What is k.bb

if you also such as weird and darkness as k.bb........... try to feel those photos

Futuristic, The Art of Artificial Intelligence

As a major A.I book gets published, conceptual artist Chris Baker working with Stanley Kubrick and Steven Spielberg on the film

i adore it

Arielle de Pinto

her jewellery

DIARY# happy bday mom!

Today is my mother's birthday!

happy birthday mom!


this shoes looks really tempting!! (by anywho.dk)

My life is a dark room, a big dark room......

today i watched the classic movie <Beetle Juice> : )
i love that girl!

haylin is here!!!!!!!!Walk, walk fashion baby,work it move that bitch crazy

royal blue legging: American Apparel

black legging: American Apparel

was interviewed on that day

in the UNIQLO and bought four pairs of socks,
the dark red, black, royal blue, brown

i really love my new necklace

went to fashionweek on that day

i was very relaxed on that day, stay at home all day!

they both my best friends! <3

ah, i really love it my new coat!!!!!!!!!!!

it was a rainy day, those beautiful raindrops falling apart

bought a new legging on that day

go to sleep

i love tie-dyed

i bought this vintage lipstick mirror box on that day, only 6 RMB!!!

i lost this ring :(

two days at nordic music festival on guangzhou tour

i adored essential oil

i undoubtedly is a super shopaholic :P

want to see things more clearly

i am from the universe

to wear these up, i want to dance in the club around the music :)

wow! the stunning femme fatale!

i love her russian temperament, but i can see from this look sent out a little bit classical italian fashion style :)
photo# jakjil

BRAVO!! love this russian fashion style! always love the russian femme fatale!!! toxic stunner:D
photo# anywho

DIARY# probably this is the way

These days i didn't have write my diaries, soooooo sorry, but today, i have been came back!!!
so happy i can see you all of friends here, miss you all!!

last few days I'm not in the mood to write the diaries and also have nothing interesting things happens,
these days since were to busy, busy with at school and to work, so i have got no time :(

the day before yesterday was very comfortable, after the classes i got my private time, on that night i heard that my friend (she is the model) and another friend (he is the great style fashionista) has been in my city for bussiness, then we have a met and talked to late at night,  i felt a little bit tired, but it was really great, i feeling great! :D

tomorrow and today, i have to finish my watercolor and gouache painting!

last night i was taken in self-study at school,  suddenly i have a friend he was came to guangzhou for bussiness, OK. then i met him, and have dinner :)

tonight, i intend to not do anything, only stay at home to write my diary, listen music, to draw my picture, plan something about the dates and watch a movie!

what a wonderful night!  have a good weekend, good blesses for you all :)

PS: i remembered few days ago that i said i will upload all the photos that i was interviewed,
right, now here are they!
bag: Guy Laroche black reusable bag, H&M black small shoulder bag

book: Mi-Lou Poetry and the ladyrinth of Desire,
Layout design basis
pen: Miffy ball-point pen
LAMCOME black and white lattice pattern Makeup Bag
Vintage silver color lipstick mirror box
SALAD snakeskin patterns wallet
NIVEA Hand Care Cream
BLACKBERRY(obsolete), BLACKBERRY(In-use), I-TOUCH first generation,
cigarette case
SONY camera DSC-T100
WIN silver color mobile phone (only photographed using)
multi-card reader
black leather material Notebook.

photos shot by this DV camera

DAIRY# sunny sunday

Oh, today it just making trouble and wasting time....
I didn't go buy knitting yarns since i received a little interview at this afternoon :)
the photos now were still on post production, tomorrow i will upload them all!

alright, i dont know why i feel so sleepy, so i needs go to bed now, goodnight!
love you all <3

