Vibrating Higher with Image Maker Natasha Garoosi
During a chat I had with a childhood friend, moving image maker, Natasha Garoosi, across continents over Whatsapp, she radiantly touched upon being charged by self-realization as well as moving by, through, and around the cultivation of authenticity.
Gracing the media industry with conscious intention, Natasha Garoosi is creating and producing content that not only boasts authenticity, but simultaneously emphasizes the pursuit of personal truth, while holding a wholesome intent of ‘share rather than sell.’ In the 22 year old’s most current project, High Quality Human Beings, Natasha intimately captures the light of many individuals across several industries who continue to blossom in the embodiment of their inner most truths. Natasha speaks on the pervasive nature of inspiration, the necessity of vulnerability, and the non-perfect intricacies indicative of a ‘high quality human being.’
“[I decided to] take on the responsibility as someone who cares to offer [media] that can help people grow, that makes them feel like they’re being shared something,” Natasha mentioned of her efforts to produce content holding a conscious, truthful agenda. Unlike the commonly insincere contributions in media, Natasha’s content bracingly aims to form an innately human connection. In a society where quantity often trumps the incidence of quality, HQHB is recognizing industry personalities who “are connected with themselves, respectful of themselves, others, and their values, and are living what they love.”
The HQHB that Natasha films come from a wide array of backgrounds, often with heavy emphasis on questions of equality, revolution, perception, and truth. Supermodels, music artists, actors, and bloggers are some of the characters affirming their respective truths and intents in the face of Nastasha’s camera. According to Natasha, an essential component in a HQHB is realness, “you have to be real with yourself no matter what you’re feeling,” she says, “with HQHB, its people who are a process too, no one is perfect. But process comes with realness, and putting a hundred percent of energy towards that with every moment, every breath.”
A sense of individuality and self-realization is not only what Natasha finds in her subjects, but it is also nothing short of what she herself has long strived to personify, drawing inspiration from many facets of her own life. “My mom always told me to be myself,” she offered, “I liked to wear a lot of crazy things and well, she looked at me like I was crazy, but she never looked at crazy like it was a bad thing.” From a home environment void of appeal for the alteration of her character, Natasha adheres to the notion of personal authenticity, and yields inspiration from those doing just that. “Anyone who’s living their love and passion inspires me.”
Creating within an environment that so often lends potentiality to inauthenticity and lack of substance, Natasha reminds of the necessity to “keep blooming.” “When you know that it takes a process to continue growth, you [just] have to keep applying yourself. Then, it doesn’t matter where you are at all because once you have that space that makes you feel empowered, [and] the foundation is set, you just have to know your intentions. It’s empowering what we’re able to do once we fight and let [our] foundation be our building block.”
follow Natasha’s enlightened and empowered imagery through HQHB’s Youtube page: https://www.youtube.com/channel/UCReBDaQu1ErsB5yJbQwm1mg
and Instgaram: @natashagaroosi
Visual Activist Zanele Muholi Uses the Power of Imagery to Speak Volumes
Sifikile, Nuoro, Italy, 2015© Zanele Muholi. Courtesy of Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York
The late GWF Hegel first introduced his philosophy on the purpose of art, alluding to a non-western construct of spirituality. He proposed that the success of an artwork lies in its ability to reveal one’s individual truth through a spiritual freedom of expression. In this, Hegel avers that the purpose of art “is to enable us to bring to mind the truth about ourselves, and so to become aware of who we truly are.”
A message of verity and authenticity beckons as South African photographer Zanele Muholi’s image echoes across the perimeter of the Autograph ABP in Shoreditch, East London, on view from 14 July to 28 October 2017. In silent allusion to a Hegelian perspective of art, Somnyama Ngoynama, (translated to Hail the Dark Lioness,) exudes self-assertion and reveals many individual realisms while sheltering screams in the hopes of acknowledgement and acceptance for the un-interpreted individual.
Born during the apartheid in Umlazi, Durban South Africa, Muholi has dedicated herself to providing sanction to the LGBTQ (acronym for lesbian, gay, bisexual, transgender, queer) community in matters of recognition and inclusion amongst a decidedly closed society. In the challenging of the ideal, and through the use of poetic imagery, the artist and self-proclaimed visual activist remains driven by the prospect of the preservation of history for a group that has stagnantly faced marginalization.
