
Bianca Censori flashes peachy bum in sheer thong underwear and crawls on her knees in racy pics taken by Kanye West
The 30-year-old Australian model and YEEZY architect has shared yet another sizzling trio of photographs taken by her husband Kanye West.
4
Posing up a storm for her husband of two and half years, Bianca looked sensational as she wore very little clothing.
Wearing a blond wig and some sheer lingerie, Bianca left little to the imagination in three stunning snaps.
In the first of three that she shared, Bianca could be standing up straight while displaying her washboard abs and ample assets.
The second photo was far racier and saw her on all fours as she crawled on the floor.
As Bianca crawled across the floor, she almost busted out of her tiny bra as her cleavage was in full view.
The third snap then saw her turned around with her peachy booty on display.
"Japan October 2024 shot by @ye," she penned in each of the captions.
Fans were stunned by the snaps and quick to swoon over her enviable body in the raunchy shoot.
Many people commented with flame emojis, while one person begged: "More please."
"Bianca wear some actual clothes please," pleaded a second.
Kanye West 'paid' Bianca Censori $100k to wear candy bra and thong in NYC after she 'first told him no'
"Most clothes she's worn all year," said a third.
"Okay but wtf does YE know about cameras?" asked a third, referring to how the snaps were taken on a Polaroid camera.
Bianca left little to the imagination in each of the snaps, with her donning the same minimal underwear in each photo.
The Aussie model has been sharing several sets of Polaroid photos taken by her husband of late.
Bianca Censori and Kanye West's relationship
Bianca Censori was born on January 5, 1995, in Melbourne, Australia
Before her current full-time job, the 30-year-old started a jewelry company called Nylons after leaving high school.
After working as a student architect for three years, she completed a master's degree between 2019 and 2020 ahead of moving to Los Angeles.
In a radio interview, a childhood friend of Bianca's claimed that Kanye slid into her DMs on Instagram.
The rapper reportedly said, "Come and work for me."
At which point she says the designer moved to LA to join his company Yeezy as the "head of architecture" - and has been since November 2020.
WEDDING BELLS
On Friday, October 6, 2023, The Daily Mail reported Kanye and Bianca wed on December 20, 2022.
The couple tied the knot under a "confidential marriage license" in the state of California.
The two wed in Palo Alto, California, according to the document.
The wedding came just one month after Kanye and Kim Kardashian finalized their divorce.
In all of the snaps, Bianca is stood in front of a white backdrop while showing off her famous curves.
This November will mark the couple's third wedding anniversary.
Shortly after Kanye's divorce from Kim Kardashian in 2022, the rapper began dating Bianca.
The pair then got hitched just days after his divorce from the SKIMS founder was finalized.
Since their nuptials, Kanye and Bianca often step out in sizzling and NSFW displays - often sparking backlash from the public and fans online.
Bianca seemingly has a penchant for wearing very little clothing, and often has her breasts and private regions on display while out and about.
4

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Daily Mail
4 hours ago
- Daily Mail
Games Workshop to open new stores in US, Europe and Asia this year after Space Marine 2 success
Games Workshop is plotting dozens of new store launches around the world after the Warhammer creator's profits were supercharged by the launch of 'Space Marine 2'. The group cheered a record 2025 on Tuesday with pre-tax profits soaring by nearly 30 per cent to £262.8million, beating guidance of £255million, as sales jumped 19.6 per cent on a constant currency basis to £628.7million. It came as licencing revenues jumped from £31million to £52.5million after Warhammer 40,000: Space Marine 2, a third-person shooter video game launched last year, performed 'well above' the group's expectations with seven million copies sold. Games Workshop is best known in the UK for its tabletop miniatures and high street stores across the country. But it has increasingly moved into video games and books, and a film and TV deal with Amazon that was finalised last December and is expected to be fronted by Superman actor Henry Cavill. Games Workshop cautioned that the next 12 months would suffer tough comparisons owing to the success of Space Marine 2, while the group thinks tariffs could impact profit before tax by around £12million. It said tariffs would be 'dealt with in our normal pragmatic way'. Nevertheless, Games Workshop outlined plans to boost manufacturing capacity and said it aims to open around 35 new stores globally over the next year. These are set to be focused on North American, continental Europe and Asia. The Nottingham-based firm's chief executive Kevin Rountree, CEO of Games Workshop said: 'After a record year, we remain focused on delivering our operational plans and working tirelessly to overcome any significant obstacles that get in the way. 'We will continue to give ourselves the freedom to make some mistakes, constantly working on improvements in product quality and manufacturing innovation. 'Despite our recent successes we will never take our hobbyists' support for granted.' Games Workshop declared and paid dividends worth 520p per share last year, up from 420p in the previous 12 months. Games Workshop shares were up 5.6 per cent to 16,110p approaching midday, having more than doubled over the last three years.


