I might die if I don’t do some writing soon. I think I’ve forgotten how.

kingcheddarxvii:

Take any movie premise about a white man and make it about a grandma and it becomes twice as interesting

(via divinedorothy)

darksilenceinsuburbia:

Kjersti Johanne Barli

The Seven Deadly Sins

1. To the boredom

2. One man’s hat is another man’s death* . *just kidding

3. Envy

4. Wrath. I’m going to shoot you now – phiouhh

5. Greed. – Could I have one? – No.

6. Gluttony.

7. Pride

Via

 

(via mountstnobody)

hot-potato-cold-bazooka:

hot-potato-cold-bazooka:

So I’m moving into a new apartment, and I was told that the room had been damaged, but nothing could have prepared me for the fact that someone had carved Li Shang’s head out of the bathroom door and written “We must defeat the Huns!” on it.

image

(via divinedorothy)

allthingsstylish:

Lauren Hutton- Vogue 1979

Not normally digging the blonde athletic all American look but I’m beginning to appreciate later Lauren Hutton.

allthingsstylish:

Lauren Hutton- Vogue 1979

Not normally digging the blonde athletic all American look but I’m beginning to appreciate later Lauren Hutton.

weirdvintage:

Dog with pipe, 1940s (via)

Dapper

(via weirdvintage)

Julie Delpy

(via witcheslookbook)

That face

(via alicedollhouse)

May 21st, 1945: Humphrey Bogart and Lauren Bacall’s wedding in Mansfield, Ohio.  Photographed by Ed Clark.

(via silverscreenclassics)

Depression comes in waves. Some days it feels as though you’re in a drought and some days you’re drowning, swallowing water until your thoughts are soaked and decaying from the salt. On these days not much can help you. You may have dozens of people waiting on the sand bar but when it hits it is only you treading and looking for air. On these days it is important to go easy on yourself, to allow yourself to feel your feelings, free of judgement. However, it is equally important to fight back. You must pay attention to your surroundings. You must find what makes the tides subside. You must understand that you don’t have to do this alone — that like waves in the water, you can’t control what hits you. But you can control how you prepare yourself for them. You can decide what safety devices you’ll use against it. Find a lighthouse to keep in your mind’s eye in the distance. Don’t be afraid to ask for help and swim on.

amyvdh:

sometimes I identify very strongly w/ her here

msmeganmcgurk:

Classic Film Guide for How to be a Lady #29: Forget the coercion by sing-song. Glasses make a lady more interesting.

Few accessories add more dimension and intrigue to a lady’s appearance than spectacles. Barbara Stanwyck’s librarian in Forbidden (‘32) fails to see that falling for a married man leads to heartache. Stany’s pince-nez are the height of fashion in lady geekdom.

Miriam Hopkins sports a dark-rimmed pair to play the unassuming secretary in a long con with Herbert Marshall in Trouble in Paradise (‘32). Specs and a monochrome dress are sartorial subterfuge meant to distract Kay Francis from her jewels.

In 42nd Street (‘33), Ginger Rogers counteracts a bad reputation as ‘Anytime Annie’ by adopting a monocle, herringbone tweed and a posh accent. She can stare down the slut-shamers with the glare from one glass and a raised high brow.

Ruby Keeler may have ditched her glasses in Footlight Parade (‘33) in a foolish bid to get a fella’s attention, but her ‘before’ fashion sense remains an attractive template for those of us in the cultivation of a 1930s spinster aesthetic. 

A hardworking busy body such as Rosalind Russell in The Women (‘39) needs as many eyes as she can muster, which in this case is a lucky number seven. Russell’s Sylvia Fowler exhibits so much style with a rakish hat, netting, specs and Schiaparelli-inspired whimsy that all bets are off in the ultimate ladies-who-lunch ensemble. 

Joan Fontaine may have had the great fortune of having Cary Grant as her own personal hair and wardrobe guide in Suspicion (‘41) but the quiet dignity of a lady with glasses, a book and menswear on the train is indelible in the annals of fashion.

Ingrid Bergman’s spectacles in Spellbound (‘45) are the finishing touch to an empathic doctor. They also remind viewers of a era when Hitchcock preferred to explore the interior lives of women rather than have them butchered by deranged avian or ‘family romance’ antagonists. 

Joan Crawford uses glasses to signal regret and missed opportunity in Humoresque (‘46). Crawford’s discontent at being relegated to ‘wife’ or ‘muse’ is underscored each time she puts on her glasses. No wonder she drinks too much. A woman who commands a room clearly needs something to do. Her glasses remind us.

Eve Arden’s Our Miss Brooks (‘52-‘56) is judging you. And nothing helps judgy-face have more impact than a pair of glasses.

Marilyn Monroe never looked as interesting than she does with a pair of cat eye specs in How to Marry a Millionaire (‘53). She almost resists the fashion redemption provided by the ‘destroy-sex-bomb-cliche’ frames.

SPEX APPEAL

(via ohmrpowell)


Lauren Bacall by John Engstead

PERFECTION

Lauren Bacall by John Engstead

PERFECTION

(via avasgal)