Posted 1 month ago
ravishing

ravishing

Posted 1 month ago

Those expressions.

Posted 1 month ago
Posted 1 month ago
the1940shomefront:

1940s tops (knit) - Knit tops, which were often called sweaters but not worn over a blouse, could be buttoned up and they usually came in pullover styles. They had puff sleeves, with high round collars, and slim fitting silhouettes. They were usually a winter item that was worn layered with full sweaters and jackets. They came in bright colors such as red, blue, and yellow to ward off the winter doldrums.#1940s #knitting #fashion#vintage color photo print ad models fashion style war era WWII

the1940shomefront:

1940s tops (knit) - Knit tops, which were often called sweaters but not worn over a blouse, could be buttoned up and they usually came in pullover styles. They had puff sleeves, with high round collars, and slim fitting silhouettes. They were usually a winter item that was worn layered with full sweaters and jackets. They came in bright colors such as red, blue, and yellow to ward off the winter doldrums.#1940s #knitting #fashion#vintage color photo print ad models fashion style war era WWII

Posted 1 month ago

omgcatrevolution:

Alfred Hitchcock, Murder! (1930)

Posted 1 month ago

wehadfacesthen:

Sophia Loren at the Carlton Hotel photographed by Edward Quinn, 1955

(Source: aladyloves)

Posted 1 month ago

That face.

(Source: manythewonders)

Posted 1 month ago

ouphrontis:

The cover was designed in 1896 for the special Christmas number of the magazine.  As in many examples of Mucha’s designs for magazine covers, this composition is rich with symbolism.  Although we don’t have Mucha’s own writing about the interpretation of this particular design, we  can read the idea behind this cover. as follows.

As indicated by the title of this number ‘1896-Noel-1897’, the magazine marks the turn of the year - the passing of the old year and its renewal.  The pale figure of the dead (or dying) woman in the foreground seems to symbolise the passing year, while the winged figure is wrapping her body in a shroud. The silhouetted flower held by the passing woman is thistle, which often symbolises Sin and earthly suffering. However, the hope for renewal and redemption is indicated by the image of the silhouetted church building in the background (considering the occasion, probably the Church of Nativity) as well as the band of decorative motifs on the left, consisting of three pairs of hands and snowed branches of Christmas tree. In the Christian context, pairs of hands often allude to spiritual power or the conduits to convey spiritual energy, while Christmas trees represent vitality or life force.  Whist these motifs were inspired by the Christian tradition, the idea of ‘mechanical’ hands with cogs is totally unique.  By this,  probably Mucha expressed the power of the mysterious God who governs time and the harmonious working of Nature.” - Mucha Foundation

Posted 1 month ago

What hit me?

(Source: gingerrogerss)

Posted 1 month ago

The Boyle Estate

(Source: callistacurnows)