pure, dirty, raw

olive amelia // they/she // midatlantic poetry witch // lesbian // 25 // VA

[insidetheether]

love will make you feel insane.

[inanimatecarbongod]

[doctormeloku]

[aloneandforsakenbyfateandbyman]

From The Story of a Tattooed Girl by Cindy Ray, 1966

[pigmenting]

i love the part of growth that allows you to look back on a previous period of your life and recognize that parts of it were unhealthy. something that felt so normal wasn’t in hindsight. you’re not supposed to feel that tired all the time. you’re not supposed to be treated like that.

[polkadotmotmot]

Sanda Iliescu - Angel with Dog and Serpent, 2019

[yesterdaysprint]

The Leavenworth Times, Kansas, April 30, 1912

[poisonedsequin]

alexander mcqueen spring 2020 rtw

[violentwavesofemotion-deactivat]

A hideous solitude extended before me and I drove my rebellious heart onward.

Nikos Kazantzakis, tr. by Richard Howard, from “The Rock Garden,” (via violentwavesofemotion)

[angel-cake-queen]

M·A·C - Faerie Whispers

[2girlfriend-archive-deactivated]

[bebemoon]

alessandra rich rtw autumn 2o19

[wishbzne-deactivated20210526]

“The heart is so tired of beating herself up, she wants to stop it still, but also she wants the blood to return, wants to bring in the thrill and wind of the ride, the fast pull of life driving underneath her.”

— Ada Limón, from Downhearted

[poppins-me]

[podencos]

U can’t tell by looking at me but I’m in the midst of meaningful evolution

[glitchlight]

imma keep it real with you chief continuity of self is a helpful illusion but you die every night and another you is born every morning

[uneeorchidee]

(Natalia Vodianova in Alexander McQueen Oyster dress, Age of Innocence, Harper’s Bazaar March 2003, by Peter Lindbergh)

“For his S/S 2003 presentation Irere, McQueen once again looked to the ocean for inspiration, creating collection inspired by mermaids, pirates and the spectacular colour palette of the underworld.  The storyline behind the collection told of a shipwreck at sea which led to a landfall in the Amazon– underwater imagery merged with a tribal aesthetic in order to marry land with sea, adding a touch of lightness to McQueen’s designs. The show was also accompanied by a stunning fashion film projected behind the models on an enormous video screen – opening with a woman tumbling into the ocean and ending with an army of models storming land in glorious technicolour, the film provided a visual narrative to the beauty of the clothing.

The collection truly demonstrated McQueen’s softer side at its finest, culminating in one of his most iconic garments, the Oyster dress. Crafted from countless layers of delicate silk, Burton recalled the tale of its fabrication in an interview which accompanied the dress in the ‘Savage Beauty’ exhibition. She recalled how “he wanted this idea – it was almost like she had drowned – and the top part of the dress was all fine boning and tulle, and the chiffon is all frayed and dishevelled on the top”. McQueen has often commented that the dress was one of the purest examples of the ‘lightness’ that he had learnt at Givenchy.

(…) The collection and its presentation showed that McQueen was one of the few designers to truly understand the spectacular impact of mixing fashion and film, and it also reinforced his ability to thread narrative into his collections and tell a story with mesmerising visuals. Once again, the designer seemed to reference his own history by proclaiming in several interviews that the lightness of the fabric throughout the collection would never have been possible without his brief appointment at Givenchy, which apparently taught him to add a touch of haute couture to everything that he did. It was also an unexpected move, showing that McQueen can do ethereal just as well as he can do savage, cementing his reputation as both a versatile designer and one that could comfortably call himself internationally-renowned.” (x)