DAIRY# say that i want to say

I think i really need to bear in mind there some words, 'To look ahead and dont look back.' (especially for the affectional!)
some time ago i done some really amazing quizzes,
the name of after if i am crossing the space-time is, 星楝。(they are chinese,  星it means the stars, and 楝it means Melia japonica, a kind of tree), it is beautiful?! i think it is really beautiful and i really love this name, maybe one day if i have baby, i will go to naming this one for my baby, haha....that's crazy!!
after that, my pre-existence It is said that i was composed of 49% the air, 47% the poet, 3% the white birch and 1% architect! wow, those are totally awesome!!!:D
okay, let's talk about today!
today the weather is warm, are no longer so cold, so i was just to hanging out with my buddies,
in the afternoon, i first went to the book center, this book center just near from my house. i bought some books and bought a new big notebook for the future in 2010 and the 2011, i cant wait!! after that, i went to UNIQLO to bought four pairs of socks, it's cool! then we finished the dinner together, but.....sorry, I ate too much :( cause there too yummy: )
today morning i had an  with my mum, but actually we had the 'fights' every day: (
tomorrow i will go to buy a lot of knitting yarns, because because i am ready to learn the knitting yarn!
recently, my big mood swings, most of time it is because you, during the day time i can be able to not to think of you, but i cant be able to be like this at the night time! every night.....think a lot of the problems between us, i think i hate you! and also hate myself!! i am an idiot, a totally big idiot!!! : (
recently i am trying to find some thing back, all that i said is some memories, and the flavor of memories them self. i haven't fully find them all back yet, but i am trying, i think i have been found the 80% of those memories : ), it will be completed soon.

Fashion Archive: Claude Montana

During the 80s, Claude Montana’s passion for leather earned him a central position on the international fashion radar, and his knack for employing vivid colours, luxury materials and aggressive shapes put him at the forefront of high fashion. His creations matched the consumer mood of the time – budget wan’t an issue, and the more couture and high-energy his ready-to-wear looked and felt, the better.

Montana founded his label in 1979, having spent most of that decade flitting between London (where he made a name for himself creating papier-mâché jewellery covered in rhinestones) and Paris, his home, where he worked as an assistant at leather goods design-house Mac Douglas. His debut collection from the House of Montana was met with the kind of praise young designers’ dreams are made of, and won him an immediate fanbase of wealthy socialite women with a lust for complex construction and couture-like quality.

Montana’s design strengths were bold, shoulder-heavy shapes (he was often referred to as “the king of the shoulder pad”), and his audacious aesthetic turned his brand into a fashion powerhouse. In 1981, he launched Montana Hommes, a menswear label that carried similar traits to his womenswear – except here, it was the colour and fabric that did the talking, not the directional shape and cut. Fragrances, for both women and men, were soon to follow – a brand staple that helped to keep Montana in high demand.

The high-octane glamour of the 80s soon shifted into the more minimal aesthetic of the 90s, and, consequently, Montana began to fall out of favour. In response, the designer launched Montana BLU, a stripped-down, more commercial diffusion line that he hoped would strike a chord with the new tribes of ready-to-wear consumers. Sadly, this gambit proved to be disastrous and the House of Montana went into bankruptcy. Not that the 90s was all bad for Montana. In 1990, he began a stint designing haute couture for Lanvin. Although he was replaced in 1992 (Lanvin preferred a more toned-down approach), it was here that Claude proved he was a designer capable of both exceptional ready-to-wear and haute couture, and he bagged the house a handful of design awards during his time. Now, with strong lines, eccentric taste and luxury returning to the fashion game, Claude Montana is bouncing back as a crucial reference point for the savvy.

Tamara de Lempicka---AVANTGARDE

to wear them up


It's Only Rock n Roll

Hannah Martin is a young jewellery designer based in London who has been establishing her place in high-end jewellery slowly and steadily. Since graduating from CSM in 2005 she has gone on to produce her own line of successful high end and conceptual jewellery as well as working on exciting collaborations with designers such as Hannah Marshall and Carolyn Massey. So what is life like for such a sought-after talent?

Dazed Digital: Where did a young Hannah Martin grow up?
Hannah Martin: I was born in Yorkshire, but we moved to Bristol when I was young, this is where I grew up really.

DD: How did your interest in jewellery begin?
Hannah Martin:  I moved to London at 18 to start my foundation year at Central Saint Martins, I remember my teacher hadn’t even heard of CSM but my dad knew it was the best and that’s why I wanted to go there. It was a great course as we tried everything and that is where I discovered jewellery design. After my foundation I choose to stay at CSM and do my degree in Jewellery Design.