Boasting a comparable motive and demographic of a black female artist fueled by activist ideals, Muholi’s work can be compared to that of American conceptual photographer, Lorna Simpson who similarly introduces a contemporary approach to the reinterpretation of the image of the black woman, while also holding characteristics reminiscent of Cindy Sherman’s approach at self-portraiture used to address various issues plaguing society.
The artist speaks of the inspiration which led her to create the exhibition, relaying the rampant suppression she has faced from naysayers, and most importantly recognizing the number of lives lost due to the lack of understanding and inclusion surrounding the LGBTQ community.
In questioning of purpose among her previous works, Muholi moved towards the adoption of a novel subject—herself. The artist speaks of such a transition as a form of therapy, allowing her to devise “conversations with herself” that she previously wasn’t able to partake in.
With Sonyama Ngonyama, which she describes as a “Reclaiming [of] Blackness,” Muholi sets an aspiration to provide hope for a change. “Blackness is once again a texture, a refraction of light on skin, a luminescent explosion of melanin…a haunting that shakes houses while not uttering.” Muholi addresses the restoration in the image of blackness, by way of referencing aesthetic aspects of it, reassuming its boldness, its grace, but simultaneously recognizing the uncertainty that may invade the thoughts of others in its presence.
Through the use of classic portraiture infused with aesthetic qualities of contemporary fashion photography, in images made throughout various cities of the world, Muholi’s statements transcend the senses—the bright whites of her eyes shine, her gaze making way into the consciousness, and remaining engrained in the viewers mind even well after departure.
From Muholi’s presentation, the viewer is captivated by the boldness that the images encapsulate and the emphasis of what they stand for. In response to the plagues of our society, the artist dawns silhouettes composed of symbols evocative of struggles in association with the diaspora.
Throughout Sonyama Ngonyama, the artist employs seemingly mundane objects as thought provoking props to touch upon issues of the environment, historical occurrences, and most deliberately varied instances of oppression. The use of self-portraiture allows the artist to take ownership of her image as a woman, while decidedly placing emphasis on her blackness through the usage of black paint, and an intensification of contrast to illustrate arguments of social injustice.
By the convention of found objects such as latex gloves, and scouring pads, to plastic, and electrical cords, as well as a striking manipulation of light and composition, Muholi speaks volumes not only to the surfaces of our aesthetic pleasure, but also to the depths of our thought processes, subtly referencing societal concerns regarding the environment of South Africa as well as gender identity politics. The viewer is left to uncover and admire Zanele Muholi’s vision of herself as a black woman, overtly, uninterruptedly, and without the presence of portrayal, recognizing the threads that tie delicate insinuations to sociopolitical struggles.
Muholi references the black woman’s mock representation in society through depiction as a mask to wear, an allegory to obtain through fat injections to a bum, hair teased to emulate an afro, or skin bronzed beyond its nature, exuding sex appeal and lacking of matter. The reintroduction of herself as the black woman through her own eyes allows for the interference of a varied perspective. The various hairstyles, poses, and manipulations of the images unapologetically relay her truth and the raw beauty of the black woman while touching upon historical and social contexts.
The images boast confidence, as they float among the expanse of the Alphabet ABP. Sifikile (English translation ‘our arrival’) stands at a three quarter view with the artists’ head held high, chin down towards her shoulder. The white background offers stark contrast with the oil slick of her skin, the whites of her eyes beaming through to the viewers. Atop Muholi’s head lay a careful bundle of dreadlocks, small safety scissors playfully intertwined. The scissors seemingly representative of an attempt to change, but their positioning asserts a statement that the perception of herself, is fixed in her own possession. A bold expression grazes Muholi’s face, exuding a gentle assertiveness, as if to draw in the viewer, and demand attention, while holding a firm yet charming appearance.
The compositions within each image hold the facility to paint diverse yet concurrent depictions relaying sheer beauty, and uttering messages of the necessity of reconsideration in the subject of the un-interpreted black woman. While circumventing evasion of personal truths, the artist also remains true in her work, provoking the world to view her by her own accord, blatantly refusing another ethos’ attempt at the depiction of her and all that she embodies.