The Guardian
7 hours ago
- The Guardian
Kamikaze: An Untold History review – a bewilderingly brutal act of collective desperation recalled
Going by the raw numbers, Japan's use of kamikaze pilots in the dying days of the second world war was an effective military action. While the country lost almost 4,000 of its men by asking them to fly planes laden with explosives into enemy ships – a task that entailed certain death – the losses on the other side were closer to 7,000. But it was a bewildering act of collective desperation that still has the ability to shock, and tells us a lot about the futility of modern warfare and the power of mass hysteria in times of conflict. Kamikaze: An Untold History is a documentary by the Japanese public broadcaster NHK that could have been a very powerful film at 60 minutes but is still impactful at an exhaustive hour and a half. It starts with the first suicide pilots who flew in October 1944, as the Americans advanced inexorably across the Pacific towards mainland Japan. The programme is determined to commemorate individuals who perished, beginning with 20-year-old Hirota Yukinobu. There is clear footage of his plane hitting an aircraft carrier and creating a large explosion on deck, having taken a hit to the wing on its descent: we can well imagine the last moments of a young man's life being filled with fear of failure and perhaps the physical pain of fire in the cockpit, followed by a final split-second of realisation that his mission had been accomplished. What is even more extraordinary was what happened once the first wave of kamikaze pilots had flown. Newsreel propaganda, shown in cinemas nationwide, lauded the men as something beyond heroic: 'With your departure,' said one proud announcer, 'you have joined the gods.' It was thought that a nation that was willing to resort to such measures could not possibly lose, and that if Emperor Hirohito were forced to negotiate for peace, this show of strength would enable a more favourable deal. The men became superstars. The home village of 19-year-old Terashima Tadamasa erected a stone monument to his memory, and local dignitaries attended his funeral. In one of several interviews recorded in the 2000s and 2010s with first-hand witnesses, who have since died, the sister of 23-year-old Ishii Mitoshi recalls how hordes of well-wishing strangers made it hard for her family to grieve for him. Pilots had their final written statements read out on national radio ('Mother, are you well? I will not squander the 21 years of life you have given me!'). As the slogan '100 million kamikaze' became popular, schoolchildren wore headbands expressing support for the men, while adults who were not physically fit to serve often proved to be particularly fervent amateur agitators, urging the kamikaze on. The film is a straightforward historical account, so it doesn't debate the spiky moral and philosophical conundrums the kamikaze phenomenon raises. War requires the mass sacrifice of human life, often in the form of strategies that will certainly lead to heavy losses for your own side. The emotional pull of last year's American-made second world war drama Masters of the Air, for example, was provided largely by the idea of men being sent on missions from which many would not return. What is the logic in feeling inspired by the selflessness of soldiers who had a tiny chance of survival, but horrified by those who had none? Clear answers are not to be found here but, as we gaze at photographs of squadrons of men under the age of 25, whose whole adult lives were rehearsals for their death, we have to ask why. The slightly baggy back half of the film does give us more to chew on, as it looks at those who weren't selected, or who volunteered with some reluctance. Documents are found that suggest the Japanese navy rejected some men's applications if they had scored top marks in aptitude tests: at a time when few Japanese families could afford higher education, university graduates saw their peers become kamikaze pilots and wondered whether the country really wanted to turn its brightest minds into ammunition. More distressing than the tales of those whose privilege didn't protect them are reports of kamikaze mania driving men of all backgrounds to sign up unwillingly. We hear how they felt that the political climate gave them no choice: the dynamic that is always in place during conflicts, where it is treasonous to criticise the war effort, crushed any dissent. The kamikaze strategy gave Japanese citizens hope. The film ends by glimpsing the atomic bombs hitting Hiroshima and Nagasaki, brutal events that showed that hope to be false. Whether that made the gestures of the kamikaze pilots more or less noble than any other war death is a question that can't ever be answered, but this film shines new light on it. Kamikaze: An Untold History aired on BBC Four and is available on iPlayer.


