the more people you love, the weaker you become.

marc antoine tétreault

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Ben Waters & Sylvester Ulv photographed by HART+LËSHKINA for Men’s Uno

Ben Waters & Sylvester Ulv photographed by HART+LËSHKINA for Men’s Uno

dustulator:

Charlie Speed shot by Richard burbridge for Arena Homme + 1997

dustulator:

Charlie Speed shot by Richard burbridge for Arena Homme + 1997

wOw

wOw

regram from @brookecandy isn’t she just the hottest best?

regram from @brookecandy isn’t she just the hottest best?

monstreux:

by Steven Meisel

monstreux:

by Steven Meisel

holographic-plants:

lanadelayy:

         

✿✿

holographic-plants:

lanadelayy:

         

✿✿

tairadawn:

John Galliano Fall 2009

tairadawn:

John Galliano Fall 2009

fohk:

Immoral Tales (1974)Walerian Borowczyk

fohk:

Immoral Tales (1974)
Walerian Borowczyk

weian-fu:

So every time anyone questions me on anything I’m responding with “Do you see these titties? You know damn straight I’m a grown ho!” From now until forever

fohk:

VISIONAIRE NO. 62 RIO
Some years ago, an antique stereoscope was presented at one of Visionaire’s weekly brainstorm sessions, inspiring a maelstrom of ideas among the magazine’s editors. When the opportunity to focus an issue on Rio de Janeiro came along, Visionaire realized that stereoscopy provided the perfect format for the theme. A stereoscope allows the viewer to look at a slide made up of a simultaneous double-image of the same picture, creating a 3-D illusion of depth. In the nineteenth century, stereoscopes provided a primary source of imagery and news from faraway lands, and here, Visionaire 62: Rio takes a decidedly analogue approach to achieve the same mesmerizing effect, with a series of images by artists that interpret the city of Rio de Janeiro for 3-D viewing.

fohk:

VISIONAIRE NO. 62 RIO

Some years ago, an antique stereoscope was presented at one of Visionaire’s weekly brainstorm sessions, inspiring a maelstrom of ideas among the magazine’s editors. When the opportunity to focus an issue on Rio de Janeiro came along, Visionaire realized that stereoscopy provided the perfect format for the theme. A stereoscope allows the viewer to look at a slide made up of a simultaneous double-image of the same picture, creating a 3-D illusion of depth. In the nineteenth century, stereoscopes provided a primary source of imagery and news from faraway lands, and here, Visionaire 62: Rio takes a decidedly analogue approach to achieve the same mesmerizing effect, with a series of images by artists that interpret the city of Rio de Janeiro for 3-D viewing.

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