Heads up display
and wander x Muraco Designs Heron Tent Shelter Sets
This tent boasts a straightforward structure, allowing for quick and effortless setup. To assemble, lay the flysheet on the ground and firmly secure the four corners with pegs. Then, raise the center pole at the top. The remarkable simplicity of this setup is unmatched by self-supporting dome-shaped tents, and its generous overhead clearance adds to its allure.
HERON 2POLE TENT SHELTER SET
Junior M.A.F.I.A.
The members of Junior M.A.F.I.A. met as childhood friends of The Notorious B.I.G. All the members were under the age of twenty when the group was formed. The group was composed of three separate groups and two individual artists. The 6s, or 666, (Lil' Caesar, Bugsy, Capone, Chico, and Nino Brown) who claim to know right from wrong and practice it; the Sixes knew Biggie before he was rapping (the other members other than Lil' Kim were added on to the group but still were very close to Biggie). The Snakes (cousins Larceny and Trife) who represent the enraged attitude expressed in a large number of America’s youth, MC Klepto, who offered insight on a life of “boostin' and hustlin'”, and Lil' Kim, (a.k.a Big Momma or The Lieutenant), the only female in the group, who showed the ghetto life from a woman’s point of view. The Notorious B.I.G. acted as the "godfather" to the group.
Protective wear 14108
Terrassenhaus Berlin
![Stone Island Navigation Series [shedding light] by Liam Macrae](https://storage.ghost.io/c/14/ee/14eef3be-ca5a-434b-8324-fa1f874026f1/content/images/size/w300/2023/09/F5WkecNXQAA78GB.jpeg)
Stone Island Navigation Series [shedding light] by Liam Macrae
Stone Island Navigation Series: Shedding Light by Liam MacRae deploys a canine unit as both subject and sensor. The sequence examines tracking protocols, movement signatures, and light scatter in terrain navigation. Objective: assess animal-assisted pursuit as a guidance vector. Visual narrative captures the moment of release—unleashing the chase to test instinctive tracking against controlled illumination parameters.
Samsung mobile phone
S/DOUBLE 3PLY FISHTAIL SHELL JACKET
wireframe navigator 13408
Bape night glow
(Untitled)
Combat Swimmers German Special Forces
Sephiroth?
reload
Bounty Hunter Hardshell Jacket
Distinct Life x USUAL Custom Akai MPC 2500
This harmonious collaboration between Distinct Life and USUAL pays homage to the late great producer via a custom creation rendition of the MPC 2500 — an instrument made popular by J. Dilla.
SASQUATCHfabrix. — SASFAB 2-in-1 Coat/Gilet
Bristlecone Pine
Miller's planet from interstellar
Nocturnal Cityscape
Nike x Undercover Gyakusou FW2011 — Running Monks
Fall/Winter 2011 campaign imagery from Nike x Undercover Gyakusou, Jun Takahashi’s running project with Nike. Shot in Kyoto, the Running Monks film and lookbook place technical running apparel against temple architecture, shrine paths, moss, stone, and woodland.
The collection frames running as a quiet, ritualized practice rather than a purely athletic one. Slim outer layers, tights, gloves, caps, and tonal performance pieces sit within a muted autumn palette, connecting Nike running technology with Undercover’s controlled, monastic visual language.
Gyakusou FW2011 remains one of the clearest early expressions of the project: technical product, Japanese landscape, and Takahashi’s personal running culture reduced into a disciplined visual system.
Arashiyama Sagano Bamboo Forest
Nike F.C. Real Bristol ss2016
Form #7, Josef Schulz, 2003
Josef Schulz is a photographer known for capturing images of modern warehouses and factories, which are typically considered mundane industrial structures with little architectural significance. These buildings, produced worldwide, follow standardized plans and materials, lacking distinct external features to reveal their specific purposes.
Schulz's approach involves studying the essence of his craft through these photographs. He employs digital image processing to remove any elements hinting at the buildings' age, location, or surroundings, transforming them into virtual blueprints. By emphasizing colors, shapes, and symmetries, he turns the buildings into block-like structures, resembling toy architecture and presenting them as idealized versions of themselves.
In this process, Schulz blurs the line between photographic and painted reality to optimize the images. Simultaneously, he reduces the physical buildings to their design concepts and the photographic reality to its virtual representation. His intent is to diverge from the typical pursuit of making digital images appear as real as possible. This approach might leave the viewer perplexed, as they struggle to distinguish between authentic elements captured by the camera and those created through digital tools.
