stannats:

Gemma Ward wearing Emanuel Ungaro Haute Couture Spring/Summer 2004 photographed by Patrick Demarchelier for Vogue US

stannats:

Gemma Ward wearing Emanuel Ungaro Haute Couture Spring/Summer 2004 photographed by Patrick Demarchelier for Vogue US

monsieurcouture:

Fashion Lab F/W 2014 Menswear

monsieurcouture:

Fashion Lab F/W 2014 Menswear

supermodelgif:

"The Great Illusion", Lara Stone by Paolo Roversi for Vogue Italia May 2010

supermodelgif:


"innocentes" jennifer pugh by luciana val and franco musso for numero #58

supermodelgif:

"innocentes" jennifer pugh by luciana val and franco musso for numero #58

aucuqaria:

carmidoll:

Tim Walker

WOW

"Far Far From Land" with Kristen McMenamy by Tim Walker for W Magazine in December 2013

deprincessed:

Supermodel Shalom Harlow wears an unforgettable intricate diamond cherry blossom headpiece which towered above her decadently done-up hairdo at the Christian Dior Haute Couture Spring/Summer 2007 collection, which was extra special as it marked John Galliano’s 20th anniversary designing at the French fashion house.

Waiting for Peter, photographed by Paolo Roversi for i-D (July 1999)

Emily Sandberg

(Source: mashamorevna)

(Source: eye-cancer)

madame-deficit:

"So Full Of Dreams". Eniko Mihalik by Ellen von Unwerth. Vogue Italia, July 2012.

madame-deficit:

"So Full Of Dreams". Eniko Mihalik by Ellen von Unwerth. Vogue Italia, July 2012.

80s-90s-supermodels:

"Home Sweet Home", Marie Claire Netherlands, 1999Model : Lonneke Engel

80s-90s-supermodels:

"Home Sweet Home", Marie Claire Netherlands, 1999
Model : Lonneke Engel

abigaildonaldson:

Michaela Bercu by Peter Lindbergh for Vogue November 1988

"It was November 1988, and starred the gorgeous Israeli model Michaela Bercu, photographed by Peter Lindbergh and styled by Carlyne Cerf de Dudzeele. Michaela was wearing an haute couture Christian Lacroix jacket with a beaded cross, all very ‘Like a Prayer,’ and stonewashed Guess jeans. The jacket was actually part of a suit, but the skirt didn’t fit Michaela; she had been on vacation back home in Israel and had gained a little weight. Not that that mattered. In fact, it only served to reinforce the idea to take couture’s haughty grandeur and playfully throw it headlong into real life and see what happened.
"What none of us expected was to run that picture on the cover, least of all the magazine’s printers, who called up and asked with some consternation, ‘Has there been a mistake?’ I couldn’t blame them. It was so unlike the studied and elegant close-ups that were typical of Vogue’s covers back then, with tons of makeup and major jewelry. This one broke all the rules. Michaela wasn’t looking at you, and worse, she had her eyes almost closed. Her hair was blowing across her face. It looked easy, casual, a moment that had been snapped on the street, which it had been, and which was the whole point. Afterwards, in the way that these things can happen, people applied all sorts of interpretations: It was about mixing high and low, Michaela was pregnant, it was a religious statement. But none of these things was true. I had just looked at that picture and sensed the winds of change. And you can’t ask for more from a cover image than that.”
— Anna Wintour on her first issue of Vogue

abigaildonaldson:

Michaela Bercu by Peter Lindbergh for Vogue November 1988

"It was November 1988, and starred the gorgeous Israeli model Michaela Bercu, photographed by Peter Lindbergh and styled by Carlyne Cerf de Dudzeele. Michaela was wearing an haute couture Christian Lacroix jacket with a beaded cross, all very ‘Like a Prayer,’ and stonewashed Guess jeans. The jacket was actually part of a suit, but the skirt didn’t fit Michaela; she had been on vacation back home in Israel and had gained a little weight. Not that that mattered. In fact, it only served to reinforce the idea to take couture’s haughty grandeur and playfully throw it headlong into real life and see what happened.

"What none of us expected was to run that picture on the cover, least of all the magazine’s printers, who called up and asked with some consternation, ‘Has there been a mistake?’ I couldn’t blame them. It was so unlike the studied and elegant close-ups that were typical of Vogue’s covers back then, with tons of makeup and major jewelry. This one broke all the rules. Michaela wasn’t looking at you, and worse, she had her eyes almost closed. Her hair was blowing across her face. It looked easy, casual, a moment that had been snapped on the street, which it had been, and which was the whole point. Afterwards, in the way that these things can happen, people applied all sorts of interpretations: It was about mixing high and low, Michaela was pregnant, it was a religious statement. But none of these things was true. I had just looked at that picture and sensed the winds of change. And you can’t ask for more from a cover image than that.”

Anna Wintour on her first issue of Vogue

(Source: idlemoon)

Christian Lacroix Haute Couture F/W 2005

Christian Lacroix Haute Couture F/W 2005