A world away from reality

I'm Kaneni and this is my dedicated art blog, a place my art won't get drowned out by my constant reblogs.

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LACEMADE Blue Iris Bird Dress pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

ASHI STUDIO “Fashion is Art” Dress 2026 pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com “This couture dress draws its inspiration from bronze sculptures in Indian culture and depictions of deities, reinterpreting their characteristic lines and draped forms in a contemporary way. The curves and folds have been carefully studied and translated into the structure of the garment, creating a silhouette that feels both fluid and defined. The entire piece is built around a bronze tone, treated to resemble naturally oxidized metal. Shades of blue and green are hand-painted using a trompe-l’œil technique to evoke the patina seen on ancient statues, giving the surface depth and variation. From the construction of the corset to the draping of the skirt, each element required precision and coordination. Over 200 hours were dedicated to crafting the garment, with an additional 200 hours spent on hand painting to achieve the final finish. Developed over several months, this piece reflects a balance between craftsmanship, material research, and a clear visual direction.”

my most base desire is to look like this every day for the rest of my life

Charlotte Gainsbourg by Casper Sejersen for “Belongs to Joe” (2015).

I've been in a bit of an art funk lately, so I decided to do a little redraw of this piece from 2021.

CLIO PEPPIATT "The Bride Who Walks Between Worlds" Collection shot by Szilveszter Makó pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

SHUSHU/TONG Shanghai Fall/Winter 2027 pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

by Jessica Cioffi

[Comm for Runnerrabbit on Bsky!]

Doechii attends the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art on May 04, 2026 in New York City. (Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue) pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

Cai Xukun attends the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art on May 04, 2026 in New York City. (Photo by Arturo Holmes/MG26/Getty Images for The Met Museum/Vogue) pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

Sabrina Carpenter attends the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art on May 04, 2026 in New York City. (Photo by Theo Wargo/FilmMagic) pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

MET GALA "Costume Art" Exhibition 2026 pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com The idea, curator Andrew Bolton said, is “to reflect on your own lived experience, hopefully to create a connection, empathy, compassion towards each other.” Not only does this interactive element transform a visit to the museum into a small voyage of self discovery, but it is a bodily experience that cannot be replicated digitally. This at a time when humans are being replaced by machines and AI anxiety is pervasive. “The whole show is structured around a typology of bodies, and these are bodies that you see across the museum when you encounter artworks,” Bolton explained. “The simple thesis for the show really is the fact that the dressed body is the connecting thread throughout the entire museum.” What you won’t see anywhere else at the Met are mannequins of diverse body types modeled after named individuals, like those commissioned for “Costume Art.” And this is transformative in many ways. As the scholar Llewellyn Negrin notes in her catalog introduction, not only do mannequins project a beauty standard, but their “dimensions often dictate the sizes of the garments shown, and the garments’ sizes correspond to the idealized proportions of the preferred mannequins, resulting in a mutually reinforcing process that perpetuates the privileging of culturally esteemed body types.”