NEW MUSIC: Dreams | Boots feat. Beyoncé

(Source: thequeenbey / bootsonboots)

vroomheid:

Comme des garçons, 1988
“Of course there are business as well as creative reasons for the Comme des Garçons style. The point of a remarkable interior is to evoke such a strong sense of identity that even the most humble purchase - a belt or a pair of socks - brings with it some of that underlying identity. The contrast between the textures of the garments, hanging on neatly spaced racks that read like sculptural elements and the cement wall is all part of the establishment of the uniqueness of the Comme des Garçons label. To put too many garments on display can diminish their impact, hence the company’s first Paris shop had on show less than half the stock a conventional high-fashion retailer would have installed. In environments with so few distractions, the customer can hardly fail to be aware of the subtle qualities of the clothes.”
from rei kawakubo and comme des garçons

vroomheid:

Comme des garçons, 1988

“Of course there are business as well as creative reasons for the Comme des Garçons style. The point of a remarkable interior is to evoke such a strong sense of identity that even the most humble purchase - a belt or a pair of socks - brings with it some of that underlying identity. The contrast between the textures of the garments, hanging on neatly spaced racks that read like sculptural elements and the cement wall is all part of the establishment of the uniqueness of the Comme des Garçons label. To put too many garments on display can diminish their impact, hence the company’s first Paris shop had on show less than half the stock a conventional high-fashion retailer would have installed. In environments with so few distractions, the customer can hardly fail to be aware of the subtle qualities of the clothes.”

from rei kawakubo and comme des garçons

(via naturee-feels)

(Source: lasnoot, via peytonwest)

vroomheid:

Martin Margiela fall 1998-99
2000-1
Mark Borthwick’s project for the fall 1998-1999 show included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’.
The video features a verbal interaction between three women wearing garments of the collection (Helen Filliers, Yorinda Gersina, & Stella Tennant). The book, published in the autumn of 1998, features photographs taken during the shooting of the video.
(source: contemporary fashion archives)

vroomheid:

Martin Margiela fall 1998-99

2000-1

Mark Borthwick’s project for the fall 1998-1999 show included the projection of a video in two parts shot in New York in early March 1998 and a book entitled ‘2000-1’.

The video features a verbal interaction between three women wearing garments of the collection (Helen Filliers, Yorinda Gersina, & Stella Tennant). The book, published in the autumn of 1998, features photographs taken during the shooting of the video.

(source: contemporary fashion archives)

(via naturee-feels)

imyomaster13:

先生 亲吻土地

imyomaster13:

先生 亲吻土地

(Source: vanessabrownin, via peytonwest)

(Source: lacooletchic, via peytonwest)

labsinthe:

Photographed by Dah Len for Max Germany 1999

labsinthe:

Photographed by Dah Len for Max Germany 1999

(via naturee-feels)

netlfix:

Not really feelin this whole school college work until I die thing

(via yungcunt)


(Source: harleypudding, via justrah)

(Source: thebreezycoast, via justrah)

ain’t got a bae

don’t want a bae

ain’t anyone’s bae

don’t wanna be anyone’s bae

(Source: thrillwave, via justrah)


(Source: yeah-yougotme, via thequeenbey)

asthetiques:

BALMAIN.

asthetiques:

BALMAIN.

(Source: huilendnaardeclub)

fuckyeahjhene:

Jhené Aiko at Coachella: Weekend 2

fuckyeahjhene:

Jhené Aiko at Coachella: Weekend 2

(via jahxjah)

(Source: tabshift, via jahxjah)