Anna May Wong photographed by Carl Van Vechten on April 20, 1932.


blake kathryn
we're not kids anymore.

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dirt enthusiast
i don't do bad sauce passes
AnasAbdin
Aqua Utopia|海の底で記憶を紡ぐ

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d e v o n

@theartofmadeline

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Show & Tell
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TVSTRANGERTHINGS
trying on a metaphor
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@aynatonal
Anna May Wong photographed by Carl Van Vechten on April 20, 1932.

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“That's the most contact I've had from him in a while.” [via tvinsider]
SAM REID as LESTAT DE LIONCOURT The Vampire Lestat Season 3 Premiere + Concert
James Baldwin photographed by Carl Van Vechten on September 13, 1955.
Ilya + that lethal side profile

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Happy Pride
Peter (A Young Girl) - Romaine Brooks/Gluck
Hudson Williams for Bvlgari - Absolutely superb
turn your antivirus off and install me
pre-k girls playing hand clap, New Orleans, Louisiana, 1976.
Source: Jeanne Pitre Soileau - Yo’ Mama, Mary Mack, and Boudreaux and Thibodeaux: Louisiana Children’s Folklore and Play (2016)

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Egon Schiele Self-Portrait in Street Clothes, Gesturing 1910 Watercolor and pencil on brown paper 16 3/4 × 10 3/4 in. (42.55 × 27.31 cm) Sheet: 17 1/8 × 12 3/8 in. (43.5 × 31.43 cm) Mat: 24 3/8 × 17 1/2 × 3/8 in. (61.91 × 44.45 × 0.95 cm)
Pam Grier (1975)
I just found this screenshot from my old Twitter in which I was correct.
Some art about coffee and certainly nothing else

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Sudha Reddy at the 2026 Met Gala
Hyderabad is not just my origin; it is a language, a rhythm, a way of being. Through this look, I aspired to translate that sensibility into a form that could exist effortlessly on a global stage while remaining deeply rooted in the South Indian imagination.
The Tree of Life, envisioned by Manish Malhotra in collaboration with Mariel Haenn, becomes the central metaphor an unfolding of time, memory and continuity. Drawing from the storytelling traditions of Kalamkari, it is reinterpreted here as something sculptural and alive, where every thread holds a fragment of history. This ensemble is not about nostalgia, it is about evolution. A 3,000-year-old textile tradition is recontextualized through form, texture, and movement: sculpted velvet, antique gold zari, and intricate zardozi come together to create something both archival and immediate. The motifs Palapitta, Jammi Chettu, Kalpavriksha, Tangedu, Surya, Chandra, Kalpa are not merely decorative; they are markers of identity, fragments of home that travel with me. What moves me most is the human touch behind it all. Thousands of hours, countless hands, generations of knowledge woven, embroidered and shaped into a single moment. For me, this is what costume art can be: not just adornment, but a living archive. A way of carrying heritage forward not as something fixed, but as something that continues to grow, transform, and speak. Tonight, I arrive not just wearing a story, but continuing one.
The art lives in the tradition. Handcrafted through zardozi, marodi, resham, and intricate metalwork. Rooted in South Indian heritage, the Tree of Life tells the story, with the peacock India’s national bird as its guardian.