@rodrigo_fernandes_627  robei a foto 😘🙏 rá !  #backstage #casadecriadores  #gustavocarvalho

@rodrigo_fernandes_627 robei a foto 😘🙏 rá ! #backstage #casadecriadores #gustavocarvalho

#beauty #fashionvideo #model

#beauty #fashionvideo #model

aantwerp:

Irina Kravchenko in AnOther Magazine S/S13 | ph. Julia Hetta

aantwerp:

Irina Kravchenko in AnOther Magazine S/S13 | ph. Julia Hetta

98 notes

unknowneditors:

Rob and Nick Carter

Rob and Nick Carter are a married couple who live and work in London. As contemporary artists their work revolves around light, colour and form in many different mediums including painting, photography, light installations and film.

e’re Unknown Editors. Check us out on Facebook & Instagram

655 notes

gasstation:

Tao Okamoto - Numero China #32 photographed by Daniel Sannwald

gasstation:

Tao Okamoto - Numero China #32 photographed by Daniel Sannwald

14 notes

vintagegal:

The Vampira Show c. 1954

3,425 notes

fashioninhistory:

Maria-Luisa (dite Coré)
Christian Dior by John Galliano
Haute Couture Spring/Summer 1998 
In this design, John Galliano for Dior combined the elements of a robe à la française with the vast crinolined silhouettes of the mid-nineteenth century. The stomacher, open overskirt, and petticoat are expressly eighteenth century, but the huge wired cages that support the skirts over nine feet wide are constructed more like the hoops of the Second Empire than the discrete by comparison panniers of the ancien régime. While the eighteenth-century woman could at least sidle through a doorway, Galliano’s beauties, because of the depths of their skirts, would have to torque and deform their hoops to squeeze their way through.

fashioninhistory:

Maria-Luisa (dite Coré)

Christian Dior by John Galliano

Haute Couture Spring/Summer 1998 

In this design, John Galliano for Dior combined the elements of a robe à la française with the vast crinolined silhouettes of the mid-nineteenth century. The stomacher, open overskirt, and petticoat are expressly eighteenth century, but the huge wired cages that support the skirts over nine feet wide are constructed more like the hoops of the Second Empire than the discrete by comparison panniers of the ancien régime. While the eighteenth-century woman could at least sidle through a doorway, Galliano’s beauties, because of the depths of their skirts, would have to torque and deform their hoops to squeeze their way through.

2,171 notes