At George Harrison’s flat in 1964

i’m actually going to a party tonight and it’s thursday ok

dispirital:

this is me so bad
honeysucculents:


A bout de Souffle (1960) Jean-Luc Godard
stephaniechief:

Freja Beha Erichsen By Collier Schorr For Document Journal #4
lartichaut:

Gerardo Ruiz Musi’s apartment
cotonblanc:


This duo, along with their fellow designer Alexander van Slobbe, contributed to the discovery of the Dutch school of fashion. Still unknown in the early nineties, the rich creativity of the Dutch scene was introduced in Paris through the group fashion show of Le Cri Néerlandais.
In 1993, the artistic collaboration of Viktor and Rolf won the Festival International de Mode à Hyères competition with an impressive and original collection. Silhouettes conceived to be viewed in profile cast disturbing shadows with heads emerging from high collars that end in gigantic rippled points. The following year, an ANDAM fellowship enabled them to further advance their research.
As students at the Arnhem Art Institute, Viktor Horsting and Rolf Snoeren were already working in the direction that they continue to pursue today: experimenting with new structures for garments that reinvent movement and the figure. Their designs are veritable sculptures in fabric, playing on complex volumes, distorted proportions and the reconstruction of new junctures to amplify the individual as icon. However, this impression blurs amid the rich materials, mixing immaculate white with gold brocade, and the ironic connotations of certain oversized accessories. Sombre and festive, leaden and light-hearted, Viktor and Rolf’s fashion oscillates between Shakespearean tragedy and a three-ring circus.
At the cutting edge between art and fashion, the two partners organise numerous exhibits and happenings, such as L’Hiver de l’Amour at the Museum of Modern Art of the City of Paris, or the mini-fashion show of mannequin-dolls at the Torch gallery in Amsterdam. In 1996, a poster proclaiming “Viktor and Rolf on Strike” replaced the collection, and a virtual perfume in dummy flacons was launched as a parody of Chanel N°5. In fact, the “fragrance” portended a change of direction i the development of the label: in 1998 they shifted their focus to haute couture. A collection shown at the Galléria Museum, off the official haute couture calendar, established them once and for all as members of the small circle of truly creative avant-garde designers. The winter 1999–2000 collection finally won them recognition in the international press. Under the gilded chandeliers of the Hotel Bristol, the two designers dressed, “live and direct”, a model with seven superimposed dresses. This real-life Russian doll, who started the show in a simple sackcloth dress, was gradually enveloped in layer after layer of shimmering embroidered silk. The performance ended with the addition of a burlap cloak, eclipsing the splendours of the creations beneath. After this offbeat homage to the calendar of the Paris Chambre Syndicale de la Haute Couture in July 1999. Their latest collection, for winter 2000–2001, is a ready-to-wear manifestation of their research in haute couture.

Evening ensemble in black wool, swallowtail coat and white pant-skirt with cascade of ruffles on one leg, pumpsViktor & Rolf (1994) 
ANDAM: La Mode Contemporaine, STEIDLtext florence müller photography ola bergengren styling mattias karlsson
paintdeath:

"When you have insomnia, you’re never really asleep… and you’re never really awake."Fight Club (1999)

marginalising:

NOT EVERYTHING IS ABOUT A GOD DAMN RELATIONSHIP AND LOSING WEIGHT AND BEING BEAUTIFUL FOR GODS SAKE GO OUTSIDE AND ROB A STORE AND FEEL ALIVE AS YOU RUN AWAY FROM SECURITY

(Source: jdandachi, via aztecacid)

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