by Fred Meylan
styofa doing anything
h

Kiana Khansmith
art blog(derogatory)
taylor price

⁂
Keni

Andulka
Monterey Bay Aquarium
almost home
Misplaced Lens Cap
hello vonnie
ojovivo

oozey mess

❣ Chile in a Photography ❣

tannertan36
"I'm Dorothy Gale from Kansas"

@theartofmadeline
sheepfilms

roma★
seen from United States

seen from United States

seen from United States

seen from Brazil

seen from Australia

seen from Malaysia
seen from United States
seen from United Kingdom
seen from Brazil
seen from United States
seen from United Kingdom

seen from United States

seen from Singapore
seen from United Kingdom

seen from Türkiye
seen from Belize

seen from Brazil
seen from United States

seen from Australia
seen from Israel
@emmaemmaemma6
by Fred Meylan
Menus from the Coconut Grove at the Ambassador Hotel in Los Angeles.
Candy Darling by Francesco Scavullo
White shirt- Harper's Bazaar US (1993)
Christy Turlington by David Sims
“I’ve been on a long journey of learning to understand descents—initiations into the holy darkness of the underworld. I love a good catacomb. I feel at home there. There’s a kind of orientation that I sense that only becomes possible in the dark. Once, I was walking the catacombs outside Rome and I’d fallen to the back of the group. There were two torchbearers—one at the front, one at the end. You have to stay close. A few weeks before our visit, a Boy Scout had gotten lost in those tunnels. Not temporarily. Entirely. The lesson is simple and unrelenting: we do not make it through alone. We walk together. We take turns carrying the light. Story is a kind of torch. It holds us. It marks the passage. I am lucky—for those who love me, who call me back when I begin to slip behind, who remind me: stay. Not for the certainty. Not for the resolution. Not even so that, at last, things might make sense. But to dwell—open, wanting—in the radiant complexity of being alive—with others. With you.”
— Writer and diviner Selah Saterstrom on taking turns to light our passageway through disaster – The Creative Independent
Chen Chen, Your Emergency Contact Has Experienced an Emergency
Marianne Faithfull by Gered Mankowitz, London, 1964.
'Lee Miller’
by Man Ray, 1929
Joni live in the 1970s
crazy how i find myself thinking i've got a handle on it all finally and then i see the ways that other people tangle their lives together so easily and live so easily together with their friends and i feel like that girl at the top of the stairs painting by norman rockwell
i'll always be here
“To be honest and to be fair were not always the same thing.”
— Damon Galgut, Arctic Summer
La dolce vita de Claudia - L'Officiel France (1995)
Claudia Schiffer by Arthur Elgort
Kate Moss | Yves Saint Laurent (1993) © Helmut Newton
Katharine Hepburn and Cary Grant on the set of The Philadelphia Story (1940) from bellecs
Shalom Harlow Vogue UK (October 1995) ph. Nick Knight
Why are ghost brides such a classic trope? Is it the Poe-esque juxtaposition of death with youth and beauty? Is it the fact that a woman clad in a white gown is already appropriately dressed for the afterlife, her diaphanous white veil ready-made for her shade in the most symbolically neat packaging of all ghosts? Is it because, though we have all been socially conditioned to desire it, we secretly fear marriage? With her deep origins in fairy tales and folklore, and her many expressions in ghost stories and Gothic literature, the ghost bride is an archetypal figure that is deeply embedded in popular consciousness. She has existed for centuries in folklore as an apparition who warns the bride- (or groom- ) to-be of the dangers that lie ahead, dangers of an excess of passion, or a lack of it, dangers of trusting your heart to someone you maybe don’t fully know yet. There’s a narrative arc to a wedding that is tinged with fear, which we brush off as wedding-day jitters. The bride is the radiant focal point of the day, and at the precise moment of the fatal kiss, as maiden morphs into wife-and-mother, her fate is sealed. I hope, for your sake, your husband is a benevolent overlord and not a murderous Bluebeard, dear lady.
Leeana Renee Heiber and Andrea Janes, America’s Most Gothic: Haunted History Stranger than Fiction