The Alchemist’s Kitchen: A Modern Approach to Holistic Healing
An herbal utopia graces the depths of downtown New York City, feeding a rise in conscious counter-culture.
photo courtesy of @Olliesocial
Nestled among the coolness of the Bowery is The Alchemist’s Kitchen, a café and market developed around the concept of “conscious consumption and contemporary herbalism.” Collaborations with mindful suppliers and botanic and herbalist experts from across the US offers a transcendent experience, encouraging clarity and sentience to the power of plants.
The Alchemist’s Kitchen provides conscious spa treatments such as “Theraphi” energy healing and Reiki, as well as various conscious lifestyle products from adaptogenic mushrooms, herbal blends and tinctures to botanic beauty products and lifestyle books. A whole plant tonic bar graces the café, where vegan and other healthy treats are also offered alongside a variety of state changing elixirs and healthy herbal tonics and teas.
The assorted elixirs, tonics, and teas are recognized by the respective healing properties of the herbs which makeup these curiously educing potions. The spirit elixir is one of many state changing elixirs found on the inspiring menu of The Alchemist’s Kitchen, where a “meditative blend of blue lotus, skullcap, kava, and lemon balm tea,” intends calmness, subtle body energy, and intuition.
The plethora of unfamiliar herbs can at first seem intimidating, but The Alchemist’s Kitchen staff stands willing to address any questions one may manage to conjure, underlining their facility to enlighten visitors, illuminating a stepping stone on the conscious path of—but not to—wellness, recognizing that the matter lies in the journey, rather than solely in the destination.
The philosophies and practices behind the ancient study of herbalism and surrounding holistic health ways are supported by the various products proposed by The Alchemist’s Kitchen. Countries in the eastern hemisphere of the world, such as India and China have long instituted a variety of holistic healing and mindfulness practices in remedy of physical and mental illnesses.
A recent trend in areas of wellness within the western world has brought forth a greater recognition and implementation of such holistic approaches, recognizing ancient traditional practices such as the Chinese energy altering approaches to pain and illness of cupping and acupuncture, and Japanese shiatsu, and reiki, as well as ancient Hindu traditions of yoga—and accompanying many of these practices are assorted herbal preparations which can be applied to a range of issues that have long seen primarily western medicinal intervention.
Many of us are able to claim familiarity with the 21st century plagues of anxieties and food intolerances that seem to result from our post analogical, and mass stimulated environment. Increased implementation of these practices within western countries postulates a more conscious mindset towards treatment of illnesses of both the mind and the body.
Certainly, a natural response to the fairly latter-day concept could be please, not another hippy dippy millennial fad. But in its progressive dedication to sustainability and the reinterpretation of the herbalist ideal, The Alchemists Kitchen, along with many doctors and independent enthusiasts are offering a modern approach to holistic health while simultaneously taking steps to combat prominent problems within our environment, and doing so in a thoughtfully, easily digestible, and refreshing manner.
On Seasons and Colour Theory: Feeling the Hues
A seasonal glimpse into the evocative nature of colour.
As winter beckons, we welcome a period of transition and transformation, altering our mindsets to combat the imminent darkness. In anticipation of warmer months, our minds, bodies, and even wardrobes experience a similar shift. With impending darkness comes further moments of introspection, tuning into our consciousness, focusing more on the way that we feel.
Winter also acts as a platform for preparation—readying ourselves for the next season, where we look to the warmth and comfort of soups, knits and wools, allowing us to foster the positivity needed to welcome the next season. The dark milieus of these few months can be suggestive, reminiscent of negativity, leading us towards dark tones and solitude. But if nothing else, it’s recognizably a time for hope, a time of expectation. In lieu of attaching to the blacks and greys and depending on them to mirror our dreary feelings, we can look at colour and use it as a tool—see through the darkness to the light.
It’s helpful to recognize colour as an avenue by which to relate our inner most complexities. Colours are more than simply what we see, as poet Johann Wolfgang von Goethe explores in his 1970s book, colour theory. His vivid description and analysis of colour references the ability of colour to be digested beyond our surface sense of seeing, by illuminating its emotionally evocative propensities. The movement from darkness to light can be compared to the undertaking of the internally interpreted black and grey hues of winter to the yellows and inherent brightness of spring, summer, and even autumn. From the affinity of colours we perceive in each respective season, the passage between seasons allows for the exploration of different feelings within us.