DD: Did your degree prepare you for the industry?
Hannah Martin: Yes, definitely. I had a placement at Cartier, in Paris, and really learnt a lot. I was not from a family of gold leaf chocolate cake, and suddenly saw this whole new world. Such luxury, quality, beauty and glamour, it was amazing! I knew I wanted to mix these qualities with something more dark and sexy for my own label. Working with Cartier also taught me a lot about consulting which has been another aspect of my work.

DD: When did you start your own label?
Hannah Martin: Straight after graduating I rented a small studio space with my tutor and launched my first collection "Rock and Roll" which grew from my degree collection.

DD: Are your collections seasonal?
Hannah Martin: I don’t work in seasons, apart from when I collaborate with designers, my own collections just tend to develop over time. Each piece is carefully crafted and therefore timeless, not a throwaway after a season. They all have the same thread that runs through them, my style, but each collection has its own story.

DD: Can you describe a story?
Hannah Martin: I always create a figure of inspiration behind each collection. This always tends to be a little like a Frankenstein character, a combination of elements that are inspiring me at the time. "Vincent" was my interpretation of a Russian gangster, partly inspired the movie Eastern Promise, he is a fallen Tsar, ruling the underbelly of London. He is a shadowy character, with incredible tattoos and has a strong masculinity, so most importantly he is very sexy. For "The Forgotten Treasures of the Infamous Pirates of the Aguila Dorada" I imagined a mature and savvy pirate, all stubble and personality, decorated in these rich ornate jewels. He is very gruff and thick-set with bulbous and heavy jewels with amazing stones.
Once I have this character in mind I design the jewellery to suit him or her. It has to be fitting of what he would wear and approve of, and most importantly, I ask myself that question constantly as I am designing “Is it beautiful?” If the answer is no, then the design doesn’t make it into production.

DD: Tell me about your collaborations?
Hannah Martin: My first collaboration was with Aimee McWilliams and then Jean-Pierre Braganza. I have since collaborated with Carolyn Massey for the last two seasons and this season Hannah Marshall. Collaborations are an exciting way to push the boundaries of jewellery. It’s great to take on board a direction that the other designer is moving in, and offer something else up. They can sometimes be in the same vein, or sometimes different, but they always work. As the collections are without seasons, it is really fun to do something slightly different that ties in with the twice-yearly fashion calendar.

DD: What materials do you work with?
Hannah Martin:  The pieces are visually masculine and sculptural, and elegant in detail, so the materials are key to giving a piece it’s identity and appeal. I have always worked with 18 carat yellow gold, rose gold, white gold with a varying array of stones including white, black & brown diamonds, amber and blue / black sapphires, rubies. About two years ago began to explore silver which I also really enjoy working with.

DD: Where can we buy Hannah Martin?
Hannah Martin: Dover Street Market and Matches in London, and a new luxury jewellery store in Kuwait called Octium, designed by the legendarily talented Jaime Hayon. The website and stockists are both elements that I’ve been working on very closely with my business partner, Nathan Morse. We have been tweaking our new sales website that we launched earlier this year, which is doing really well. It gives us a great face internationally, and despite popular belief, people love to buy luxury online, especially when we offer Skype appointments!

we cold

the story is end.




why 'JAK&JIL' goes to deleted this posted? luckily is that i have been preserved a few photos: )

America, From the Outside

Photographer Robert Frank looks in at the land of opportunity
Trolley-New Orleans 1955

When photographer Robert Frank left New York in his battered second-hand Ford in 1955, he confronted an America in flux: still riven by segregation and newly gripped by the Cold War threat. He had applied for, and won, a Guggenheim Fellowship enabling him to "make a broad voluminous picture record of things American." The result was 'The Americans', a book of 83 photographs of everyday folk, places and things; bikers, politicians and nannies, diners, DEtroit car factories and the great American road, endlessly stretching ahead.

Published in 1959, the book was initially savaged for its pessimism and for being intentionally anti-American. How else, its critics scoffed, could small town America seem so bleak? "Utterly misleading! A degradation of a nation!" howled the photographer and editor Minor White in his magazine, Aperture.  Perhaps Frank's nationality was a factor in their assumptions; he was Swiss, and mistrust towards foreigners, fostered by years of McCarthyism, lingered. One critic at Popular Photography decried the book as "a wart-covered picture of America" by "a joyless man who hates the country of his adoption." Another said that Frank must be "willing to let his pictures be used to spread hatred among nations."

