d(A)dA arianna razzano


1988 IG/RS, Maison Martin Margiela spring—summer 1989, Paris October 1988.

Jesse Brouns: A show is nothing more than that: show. It gives clients and the press a privileged introduction to a new collection. And it supplies newspapers and magazines with pictures and text. In other words, pure PR. You often hear that people have been so moved by a show that they had to cry. I don’t understand that.

Added to that, there are good shows, bad shows and unforgettable shows. A show presents a picture. Clothes are part of that picture. But the same goes for the models, the way they are made up, the music, the venue. As far as belgian designers are concerned, the venue is generally in a poor, remote area of Paris, and afterwards you’re usually relieved that the ceiling didn’t collapse on your head.

Martin Margiela: I have known Inge for a long, long, long time now and met Ronald, through her, a long, long time ago. I like the fact that they both developed their artistic career independently and in a highly individual way, which is rare. But what I admire most is their collective work, those moments when they create something together and this magical ‘fusion’ occurs. Even though it spans many years of their work, this book does not express a feeling of new or old. For me it is evidence of their constant strive towards a joint aesthetic. We started around the same time and were both driven to create that (so aspired to) ‘something different’. It is no wonder that from the very beginning, we continued, separately or together, to surprise each other. I am proud that we can share today these precious images that will speak of us forever. 

(via rosearie)

(via rosearie)



(via rosearie)

(Fonte: Spotify)



Japanese Grand Hotel from MGM

Austin English

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Louise Bourgeois, Oedipus, 2003

(Fonte: dionyssos)


Gareth Pugh SS11

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Nan Goldin 

Self-Portrait in Blue Bathroom, London 1980

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(Fonte: Spotify)

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