DEATHS AND DISCLOSURES; UNIVERSAL AND PARTICULAR

benjaminm:

FWK by Engineered Garments FW2013

yes.

(Source: youmightfindyourself)

beautilation:

“I’ll never forget the day Marilyn and I were walking around New York City, just having a stroll on a nice day. She loved New York because no one bothered her there like they did in Hollywood, she could put on her plain-jane clothes and no one would notice her. She loved that. So as we we’re walking down Broadway, she turns to me and says ‘Do you want to see me become her?’ I didn’t know what she meant but I just said ‘Yes’- and then I saw it. I don’t know how to explain what she did because it was so very subtle, but she turned something on within herself that was almost like magic. And suddenly cars were slowing and people were turning their heads and stopping to stare. They were recognizing that this was Marilyn Monroe as if she pulled off a mask or something, even though a second ago nobody noticed her. I had never seen anything like it before.” - Amy Greene, wife of Marilyn’s personal photographer Milton Greene

haleycue:

crowcrow:

DIY Spring Floral Crowns

This is exactly what I’ve been looking for my entire life.

(Source: grayskymorning)

bodyfluids:

‘Cutting Age’ by Yohji Yamamoto, shown in Berlin

art-of-swords:

Sword-Catching Parrying Dagger

• Dated: 1600
• Culture: Italian

This unusual fencing dagger demonstrates the way in which the artistic qualities of a weapon could be influenced by the practical concerns of the swordsman. The Renaissance duel was usually fought with rapier and dagger. The rapier, as the main weapon of attack, was complemented by a parrying dagger held in the left hand, used primarily for defensive movements.

However, by 1600 fighting with the rapier alone was becoming the latest fashion. The opposing blade could still be parried or beaten away with the left hand. The free left also allowed the duellist to grab hold of his enemy’s swordblade, temporarily immobilising it to expose him to a lethal counter-thrust.  

This distinctive fencing weapon is designed to provide the blade-grabbing ability of the free left hand, while retaining the dagger for defensive action. The arrow-like barbs allowed a sword blade to enter the ‘jaw’ of the dagger, but made it difficult to free it again. With his weapon ensnared, the enemy was exposed, if only for an instant.

The practical challenges of creating such a specialised weapon were considerable. The hardened and tempered steel blade had to be carefully cut with the series of dramatically barbed teeth, a laborious process. The spaces between the teeth have been elegantly filed with ornamental edges, while the base of the blade has been finely etched and gilt- an unusual feature, even for high-quality weapons. In this way, despite its very specific function as a fighting tool, the weapon’s artistic merit is evident.

Source & Copyright: The Wallace Collection

blue-voids:

Margarita Georgiadis - Landscapes, 2009 - oil on canvas

borgevino:

pylade:

#fuckin hannibal’s like goddamn son ur lucky ur cute

#but for real will just blows through all the walls and forts hannibal builds #moves inside hannibal’s spaces with complete rough guileless freedom #and hannibal /lets/ him #hannibal is not unsettled or enraged or insulted by this the way he is with people like tobias or franklin or anyone #that will feels comfortable just being how he is; unrestrained and without ability to respect normal social behaviours #and that hannibal is just as comfortable with this #is really fucking important #esp on a show so aware of characters and their boundaries and how they use space to protect themselves (via okayophelia)

(Source: hannibaliy)

lostsplendor:

Russian Royal Headdress, 14th-17th Century:

Shown and Listed Chronologically: Monomakh’s Cap [14th Century], Altabasnaya (Sibir) Cap [Mid 17th Century], and The Diamond Cap [Late 17th Century].

Image Source: (via)