Platforms & extreme bell bottoms

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Da bff

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I woke up like dissssss (literally)

Sneak peek at the tatt

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We could be together but you playin'

this could be us but you anon



i passed this on my bike the other day and it made me feel better and now look here it is again

This is something they don’t teach us. Instead they teach us to lean and rely on people when really we should be holding our own hand. They never told us how to deal with losing loved ones and being left astray. We’re left broken and hurt because we weren’t prepared. We never expected bad things to happen because they never taught us that anything bad would ever happen. They never taught us.

(Source: sediti0n, via letzfuck)

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(via askaboutnikki)

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The Royal Tenenbaums directed by Wes Anderson (2001)

(via mmelancholia)

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Jewelry for fidgeters. Love it.


This is necessary for someone like me, who silently destroys napkins and beer bottle labels with my nervous hands during the most casual of friendly conversations. 

i really need this

(Source: , via malicein-neverland)

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my milky bong brings all the boyz 2 da yard

& theyre like its betta than yours

damn right its betta than your

I could spark ya but I have to charrrrge

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Download the app & buy some of my things on depop! Super cute & cheap things. Will be posting more tomorrow :)

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Favourites: Nicola Samorì was born in Forlì on 13th May 1977. After graduating from the Academy of Fine Arts in Bologna, the artist has exhibited since 1998 both in Italy and abroad. His early solo shows of note include that held at Santa Maria delle Croci (Ravenna) and at the Tafe Gallery in Perth (Australia).
In 2002 he stripped his work of all its narrative markers to give way to the first great torn posters, printed with monotype on canvas, along with his works on metal, oriented from the start towards a reappraisal of 17th-century Dutch and Bolognese painting. The subjects are remote inventions that refer to nothing other than themselves: copperplate nightmares zooming in on the body. A new turning point was offered by his dialogue with sculpture, in which he favoured the practice of moulage, adopted as a medium through which to sound out the border between the living and the dead, between the moving and the inert. This was the beginning of his first molossus heads, dating back to 2004, followed by a long series of anti-portraits that turn the gaze inwards, leaving the vast stretches of skin to face the clash between the teachings of non-representational and its antithesis: a form of painting analytical to the point of paroxysm. Nicola Samorì lives and works in Bagnacavallo in the province of Ravenna

(via boneshrines)

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What is chic, what is fashion? from a 1970 issue from Harper’s Bazaar
Photographed by Guy Bourdin

(via criesofinsanity)

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