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huevobuevo · 8 months

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Whoops

hello generation loss enjoyers. it has been several months since the release of ranboos project, how have yall been? im going to be insane.

Many folks have known me as the lminal space connosieur, dead malls and fucked up houses in particular being my strongsuit for both their sex appeal and the amount of symbolism they can all hold.

Watching Gen Loss with my friends through a hostage situation was a wonderful experience! upon the reveal of the Showfall Media offices being inside a rented out mall, there was a split second where I was a bit unamused at the lack of effort put into integrating the mall's architecture into the studio's office. There were only a few empty stores being used with at the bare minimum some chairs and desks, half the mall was still closed, the mini maps stands were still up, and the food court's usage as the streamers hub was very just. like. thats a whole ass food court. without the people walking around the only way to actually know what the hel this was being used for was the giant white banner that just said showfall media like a fraternity's house claiming its territory.

But then, as the episode 2 closed out, almost instantly it hit me why. why the mall was still a mall, why there was little to no integration for the set- it was on purpose. it was supposed to just be a studio crammed inside a mall. a dead mall, to be precise.

first lets get into the anatomy of what makes a dead mall dead. Around the 1980's a rise in popularity of the commercial supermalls began to spread, the american consumerist dream was rampant with a greater demand of fast fashion, merchandise, and all kinds of strange trinkets for the average american to waste their money on. It was capitalism's wettest dream, but as the years went on there came a steady decline in popularity. Sometimes the competing businesses ended up putting each other out of stock, maybe the trends began dying off, and in certain areas consistent crime rates drove away costumers.

Then in the mid 2000's the stock market crash ended up pushing several people into poverty, the lower class unable to afford the luxury goods offered at shopping centers. Then online shopping took society in a deathgrip, further pushing away the desire for in-public purchasing. Brands took notice and began selling online-exclusive products. In the late 2010's the sightings of several "dead malls" were on an alltime high, some being left to rot while others were demolished all together in favor of empty concrete spaces.

Corporate response to this was one of two things; continously invest in the "Anchor Stores" (big chain stores like Macys or Forever 21 that brought in more customers, usually stationed at the ends of the mall). Meanwhile the smaller businesses inside would be shut down one by one to save costs, until eventually the anchor stores themselves would be forced to leave. Sometimes the Anchor Stores would leave beforehand, not wanting to waste money investing in a deadend location. the decline is faster, the mall rots quicker. The company sells the lot to the biggest buyer and destroys what little remains.

Then there are times where the mall itself is sold off to another bigger company, in hopes of more funds to rejuvenate the center. Majority of the time the mall will enter a large reconstruction designed to look more appealing, mor modern. In actually, the personality of the malls architecture is stripped like the skin of prey. The colors and vibrant shapes of the late 1900’s, the waterfalls with rocky beds and marbled beige tiles, all replaced in favor of sharp black on white edge and stainless steel fencing. The occasional shrub here or there, maintained by automation. Lights too bright, all glimmer, all space. Sometimes it works, sometimes the mall is reborn as the pinnacle of luxury again! Sometimes it rots in shiny chrome, a corpse dragged along in the hopes of attracting attention. All it does is stink and bloat, a miserable display.

I hope you begin to catch what im saying.

In Generation Loss, the Showfield Social Experiments are commentary on streamer culture and the damaging relationship between a content creator & their platform. Visualized by Ranboo being pushed into dangerous scenarios for the sake of entertainment, their disposable friends forced into the flat archetypes the fandoms have labeled them as.

They were all vibrant young folks once, bright with personality and that raw humanity filled with flaws and voice cracks. Shitty microphones and inconsistent uploads, some were barely finishing high school. Then they became big, almost too big. They were characters now, and just like Ranboo’s teammates the perception of them as humans were dumbed down to memorable trademarks. Streamers and Content Creators alike had to be marketable now, and when the time comes where they lost their popularity sometimes they sign off to groups and organizations to help boost them up again. They are stripped of their rawness again. Theres a reason their artforms are called “content”.

So it makes sense that Showfall Media, the personification of the content creators downfall, would do the same to a Mall. The corpse of the center is repurposed loosely to fit the studios purpose. It is empty, it is hollow, it is dead. Low costs, big risks- just like Gen Loss Ranboo.

basically

Content Creators are Dead Malls.

