NEW MUSIC: Dreams | Boots feat. Beyoncé
(Source: thequeenbey / bootsonboots)
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
Martin Margiela fall 1998-99
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)
Photographed by Dah Len for Max Germany 1999
Not really feelin this whole school college work until I die thing
ain’t got a bae
don’t want a bae
ain’t anyone’s bae
don’t wanna be anyone’s bae
Jhené Aiko at Coachella: Weekend 2