the only routine with me is no routine at all

[maryelle-fanning]

ELLE FANNING for Vanity Fair PHOTOGRAPHY BY: Tierney Gearon  2020

[usertaylorswift]

TAYLOR SWIFT © Beth Garrabrant // Entertainment Weekly (December, 2020)

[ecbook]

[americansunshine]

[breathtakingdestinations]

Salzburg - Austria (by Volker Kannacher) 

[andallshallbewell]

[hope-mikaelson]

[rainbowstickersandunicorn]

same, saoirse, saaaaaaaame

[allthingseurope]

Zermatt, Switzerland (by Morgan Thompson)

[themakeupbrush]

Badgley Mischka S/S 2019

[speaknow]

“I pretty much know that anything I do is going to have some people who just hate it. I’m trying to make things that will make my fans happy, that will make my fans feel accepted, supported and loved.”

[chewbacca]

Kacey Musgraves attending The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City.

[kaceyxmusgraves]

Kacey Musgraves and Harry Styles in Dallas.

[jewelselite]

[simplichity]

+ you’re beautiful

[iammc]

[olsendaily]

Ashley attending the “Rachel Feinstein, Secrets” and “Man Ray’s LA” exhibitions at the Gagosian Gallery in Beverly Hills, Jan 11 2018

[thekeysofalicia]

Current mood 😘😘

[newyorker]

In the early nineteen-sixties, Duane Michals pioneered the genre known as the photographic narrative sequence, using multiple images combined with text to create stories that were at once philosophical, paradoxical, playful, and poetic. One sequence, titled “The Spirit Leaves The Body,” from 1968, repeats in six frames the same naked figure lying on a bed in an empty room, a transparent silhouette rising out of it in the subsequent frames—sitting up, standing, and walking toward the camera—until the figure is left, again, inert and alone. A show of his early sequences, at MoMA in 1970, acknowledged him as a godfather of the form.

Still, Michals had to make a living, and he worked on assignment for the major magazines of the time, making editorial portraits of notable figures.

Read more.