#this is gonna be the only gen loss post i make in a While since im doin cowboy au stuff #but erm <33 #i love dead malls. somuch #\sorry ranboo for looking too deep into thisi AURAGH #generation loss #ranboo #genloss ranboo #gl ranboo #gen loss #dead malls

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telekinetictrait · 8 months

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"It is in the nature of walls that they should fall. That walls should fall is the consequence of blowing your own trumpet." (Oranges Are Not The Only Fruit – Jeanette Winterson, 1985)

okay, i got a bit dramatic with this one, but can you blame me? after all, everything was bigger in the eighties. hair was bigger, shoulder pads were bigger, everything was bigger. music was bigger, and music related subcultures gained a super heavy footing. while the punk movement had already existed and the goth subculture had started to build in the late seventies, they both hit their heyday in the 1980s! glam rock was huge in the eighties, and there was actually a fair bit of androgyny in rock styles and subcultural styles. far before the athleisure trend we see today (i still dont understand what athleisure is?), was the athletic fad of the eighties, heralded by olivia newton john's "physical". this athletic fad is where we see the legwarmers and the spandex that you'll see in every modern day 80s-themed halloween costume. much like in the 1930s, fashion drew from film and hollywood, and john hughes' teen films influenced the fashion of the youth, which in turn inspired more teen films.

guys, we're getting super close to modern day, and i have to admit: i have no fucking idea what modern trends are. i have like five outfits and most of them involve band tee shirts.

1800’s / 1900-1909 / 1910-1919 / 1920-1929 / 1930-1939 / 1940-1949 / 1950-1959 / 1960-1969 / 1970-1979

cc links under the cut!

see my resources page for genetics

talullah : kamiiri's celine hair / eco lifestyle top / laundry day jeans / base game heels

teddie : base game hair + earrings / its-adrienpastel's scully suit / chere-indolente's katherine accessory puff sleeves / base game stockings / cottage living lace up heels

therese : zombietrait's suzie hair + just like heaven eyeshadow / renlishsims hard days night eyeliner / base game highlight / deathpoke1qa's nancy rosary / cloudcat's no halo accessory mesh top / deathpoke1qa's trad tank / elliekobrakid's revenge gloves (tsr download) / kamiiri's cordelia skirt / realm of magic tights / bluecravingcc's goth is rock mid boots

titania : buttersim's 80's ponytail / discover university top (i think!!! i do not remember!) / base game shorts + socks + shoes

tonia : okruee's shiloh hair / base game large hoops / okruee's mari jumpsuit / seasons braclets / cooper322's reebok freestyles

trudy : joliebean's beatrix hair / joliebean's cindy outfit / base game shoes

tsiana : syaovu's andy hair / bluecravingcc's goth is rock piercings / the vampire squid earrings have been deleted unfortunately :( / myfawnwysimblr's double spiked choker / realm of magic bodysuit / wistfulpoltergeist's night city gloves / evellsims' fleabag pants / evellsims' anarchy shoes

tuija : aniraklova's made in love hair / realm of magic facepaint / zombietrait's early sunsets eyeshadow / base game blush + lipgloss / joliebean's ultraviolet outfit conversion / bellassims' orion shoes

tyler : kamiiri's juniper hair / femmeonamissionsims' florist frock / base game socks + shoes

tzofiya : ice-creamforbreakfast's kelly-marie hair / leeleesims1's unidentified flying earrings / horse ranch top / altersims vagabond jeans recolor / joliebean's road trip boots

thank you to @kamiiri @its-adrienpastel @chere-indolente @renlishsims @deathpoke1qa @cloudcat @bluecravingcc @okruee @cooper322 @joliebean @syaovu @myfawnwysimblr @wistfulpoltergeist @evellsims @aniraklova @bellassims @femmeonamissionsims @ice-creamforbreakfast @leeleesims1 and @altersims

#my sims #sims 4 lookbook #ts4 lookbook #ts4lookbook #223 years #historical #1980s

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whinlatter · 5 months

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Hi! I wanted to ask you what's your take on clothes and how wizards dress? I've been thinking about this since the 'gettin ready fot the party' scene. What's a typical wardrobe for typical wizard in te 90's? I always imagined that they just dress like muggles (or maybe the younger generations?), and i when i read the books i always had a hard time imagining them when they are trying to pass as muggles, you know? Like what, they don't understans which clothes are for a specific event? Because Harry says that he could tell thay dress a bit diffrent, like out of place. I mean, it's probably just meant to be funny, but, how isolated are they to not knowwhat muggles wear? I guess it also has to do with how they are raised, i imagine blood-supremacists (is that how it's called?) use only 'robes' (whatever that is, and, also, what's under those robes? like, a thong? do they wear muggle underwear? SO MANY QUESTIONS)

So, i was thinking about this instead of working🤠.

I liiive for that part with tonks' clothes, i even got a litlle "oh i wanna be thereeee and try everything and make everything fit with magic!"

