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Burano, Italy. Island of Venice
A quiet, delightful island with picturesque pastel-colored houses.

(Source: melifloux, via girl-violence)

If you think women are crazy you’ve never had a dude go from hitting on you to literally threatening to kill you in the time it takes you to say “no thanks.”
by Kendra Wells. (via mysharona1987)

(via spicy-vagina-tacos)

The naked female body is treated so weirdly in society. It’s like people are constantly begging to see it, but once they do, someone’s a hoe.
by Lena Horne  (via thatkindofwoman)

(Source: africantea, via thatkindofwoman)

nrkszny:

Kenzopedia #2: B for Blue
Illustration for Kenzo, 2014
Link to the story
dionyssos:

David Hockney
Telling a young girl she can’t wear what she wants because it’s not appropriate encourages the idea that men’s reactions should dictate society’s norms, and that all women are meta-Eves, tempting and ensnaring men with our sultry-eyed gaze. My parents’ culture is steeped in patriarchy, in the philosophy of the one-step machismo machine, where there is just one kind of man, and two kinds of women: the angel and the whore. These limited ideas of masculinity breed men who want ownership of women.
by Fariha Roison (via girl-violence)

(Source: voirsully, via hex-girlfriend)

wgsn:

Expressive mark making and great use of colour makes Charlotte Beevor one of three students shortlisted for the annual Texprint Colour award. She also had the added bonus of winning a coveted internship with Lululemon Athletica, announced at the press launch this morning. All Texprint finalists exhibit at Indigo in Paris in September where the winners will be announced.

Image credits: Expressionist Colour by Charlotte Beevor

(via vogne)

oscarewilde:

Brighton // March 2014

(via violet-v)

kiwaei:

pohpsicle:

☯Bambi/Indie☯

☆Indie | Gypsy | Bambie☆

rovrsi:

Rochas S/S 2012

(via exhali)

amandajas:

souvenirs: tattoo from london & shirt from amsterdam
This dominant narrative surrounding the inevitability of female objectification and victimhood is so powerful that it not only defines our concepts of reality but it even sets the parameters for how we think about entirely fictional worlds, even those taking place in the realms of fantasy and science fiction. It’s so normalized that when these elements are critiqued, the knee-jerk response I hear most often is that if these stories did not include the exploitation of women, then the game worlds would feel too “unrealistic” or “not historically accurate”. What does it say about our culture when games routinely bend or break the laws of physics and no one bats an eye? When dragons, ogres and magic are inserted into historically influenced settings without objection. We are perfectly willing to suspend our disbelief when it comes to multiple lives, superpowers, health regeneration and the ability to carry dozens of weapons and items in a massive invisible backpack. But somehow the idea of a world without sexual violence and exploitation is deemed too strange and too bizarre to be believable.
by Tropes vs Women in Video Games, Women as Background Decoration: Part 2 (via femfreq)
nicokrijno:

Fig. 024. Composition with fabric.  Printed onto fabric.