Don't Shoot The Scaramouche!
Music//Film//Art//Street Youths//Food//Books//Fashion//Places//The Streets//Pop Culture// @ThatScaramouche
Don't Shoot The Scaramouche!
+
candices-swanepoel:

NYFW | Marc Jacobs Spring 2015 RTW Rehearsals
+
satanshoe:

Happy Birthday Amy Winehouse! September 14, 1983 - July 23, 2011
+

the row spring 2015
+
netaporter:

Pretty in pink #NYFW #streetstyle

Photograph by @textstyles
+
netaporter:

Pretty in pink #NYFW #streetstyle

Photograph by @textstyles
+
chanel-and-louboutins:

✝
+
+
+
+
+
+
+
vjeranski:

started drawing as a small child and never stopped
+
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
+