赞!

赞!

(Source: madiju)

(Source: madiju)

huliia:

insectosmx:


Garage Band, de Gipi (Gianni Pacinotti)
www.facebook.com/insectosmx


THIS COMIC IS SO GOOD also I wanna brag that I first read it bc I found it for only 3 dollars at Half Price Books.

huliia:

insectosmx:

Garage Band, de Gipi (Gianni Pacinotti)

www.facebook.com/insectosmx

THIS COMIC IS SO GOOD also I wanna brag that I first read it bc I found it for only 3 dollars at Half Price Books.

(via shieldhydraleviathan)


“Rip it tear it stich it wear it”i-D, Summer 2013Soo Joo Park by Mari Saraistyling by Erika Kurihara; Storm in a Teacup top, Gucci skirt, Balenciaga rings

“Rip it tear it stich it wear it”
i-D, Summer 2013
Soo Joo Park by Mari Sarai
styling by Erika Kurihara; Storm in a Teacup top, Gucci skirt, Balenciaga rings

(Source: foudre)


ミカサ

ミカサ

(Source: himaritakakura12, via lumineon)

(via idontwantsex)

milonogiannis:

Prophet’s French edition couverture — I like how they’re calling it John Prophet.

milonogiannis:

Prophet’s French edition couverture — I like how they’re calling it John Prophet.

(via shieldhydraleviathan)

(Source: microhate)

jesseruins:

Jesse Ruins New Photos on CT website!
photo by Masatoo Hiranohttp://capturedtracks.com/artists/jesseruins/

mdtepsic:

pre orders begin sunday nite

mdtepsic:

pre orders begin sunday nite

(via jesseruins)

likeafieldmouse:

Nadav Kander - Yangtze: The Long River (2009-12)

“Finishing Yangtze: The Long River required three years and five trips to China, ‘a place that is moving and changing so fast that it can only be unnatural,’ [Kander] said.

In 2005, around the time Mr. Kander started thinking about the project, he was intrigued by China’s rapid growth and constant change. ‘It was a place that I wanted to stand in,’ he said.

The Yangtze, flowing nearly 4,000 miles from Qinghai Province to the East China Sea, seemed a natural yet challenging path to trace.

‘I love the metaphor of water,’ Mr. Kander said. ‘Like life, like humanness, it becomes a cloud. It’s an ever-changing cycle. I find it comforting.’

Because what he was seeing wasn’t so much about China — grand structures or tourist vistas — as it was about compassion. He saw a beauty in the moments he witnessed, as people lived out their daily lives and traditions in circumstances so much different from his own.

‘It’s much more about what you don’t show than what you do show,’ he said. ‘I think work that asks you to question what more there is is much more interesting.’”