And this how i imagine wizards dress (according to jkr) in the muggle world

ok please know that this image made me howl

thank you for the super interesting question! i have thought a bit about typical wizarding wardrobes and familiarity with muggle fashion among wizards in the 90s as a worldbuilding question in beasts. it's definitely true that wizarding familiarity with muggle dress is another one of those worldbuilding points in canon where the text is unclear and at times inconsistent. i know people have different views on how much wizarding and muggle culture interact, especially in matters of popular culture and fashion. i've heard very convincing arguments that the cultural insularity and physical remove of the wizarding community from muggles would mean most children raised in wizarding households, especially pureblood families like the weasleys, wouldn't know that much about how muggles plausibly dress, what they listen to, or what forms of media are popular (books, music, sports, even less so tv and film).

while i do agree with some aspects of this, in my approach to wizarding youth culture in the 90s, i think young witches and wizards on the left know more about muggle fashion than they do about many other aspects of muggle culture, and that interest and ability to pull off muggle fashion depends on a person's background, politics, gender (because mostly, it does all seem to be about trousers - i reckon pureblood supremacists, as you say, are in their undies most of the time), but especially generation and the politics/patterns of consumption in the time period when they were a teenager. i think your desire and ability to wear muggle clothing varies a lot if you're born in 1950 vs 1980, partly because of changing wizarding politics and the difference between growing up in peacetime vs a world at war, but partly because muggle fashion changes as a market in the second half of the twentieth century.

basically, i think these young progressive millennial wizards would wear more muggle clothing because of changes in muggle fashions/consumption that allow for greater availability and access to muggle clothing by the 1990s, as well as access to information about fashion and trends, and i think they would want to because willingness to embrace muggle fashions would be a way of showing their commitment to their own politics and forms of teenage rebellion that were distinct from those practiced by generations prior living through the first wizarding war. a longer discussion with my reasoning for this is below the cut!

so - in general, in canon, gen X wizards and older (so the youngest of them born in the 1950s thru 70s, and everyone older than that) seem to dress in muggle clothing really only as a protective measure to prevent exposure/risk breaking the statute of secrecy. when bob ogden goes to the gaunts' house in the 1920s, even as the head of a major ministry department dealing with law enforcement, he does a terrible job dressing as a muggle (the bathing suit, pls bob, i beg). if you look at all the wizards trying to dress as muggles for the world cup, it's clear that the adoption of muggle clothing, for most wizards, is a strategic, defensive move more than anything else. in PoS, mcgonagall - herself a progressive woman in her politics - disdains wizards who are celebrating the end of the first wizarding war by celebrating in the street "not even wearing muggle clothes", which she thinks is reckless and risks wizards' exposure (love when mcgonagall dresses like a muggle briefly at grimmauld place in OotP and it freaks harry out lol). there is no enthusiasm or interest in it - there's just conformity for self-preservation.

for that reason, i think you can see why those on the wizarding right in the mid-twentieth century, especially those drawn to pureblood and wizarding supremacy, would come to see dressing like a muggle as a disgrace, a sign of submission to a lesser people, in a way that would become extremely loaded in the years preceding and during the first wizarding war (1970-1981). when harry sees snape in the flashback to his first trip on the hogwarts express in the early 70s, he notices snape is already wearing his wizard robes very early on in the journey, which harry's narration supposes is because snape's happy to be out of his 'dreadful Muggle clothes' (DH). those muggle clothes were a sign both of snape's poverty but also his outsider status in muggle tinworth: special, because he's a wizard, but otherwise socially inferior to other children in every other way. snape, of course, is raised in a wizarding household with knowledge of magic but has been wearing muggle clothing to avoid detection for his entire childhood, in ways that imbue the wearing of wizarding clothes and casting off of muggle garms with great political significance. in canon, we see that the vast majority of wizards, while not death eaters or rabid pureblood supremacists, tend to be small c conservatives in their view of wizarding cultural norms and tend to think they're better than muggles even if they don't necessarily want to go out and kill them all. for that reason, they remain loyal to wizarding traditions, and continue to wear robes, partly as a symbol of their proud cultural identity as wizards, in ways that they would likely only cling to as their society moves towards open war over muggle-wizard relations (as you say, robes seem to be worn without trousers underneath, so most wizards are just wearing underwear under their robes and going about their day. slay, honestly).

