(Source: stephcasanova, via unseelieallure)
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“The Cult of Beauty”. Saoirse Ronan by Steven Meisel for Vogue US December 2011
(via aristocraticelegance)
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The Heat of the Moment
Vogue US, March 1998
Photographer: Ellen von Unwerth
Model: Naomi Campbell
Jean Paul Gaultier, Spring 1998 RTW -
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Queen of Egypt
Photographer: Oli Rust
Styling: Elin Bjursell
Model: Hannah Johnson(Source: hintmag.com, via mister-wednesday)
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Vivienne Westwood Couture by Paolo Roversi, 1994
(Source: hazelweatherfield, via fairytalemood)
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” … As she fled fast thro’ sun and shade,
The happy winds upon her play’d,
Blowing the ringlet from the braid:
She look’d so lovely, as she sway’d
The rein with dainty finger-tips,
A man had given all other bliss,
And all his worldly worth for this,
To waste his whole heart in one kiss
Upon her perfect lips.”Sir Launcelot and Queen Guinevere by Lord Alfred Tennyson
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The V&A says: Lila de Nobili designed costumes for The Royal Ballet’s production of Pyotr Ilyich Tchaikovsky’s ballet, The V&A says: ’The Sleeping Beauty’, in 1968. It was an unenviable task following Oliver Messel’s iconic 1946 production and the only solution was to create something entirely different from his dreamy English lyricism. She and the producer, Peter Wright, rejected all previous concepts for an the quasi- Tennysonian feel of a medieval romance seen through the eyes of 19th-century neo-Gothic. The women’s hunting costumes in Act II had elegance and weight, reflecting the aristocratic origins of the characters in the heraldic symbols executed in traditional and ‘new’ materials - the felt appliques of the 1950s mixing with the adhesives and resins for the fleur de lys. The muted browns and blues suggested autumnal shades reflecting the fallow years of Princess Aurora’s sleep.
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(Source: rollthedrumss, via calantheandthenightingale)
Theme: Linear by Peter Vidani