Despite its initial reception, the book was soon recognised as a masterpiece of realism: strangely haunting, politically provocative (in the famous cover picture a segregated street-car in New Orleans fills the frame, faces gazing out of the windows, white in the front, black behind) and above all uncontrived.  Fifty years on, the book is the subject of an extensive exhibition at the Metropolitan Museum of Art, New York. All 83 photographs that made up the book, as well contact sheets, earlier photographs taken in Europe, Peru, and New York, one of Frank's short films, and correspondence - including the letter that Frank wrote to his mentor Walker Evans after his arrest, describing it as one of the 'most humiliating' experiences of his life.

The photographs are displayed as they appear in the book, roughly divided into four sections linked by recurring symbols and themes. The subjects are sometimes blurred, the prints murky with shadows. The viewer is often presented with odd angles, as if the shot was an accident, or as if there is no photographer mediating the experience at all (Frank often hid his camera inside his jacket and snapped without looking through the viewfinder, to catch his subjects unaware). The awkward angles that force us to peer around the door frame, tilt our head, intensify the realism of the pictures and the occasionally seamy intimacy we feel with the subjects. Viewing them is not always an altogether comfortable experience, but it is often a moving one.

The pervasive sadness that so offended those first critics does exist in the collection: there is a seeping melancholy in the grainy landscapes and blank eyes. But the photographs offer a stark and frequently beautiful counterpoint to the glossy and idealistic portrayals common in mid-century America. One picture shows a glamourous starlet, her face looming large in the foreground, but blurred - Frank's focus rests on the fans that throng in the background. These are the Americans he seeks to document; the waitresses, the cowboys, the lovers in the park. Frank paired his curious outsider's perspective with a remarkable instinct for capturing a moment. As Jack Kerouac, in his introduction to “The Americans” put it, Frank “sucked a sad poem right out of America onto film.”

'Looking In: Robert Frank's The Americans' runs until January 3, 2010 at the New York MEtropolitan Museum of Art

bloody strong

tell me what you think!!

Derek Lawlor Loops Us In

#----This CSM graduate has continued his special trademark cord knitwear technique for his S/S 10 collection.

London isn’t short of individual and unique knitwear designers but it’s no bad thing if Derek Lawlor is to be lumped into this burgeoning fashion genre because his very own specific technique of cordworking makes him stand out from the rest. Inspired by Japanese body armour, Lawlor uses wax cord to create shapes and loops on cashmere dresses, a technique he has been developing since his MA days. During London Fashion Week, he showed his S/S 10 collection, which was a definite continuation from his work at school with a greater emphasis on ready to wear. We spoke to Lawlor to find out how he creates his loops and an upcoming designer collaboration.
Dazed Digital: What have you been up to since graduating?
Derek Lawlor: Since I have graduated in February I have been working on various different projects such as styling and consultancy for a couple of different companies. I have also produced a collection for CoutureLab which is now available on a made to order basis at there Davies Street Boutique. I have been developing my cord work technique, producing a Spring/Summer 2010 collection, which I showed at Blackall Studios in Shoreditch as part of London Fashion Week.

DD:  How did you develop you specific style of knitwear with the giant
Derek Lawlor: I have been developing my cordwork embellishment since graduating from my BA degree at St Martins over 2 years ago. The MA course allowed me to really push it and develop a technique which started off quite simple and grew in something much bigger. Coming from a Textile design background I have always been producing different types of fabrics so my cord technique came quite naturally- there’s so much more I can do with my cord work. I'm excited to push it even further!

DD: What inspired your latest collection?
Derek Lawlor: My S/S10 collection was working from my MA collection except I wanted to produce more wearable 'bespoke' separates, which stayed true to my technique. The new collection saw some new approaches with the cord embellishment- I produced new embedded cord patterned skirts which were inspired Celtic knit patterns, as well as producing some cord knots which made the most amazing neckline.
The white pieces were done out of curiosity- I kept dreaming about seeing my collection completely in whites but wasn't sure it would work. Once the white cord overlapped each other I knew I was on to a good thing- the white pieces are probably my favourite pieces from my most recent collection.

