chadwys:

The Lulu & Co. autumn/winter 2014-15 ready-to-wear collection includes 7 pieces featuring my work.

(If I was a girl I’d totally wear that blue dress.)

See the entire collection of 33 looks at Vogue UK.

showslow:

Minale Maeda, Delfts toast pan and plate (2006)

scarfless:

all my otp’s are gay

princesshorseface:

elphabaforpresidentofgallifrey:

THIS VIDEO IS EVERYTHING

THERE IS NOTHING I WANT TO DO MORE THAN A CHOREOGRAPHED GROUP DANCE IN SNK COSPLAY.

"The first person to tell me I was beautiful was definitely my mother, she said that a lot. Especially when I felt the least bit beautiful. My mother always said I was really beautiful and I finally believed her at some point." [x]

"Gott ist tot!" - Homura’s Mental Turnaround in The Rebellion Story

infall-of-music:

image

[graphic courtesy of apotheosizing]

Okay, this is a super-important scene because there’s obviously a lot of symbolism going on here. I haven’t really seen anybody talking about this, so I want to dig a little deeper than the surface at which Homura is saying that “this ridiculous farce is just wasting the sacrifice that Madoka made for us.” I don’t think Homura really believes that, and I’ll tell you why.

Right here, we’re looking at a sculpture of Ultimate Madoka, pictured as a radiant goddess with arms outstretched to take on the burdens of despairing magical girls everywhere—the very image of salvation. Remember that Homura is the only one who is supposed to remember Madoka in this new universe. That tells us that this part of the scene takes place entirely within Homura’s mind.

Okay, so that’s all well and good. After all, Kyubey did describe Madoka’s ascension as “trying to become a god,” so it only makes sense that she’s portrayed as such, right?

Wrong.

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erizo1404:

by Wesley Burt

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