Samara Weaving as Grace MacCaullay
READY OR NOT 2: HERE I COME (2026) dir. Tyler Gillett, Matt Bettinelli-Olpin

Kaledo Art
wallacepolsom
Xuebing Du
$LAYYYTER
PUT YOUR BEARD IN MY MOUTH
hello vonnie
Sade Olutola

Andulka

shark vs the universe
occasionally subtle
trying on a metaphor
Show & Tell
we're not kids anymore.

Kiana Khansmith

blake kathryn

No title available

oozey mess

@theartofmadeline
almost home

Janaina Medeiros
seen from Iraq
seen from United States
seen from Netherlands

seen from United States

seen from Germany

seen from Chile

seen from Brunei
seen from United Kingdom

seen from Nepal
seen from Algeria

seen from United States

seen from Türkiye
seen from United Kingdom
seen from United States
seen from United Kingdom
seen from Philippines
seen from United States
seen from Spain
seen from United States

seen from Malaysia
@itsyourgirlexi
Samara Weaving as Grace MacCaullay
READY OR NOT 2: HERE I COME (2026) dir. Tyler Gillett, Matt Bettinelli-Olpin
ERDEM Pre-Fall 2026 if you want to support this blog consider donating to: ko-fi.com/fashionrunways
what's the most cancelable shit y'all do when ur not online
sometimes i like to acknowledge nuance
Frankenstein (2025) dir. Guillermo del Toro // The Incredulity of Saint Thomas (c. 1640–1649) by Matthias Stom
HACCHIC COUTURE 'Lunar Fracture' Collection if you want to support this blog consider donating to: ko-fi.com/fashionrunways
Dracula: A Love Tale (2025) dir. Luc Besson
“Because nobody will deny you anything the moment you stop denying yourself. Who could possibly have sovereignty greater than yours?” she asked, insistent. “Who on earth could have the right to refuse you, if you do not permit it? If this isn’t the way, Sasha, then find another one.”
— Olivie Blake, One For My Enemy
Paolo Sebastian
Aden
Zuhair Murad
“The saint, especially the female saint, needed some very real protection. Treated as a curiosity by some, and as a walking reliquary by others, the saint could find it hard to protect her privacy and even her person. Both were seen as not entirely hers. It was acceptable, even laudable, to spy on the saints. The hagiographers again and again reminded their reader, the candle must not be hind under a bushel basket. Saints were not supposed to have backstage behavior; they were expected to be constantly saintly. Saints could not excuse themselves by saying that they were not aware of being watched. It was assumed that they would try to hide their sanctity, adding humility to their catalog of merits, but depriving others of their rewards. This pious selfishness was not tolerated by spectators who did their best to catch the saint in flagrante sanctitate. As for their bodies, the saints were seen as mere custodians of their miracle-working flesh. The saint’s relics (pieces of clothes, blood-stained material) could be torn away from the saint with or without his or her permission. When the followers of St. Romauld learned of his intention to move to another place, they planned, ‘impia pietate,’ to kill him to avoid losing his body.”
— Aviad M. Kleinberg, Prophets in Their Own Country. Living Saints and the Making of Sainthood in the Later Middle Ages
Elizabeth Montgomery
ELIE SAAB at Couture Fall 2017 if you want to support this blog consider donating to: ko-fi.com/fashionrunways
If we don’t microdose delusion we won’t make it through this reality babe….
Cillian Murphy Document Journal 2023 Ph: Richard Bush