DD: What do you hope to achieve for next season?
Derek Lawlor: I’ve got lots of different things I want to do- I'm excited about A/W10, knitwear is in its element and I get to get a bit more eccentric- I have developed some new techniques which I'm looking forward to pushing forward. I have also been working on a collaboration with a design house which will see my knitwear in completely different aesthetic - I can’t say too much- but keep an eye out!

becomes my toys

so cooooool ...............
pics by# http://blog.think-silly.com/wen8/

and those following pictures

i need you....all of you:)

warm and thin

beautiful lengths of Australian TV's SS09/10.

AW09 collection by Spanish Armand Basi.

suck my black hair!

vampire's eyes


gothic black forever!!


they are both permeated with darkness and gothic style. and the main part, it shows the britain fashion style, like the ABRASION skinny jeans and of the famously Top Hat. also has the lovely element, the ropes design.


i will come the fashion week show field at the appointed time.

unknown brand

i found for this interseting shoes by AVANTGARDE,
don't you think they looks such much lovely and fucking uniqueness?!

dancing queen


today the weather was really cold, but i enjoyed it, cause i always love the wind and the winter.

Flickr Showcase: Ariel Rosenbloom

Born in Berkeley, the now Brooklyn-based photographer plays with images exploring adolescence and quiet suburban life
Dark and mysterious Ariel Rosenbloom shows us her haunting images of suburban memories, and fictional family roles.

Dazed Digital: How old are you?
Ariel Rosenbloom: 22

DD: Where you are from?
Ariel Rosenbloom: I was born in Berkeley, CA but grew up 40 minutes north of New York City, around Nyack, NY. I went to college in Amherst, Massachusetts and now live in Brooklyn.

DD: Does where you are from influence your work?
Ariel Rosenbloom: Yes. Growing up in desolate suburbs definitely helped to shape my aesthetic. Suburban backyards, grass, trees, open fields - all of this is crucial in my work.

DD: What art, films, books inspire your work?
Ariel Rosenbloom: I currently work at a bookstore, so I’m constantly reading and buying tons of books I can’t afford. I love Murakami, particularly “Wind-Up Bird Chronicle", which has definitely influenced my work. Photographers that inspire me include Ralph Eugene Meatyard, Francesca Woodman, Christian Boltanski, Julia Margaret Cameron, Sally Mann, Rineke Dijkstra, and Hellen Van Meene. Film wise, the most recent film I really loved was the Swedish vampire movie Let The Right One In which completely blew me away.

DD: Your photographs are very theatrical. Where do you get your stories from?
Ariel Rosenbloom: I actually went to college thinking I was going to study creative writing, and photography just sort of took over once I got into a darkroom. Short stories in particular have been a huge influence on my work, which is why I think there is such a strong narrative quality present. These stories, if one can even call them that, are deeply personal, and yet I’ve found that certain themes can creep subconsciously into my work.

DD: Tell me the story behind the ‘On Falls and Flights’ series.
Ariel Rosenbloom: This entire project came out of a need to go further with the work I had been doing previously on my family. I have been photographing my sisters since I was in high school, and what started out as a more documentary-style approach to portraiture transformed into something darker and more personal, more about how I related to them and imagined them through a veil of fictionalized images and poses. This project is about the unspoken, what is thought but not uttered. It’s about moments with no real beginning or end, about silent and strange desires, and the uneasy sense of feeling out of place.
DD: You use a lot of the same people in your images. Who are they?  What are their significance to your work?
Ariel Rosenbloom: I have always been fascinated by adolescence, particularly in girls, and I started exploring that through photographing my sisters at a young age. But for this project I was more interested in the interrelationships, the family dynamics that occur in a household of girls, the role of the father as well as the maternal and protective urges that I have felt towards them as the oldest sibling.

DD: Do you tend to come up with a fully finished idea for a series of images, or do you create as you go along?
Ariel Rosenbloom: I would have to say both. While shooting this project I did have many concrete ideas, and would dress my subjects, place them, use props, etc. in exactly the way I imagined it in my head. However, there was still a sense of spontaneity during those shoots—my subjects know me so well that often they were able to guess at what I wanted before I could say anything. My sister Isadora, for example, would often give me more than I could have possibly asked for; a look, a slight turn of the head, something subtle that only happens when subject and photographer (or, sister and sister) interact. That is what I try to evoke in my images; a common feeling, an excitement, some sort of gut reaction, like a jab in the stomach.

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