With little space for feelings amidst the myriad of necessities that arise in fulfilling our societal roles, clothing acts as one of the few avenues by which each character is offered the occasion to express him or herself to some degree. Through various styles, textures, and colours, we are able to use clothing as an engagement of direct expression, highlighting a commonly suppressed nod to what it means to be human. It is by this notion that fashion designers can be driven to creating a collection, looking to appeal to buyers through the emphasis of colour, in recognition of humanity, engaging by an emotional connection. In her Fall 2017 collection, Maria Grazia Chiuri sought inspiration directly from the colour blue. Creating 68 looks, and exploring a number of hues, Chirui sought to embody the different associations of the colour, from the divinity of the sky and Santa Maria, to the mere notion of practically, using “blue” as a point of reference to appeal people’s emotions.
With the Fall 2018 runways just a blink away, our black and grey mindsets stand in anticipation of the blue, orange, and yellow hues that will paint the streets and runways, eliciting a mirrored lightness in us. Conscious of our recognized symbiosis, we crave the energy that colours have the possibility to awaken in us.
Dancing into Autumn
As autumn beckons, we’re facing a period of transformation, altering our mindsets, along with our wardrobes. It’s difficult leaving the beach, letting go of the warmer months, and simpler times, but to combat the depressive feelings that often accompany this period, let’s look towards the bright side(s). (Because they always exist, the non-constant here being whether we choose to see them or not).
For starters, now that the temperatures are becoming not so denim and white-tee friendly, we are at liberty to layer (!!!) without having to wring our tops out every few hours. Enter: oversized coats, and knits galore! Not to mention, the opportunity for the subtlety that is leather trousers, (faux included,) sans the feeling of a furnace placed atop your legs. Ah, now doesn’t that put you at peace, just a little bit?
Autumn offers opportunities for growth, as well as self exploration. Through its extensive coloration, and the need for warmth, autumn serves as an avenue for inspiration, facilitating the drive of self expression.
My October wishlist color palette draws inspiration from Henri Matisse’s ‘La Danse,’ featuring customary autumn notes like brown, orange, and a wonderful hunter green. A bright, ultramarine blue is introduced by an oversized coat, complementing anticipated autumnal hues. A tee and mules are autumn equipped by the addition of leather trousers and a bold coat, epitomizing a transitional look. Venus elevates the look, boasting a polished gold statement earring, while the addition of an orange kitty clutch nods to playfulness (and the ease of non-bulky bags)!
Let’s continue to be inspired this autumn…
Leather trousers // Joseph via Matches Fashion
Hotaru oversized cashmere blend coat // Roksanda via Farfetch
Cat-oriental jacquard clutch // Loewe via Matches Fashion
Selene oversized gold earrings // Phoebe Simpson
Acqua di Barragan Tee // Barragán
Satin mules // Marni
Life Happens While the Time Flies
Oh, how the days come and go, they ebb and flow, and all of a sudden in the midst of life happening, another year goes by. Like a flash, like you almost want to sleep a little longer before you wake up that morning, so it doesn’t have to disappear as quickly as it happened to re-appear. A little older, hopefully a tad+ wiser, and certainly hoping to have accumulated a sufficient collection of characteristic wardrobe finds, etc etc.
It’s truly as if as we get older, it becomes more and more difficult to gauge the perception of time, I suppose because we have an enormous amount of constant stimuli, both external and internal. These stimuli stem from our social constructs, like for example, (duh) Instagram, and its constant infiltration of our thoughts and perceptions, which brings us to the next perpetrator- ding ding ding!! Our own overly-narrative minds.
Throughout the majority of each day we are taking in a ridiculous amount of information–so one day feels like three, one week like a good half of a month, and then before you can blink it’s December. I’m assuming (insert other possible/probably words i.e hoping, praying) that it’s not just me that has this twenty-something year old anxiety-ridden internal soliloquy that goes on and on narrating each moment far beyond where it began. A little something like:
“Where do I fit in all of this? But can I actually follow this dream, I mean , I think i can…but really, can I? Freelancing can definitely get me where I want to go can’t it? Ugh now there is definitely no hope I mean, Donald Trump is actually the president of the United States.. Did I miss something??? Wait I never called my grandma to let her know that I flew across the world safely. Shit. Am I the worst granddaughter? And did I put the almond milk back in the fridge this morning? or was that Monday that I left it out, wait did this happen already? I think it did…Deja vu? or I’m just crazy.. Wait what is today anyway? I should definitely buy those Marni shoes, but wait what about donating to hurricane relief, thats totally something that more deserves the importance of the word “should,” right, isn’t it? Shit. Maybe I need to cut back on the matcha..”
