting the individual. Without compromising modesty, they reveal the beauty of the body and lend confidence to a straightforward, nearly aggressive femininity. Darja Richter accomplishes these twin objectives both in the shapes of her dresses, with their daring cut-outs, and in her unusual, non-mass-produced materials, whose development is the impetus behind her collections. In her “Skingames” collection of 1996, the flesh-coloured skin of her dress, which seems to substitute for that of the body, is made up of subtle blends of solid or impalpable textures. The effect would place it in the lace family, but the “see-through” spaces are formed by stretching and tearing of matted raised fabrics caught in a net of fine gauze and tulle. An ANDAM fellowship granted in 1997 enabled her to pursue her textile research, resulting in the creation of a layering of lace, tulle, and wool for her collection “A Midsummer Night’s Chain Thing”. With this ethereal, gossamer webbing held together by the addition of wool, Richter dresses the body and lays it bare at the same time. A fine mesh of metal chains span the eye-catching décolleté necklines.
It is easy to understand why Darja Richter has often been chosen to do actresses’ wardrobes. After working with Koji Tatsuno on the costume designs for Peter Greenaway’s film “The Pillow Book”, she created the dresses worn by Marie Laforêt and Julie Delpy and Enki Bilal’s “Tykho Moon” and the costumes for “Gierig” by the young German director Oskar Roehler.
As a high priestess of sensual fashion, Richter approaches her work as a theoretical reflection on the symbolism inherent in the garment. After early studies in psychology and philosophy, she graduated from the Berlin School of the Fine Arts with a thesis on the language of clothing in the nineteen-eighties. In 1992, this “designer-expressionist” received a grant from the German University Exchange Office to undertake artistic and theoretical work on the theme of voyeurism. This financial aid enabled her to move to Paris, where she began working as a stylist for Martine Sitbon. In 1996, the German Ministry of the Economy subsidised her first fashion show in Paris, entitled “Invasion of the Weenie Hunters”.
Long dress with train made of hand-made black wool and tulle, neckline held by fine metal chains.
Darja Richter (1997)
ANDAM: La Mode Contemporaine, STEIDL
text florence müller photography ola bergengren styling mattias karlsson

efedra:

Sadie Pinn by Charlie Engman for Hunter, S/S 2013

Maison Martin Margiela A/W 1999 x Duvet Coat.

kristinemarija:

is this what a gangbang is cause I’m down

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