The Guardian
15 hours ago
- The Guardian
Blackpink review – K-pop queens bring fun to New York with a little fatigue on the side
In 2023, the four women of Blackpink – Jennie, Jisoo, Lisa and Rosé – stood on top of the world. In the seven years since their 2016 debut, the K-pop quartet became the biggest girl group of all time, off the back of delirious hooks, hard-ass stunting, cut-glass choreography and relentless work. With billions of streams, sold-out stadiums and YouTube viewership records in their wake, the group became the female face of the boundary-annihilating force that is K-pop, taking pandemonium and hype as its calling card; with the exception of their slender physiques, everything about the band was huge. Their 2023 headliner set at Coachella – the first Asian and all-female group to headline one of North America's largest music festivals – served as a jet-fueled exclamation point on global domination. I stood in the crowd that night feeling like I'd been leveled by a sonic boom, in the best way. Much has changed in the two short years since then. The band went on unofficial hiatus for each member's respective solo careers, and the four subsequent releases – Jennie's Ruby, Jisoo's Amortage, Lisa's Alter Ego and Rosé's Rosie – all attempted to escape the Blackpink shadow with halting success; the group's two rappers, Lisa and Jennie, also launched English-language acting careers on HBO, in The White Lotus and The Idol, and returned to Coachella as solo acts with plenty of bombast but less horsepower. The once ascendant wave of K-pop, buoyed up by the massive crossover success of Blackpink and all-male peers BTS, stalled out abroad and lost traction at home, global ambition and misfiring albums costing musical identity and momentum. The pop banger remains, however, a universal, enduring language, and at New York's Citi Field on Sunday night, Blackpink flexed their mastery of the genre with a tour of their energy drink-style hits – unabashedly manufactured, relentlessly upbeat, the highs jagged, aggressive and borderline hallucinatory. Just two years after their last world tour, Blackpink is back for what is billed as a reunion, with the band in a precarious if still victorious position; the last North American stop of their Deadline World Tour (is the deadline age? Solo success? Fleeting consumer attention?), at a stadium in one of the largest Asian American communities in the US, is an undeniable celebration, a spectacular if familiar show of force. It's also evidence of the wandering focus of a band now comfortably at the top; despite the alleged urgency of the deadline, the 2.5-hour show is more slack than Blackpink standard, the girls still stunting but no longer out for the kill. (With the exception of Lisa, the group's hardest member by far, who remains lethal, her dancing never less than crisp.) Numerous times during the group's typically maximalist set – three acts and an encore, spliced with two-to-three-song solo diversions for each member – I caught the look of fatigue on their faces. A drop of the elbow here or a slip of the mean mug there, though quickly smothered by the pyrotechnics, army of industrial backup dancers, lasers, general swirl of stadium sound and camera work that largely denied the pleasure of seeing all four in formation, in favor of one or two singers at a time. And fair enough – the New York July night was so oppressively humid that I was dripping in sweat just standing there; after the head-banging bombast of Boombayah, all four were forced to acknowledge the air's palpable resistance to any movement, or as de facto spokesperson Rosé put it: 'It is REALLY hot today.' The goodwill of faithful Blinks – fittingly for the band, a stadium of many languages, diehard adults next to awed children with merch-toting parents in tow – largely covered for any lapses, and was rewarded with high-octane delights. New single Jump, making the girl power lineage explicit – 'So come up with me, I'll take you high / That prima donna, spice up your life' – layered itchy club beat, weapons-grade bass and tweaking choreography with lasers, fireworks and smoke for a full dose of undiluted, undeniable hype that got the crowd up. At their best, the siren call of 'Blackpink in your areaaaaaa' remains as potent as ever. Less so with the solo diversions, each introduced with interludes of overdone music video imagery of the luxe life – Vegas and city lights, diamonds and furs – that underscored their relative lack of precision. Jennie delivered obligatory stunting, Jisoo sensible pop, Rosé surprising ballads – her solo section, in which she went full Taylor Swift mode with the guitar, provided the most western-style pop moments of the show. If the solo sections hammered home one impression, it's that Lisa alone, in her dragon-skin suit and formidable sneer, has the jet fuel for a solo career. Also, that as a unit, the members' combined strengths covered their weaknesses like an airtight shield. It was a palpable relief, then, when they reunited following Rosé's turn for the pure force of breakout track DDU-DU DDU-DU, the wattage re-upped by camaraderie and their view of the finish line. Individually, they are pop artists in a crowded field, each neutralized and overwhelmed by the familiar elements around them. Together, they steamroll. And so it was that Sunday's finale of Like Jennie, in which all four came together to perform a song that Jennie just performed solo, briefly showed the stamp of Blackpink magic: the beat rips, the head-bopping with slick glasses is distinctly Jennie, but nothing hits quite like the four of them moving together.