Our middle school English teachers would be appalled at this excessively ran-on run on sentence in our minds… But it is far too accurate a depiction. And its all happening while Instagram and everything else that exists outside of us and Instagram (yes, ladies and gents, it’s true, there are things–many, many things, happening outside of our own minds, and lives, and even Instagram,) that we won’t even go into now.
It’s just like, all of a sudden, I blinked and I’m 22, I’m visiting my parents in New York City, preparing to head back to London where I’m currently studying and living, I have, and continue to adopt values by which I’m starting live. I have goals which I am working towards. The younger me is looking to me now like “seriouslyyyy @JESS22 u frickin rok babe!!!!!” I am the screenwriter my film now more than ever; no one is telling me what, or why, or how to do anymore–and it is SCARY, but it’s also AWESOME.
My younger self would be tickled to see the amount of growth that I have acquired through the years, the confidence, vigor, and hunger for life that have led me to the path that I currently swim.*And I woke up on that morning of my 22nd birthday thinking ok…everything is changing, everything HAS changed, but it.will.all.be.ok, recognizing truly, for the first time, that the journey is far more relevant then the destination, which is certifiably unknown.
22 was reigned in alongside my lovely mother with lunch at the Standard Hotel followed by a stroll through the Whitney Museum (which truthfully we could only make it two floors as lunch left us sleepy, and the beautiful day throughout the rather person-less west village beckoned,) so we properly obliged with a slow stroll. Our palates danced through the evening with dinner at the NoMad Hotel in Flatiron where Eleven Madison Park chef Daniel Humm delivers nourishing, delectable dishes, and the bartenders serve cocktails that appease the senses both aesthetically and in taste. The harmony is kept within an oaky, open, candle-lit, space filled with a vibrant New York City energy, and smells of shaved black truffles, freshly baked bread and lavender garnished roasted chicken that may easily stop ones breath for just a moment. Safe to say that I was full, and elated…and full.
The day commenced with a list of some things to keep in mind for the next year to come, and those to follow. I wore my summer favorite, über flared jeans, felt the warmth of the September sun, had my taste buds tickled, and dawned a genuine, static smile.
Here is probably where one would elect to write the infamous lyrics about “feeling 22” by Tay Swift.
I, however, will do no such thing.
The day was lovely, the evening a sensory pleasure experience, to boot.
And to top it off, that night, I slept like a ten month old baby.
Birthday dinner outfit deets:
Vintage gold hoops Brooklyn Bleu @ Artists & Fleas
Vintage blazer @ The Vintage Twin
Navy silk dress as top @ Nili Lotan via Barneys New York
Flare jeans @ Oak + Fort
Open-toe pumps @ Givenchy via Barneys New York
*I say swim rather than walk, because I don’t know about you but swimming is for sure more difficult, though more pleasant because the sea is well..the sea (see: wonderful, incredible, beautiful, etc.,) while walking is nice, its a bit less exhilarating, and not to mention a hell of lot easier than swimming.
On Street-style and Sheeps
When you take a look at the scale of fashion week, especially in NYC, but also throughout London, Scandinavia, Paris, Milan, it seems pretty wild that this many people all come together to celebrate, and set the basis for what many “sheeps” if you will, will follow. Setting trends, exposing them thru brand promotion and popularizing them, as many bloggers, and influencers do during their respective fashion weeks, and the months to follow.
It has amazed me since my young teens, coming to NYC admiring all the glamour, but amidst it all there is this overwhelming feeling of opportunity, or (i think space says it better) to be whomever you choose. You can dress whatever way you want to.
Growing up in the suburbs of Long Island there was much “sheeping” going on, meaning this one following that one in the hopes that they, too would be cool. And for me, from the time I was able to pick out my own outfit, I was never on board with that. I always wanted to wear whatever I wanted to wear, and paid no mind to what someone else was wearing or doing in regards to choosing for myself. White flower embellished clogs with colourful flowers, a denim mini, pink top and a bag to match–I was set. For sure they stared. I didn’t mind.
When I was exposed to this widely individualistic playground that is New York City, not only in terms of clothing choice but all around individual expression, I felt a sense of comfort. And comfort not arising from fitting in, but a comfort in recognition of standing out. Everyone was someone, whomever they wanted to be. And it was cool, it was gravy, people would just smile, nod, appreciate, and continue on. I needed to be there.
NYC is inherently gifted with this constant repertoire of individuality, and fashion week has always been indicative of the appreciation of this individuality to me, and street-style has been a huge proprietor in this avenue of expression (and not to mention a time to see some of the most interesting, most daring ensembles).
It is easy for many to jump to conclusions and recognize the fashion industry in shallow terms, as there is often an air of superficiality in promotion and high price tags, and it can be, not necessarily that it always is, but at its core, often, it is deeper. (And i do believe that it has a core, that it can go waaay beyond a surface, it simply depends on who, and what). There is a massive celebration of self expression from many aspects, and it remains a beautiful avenue for said expression.
Having been afforded opportunities to travel throughout my life, I’ve been so grateful to see other places, too, outside of NYC, and to recognize many more cultures (especially among those in various countries of Europe) overwhelmingly evocative of this appreciation of the individual.
So, in celebration of fashion week I’ve compiled some of the best street-style looks so far, from Stockholm, Copenhagen, and NYC. (try not to drool too much on that keyboard of yours.)
P.S. How cool are these boys chilling outside in Stockholm???? FAVES
None of these photos do I claim as my own!
Photo credits in order of appearance:
Tyler Joe @ Harper’s Bazaar; Ruben Chammoro @ Cosmopolitan; Style Du Monde @ Vogue; Getty @ Vogue; Style Du Monde @ Vogue; Tyler Joe @ Elle; Maria Bernad (@mariabernad); Tyler Joe @ Harper’s Bazaar; Simon Chetrit @ Manrepeller; Chris Choi (@streetper); Ana Saber (@oursecondskin); Robert Spangle @ GQ
Be Yourself (In All Your Goat-milking Glory)
“Stop trying to be somebody else. Don’t try to be someone else. Be yourself, and know that that’s good enough. Don’t try to be someone else. Don’t try to be like someone else, don’t try to act like someone else; be yourself. Be secure with yourself. Rely and trust upon your own decisions, on your own beliefs.”
Last year, Frank Ocean’s Blonde featured a song called, “Be Yourself,” the number four track on this 2016 mega-hit, mega-need-to-sing-along album. The track simply features the voice of his mother, reminding him, and in turn, well, us, (along with the advice of steering clear of drugs) to always stay true to himself/ourselves. And you know, as many times as this notion is expressed, I think that this idea of remaining genuine to our most inner selves, though often talked about, seems to be more evaded than it is practiced, which is why it is merited to bring it up until it is engrained.
In an age where we allow virtually the entire world a glimpse into our lives, it’s safe to say that many of us are constantly drowning in a public pool of self inflicted, but often externally driven, criticism. And it’s in this idea that is conceived the notion that: when we know that the whole world is watching, we’re more inclined to want (or better, feel the need) to give what we think the people want most to see, to put on a better show. Even when one finds themselves enthralled in the wonderfully free, (but yes, also often stipulating) worlds of art and fashion, do we sometimes feel this pressure to lose our “selfness,” if you will, in an effort to please the masses. And in many other sectors the same remains true.
But I think what we all need to have screamed at our faces every now and then is just what FO’s mother is preaching during her minute and twenty-eight second voice message-album track. Maybe add it to your playlist so you can play it over, and over, and over.
One thing that I’ve learned, and I’m certain that many can attest to, is that when you do remain true to yourself, when you respect your own, and no longer attempt to be or give whatever it is that you think they want, you will find that all else comes much more smoothly, more beautifully. In terms of creativity, or relationships, and all that lies in-between, when you stay true, the genuineness of you that shines through will always be more (in every sense of the word).
This outfit translates “me” to you, in less than more words. I love a look with good mixture of soft and edge. This one, with a hat that I wear way too often, everyday massive glasses that yes, I actually need to see, my pilgrim-reminiscent goat-milking-ready top and jeans whom accompany many ‘a outfits. Candidly, unapologetically, me.
Allow the world to see you, without their self-inflicted filters set upon you.
Be yourself. It’s worth it.
Hat; Vintage via Here After Vintage
Frames; Tom Ford via Ilori Boutique
Jeans; Vintage via The Vintage Twin
Belt; Vintage via Rokit Vintage
Bag; Stella McCartney
Shoes; Barney’s New York