so, if the right hate muggle clothes, then the willingness of gen z+ wizards to engage with and adopt aspects of muggle attire and culture might map onto a progressive political outlook and a disavowal of wizards-first ideology. but a person's politics alone doesn't mean they know how to pull off muggle clothing, and in the years of brewing tension then open war, most wouldn't bother risking their lives to be caught wearing a pair of bell bottoms. arthur weasley is the best example of this. arthur is theoretically interested in muggle clothes because he's a progressive man who disavows wizard supremacy and believes in principles of tolerance towards muggles. now, he's not good at knowing how to pair a plausible muggle outfits. this is because he still lives at a reasonable remove from wizards, he's extremely busy with a demanding job and seven children to be staying up to date with changing fashions, and at the end of the day still spends most of his week among wizards in a civil service that demands a certain level of professional conformity. but i think it's also because arthur weasley is born in 1950 and therefore spent his young adulthood trying to raise a young family during a war. arthur instead channels his politics into support for muggle protection legislation rather than in wearing muggle clothing, which he might see as a limited individual act of symbolic resistance that would put his family at risk and also cost time and money he doesn't have. (if we look at the marauders, as an example of a progressive bunch in the interim generation between arthur and arthur's children, especially someone like sirius with greater financial freedom, it's very telling that sirius shows his politics off through riding a cool muggle motorbike and sticking up muggle soft porn on his bedroom walls, but not noticeably through fashion, as far as harry's photographs show).

but if you look at arthur's children, progressive wizarding millennials, it seems like more confident familiarity with muggle fashions and culture is generally more common. i think we can include someone like tonks in this, raised in a mixed marriage household by a blood traitor and a muggleborn dad. harry says that the weasley children are better than their parents at dressing like muggles. when harry sees bill weasley he doesn't think 'this is a man who looks like he's done a bad job dressing for a muggle rock concert' he thinks 'this is a man who looks like he could be going to a rock concert'. this suggests to me a difference, say, between bill and his dad. arthur likes muggles and believes engaging with muggle culture is important, but doesn't really succeed at it, but his eldest son manages to marry both a political commitment to embracing muggle culture with an ability to dress plausibly as a muggle so much so that he's able to ape a subculture in a way his dad doesn't really try to often and has never succeeded at.

why? i think there's a few things going on. one is that the majority wizarding millennials grew up in peacetime, after the fall of voldemort, in the 1980s and 90s, where wearing muggle clothing was less likely to get you killed and more likely to symbolise an individual act of rebellion against more low-level societal norms and cultural pressures rather than against a murderer in a mask. this, plus having the time and disposable income to follow muggle fashions more closely, as well as the opportunity to access about muggle fashions and celebrity styles, has a big part to play. bill weasley has more time and ability than his dad to stay up to date about muggle clothing tastes, as do his siblings. characters who went to hogwarts in the 80s and 90s also did so at the peak of a mass print consumer culture (one that was already on an upward ascent since the 60s) that was designed to be be accessible, inexpensive and create an appetite for following trends among consumers, and that could very easily be of appeal to progressive young witches and wizards. this is why in beasts i have ginny know about the spice girls and their iconic lewks from a copy of smash hits magazine because that seemed like the kind of inexpensive and highly portable source of information about muggle culture that a muggleborn or halfblood student (or even a pureblooded student with a parent with a progressive interest in muggle clothing) would be able to take to school and pass around a dormitory. on the gender point, too - donning muggle clothes, especially the more permissive and sexy clothing of the 80s and 90s would be a great way for a rebellious young woman raised in a wizarding household - eg. tonks or ginny - to stick it to the conservative gender norms in the wizarding world.

moreover, the changes in fashion as a market in the muggle world would make a certain base style of comfortable and inexpensive muggle dress much more readily available to younger witches and wizards than ever before. for kids born in the late 70s/80s, changes in muggle clothes consumption - aka. the globalisation of mass factory production of textiles, especially garments, and the early forms of fast fashion we now recognise today - would also have an impact on the ready availability of certain basic forms of cheap muggle fashion, including the ubiquity of cheap jeans and trainers/sneakers, that emphasise comfort and ease of daily wear at a low cost point produced in such high volumes such that if you wanted a pair of jeans, you could easily get your hands on one. this would have made a plausible muggle clothing a lot more accessible (there's only so wrong you can go if you're just wearing jeans, t-shirt, a jumper, and a pair of trainers, really), and explain why the clothes harry wears in the muggle world don't seem all that different from the clothes he wears in the wizarding world (admittedly usually under his robes), or indeed that different from what ron seems to wear most of the time. passing as a muggle in 1920 with little effort - à la bob ogden - would be a lot harder than doing so in 1990.

so - yeah. that's my take! i think it's mostly about generation, but also about politics, about war and peace, a bit about gender and a lot about capitalism. i hope this helps!

#wizarding culture #meta #analysis #wizarding clothing #beasts #hp meta #loved answering this thank you so much!

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gothhabiba · 11 months

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hello! i am a longtime huge admirer of your clothing/fashion sense, as well as a longtime backreader of your #victorian and #goth tags. i am really interested in what you've written about Victorian dress, and i am looking to get more into 19th and 20th century clothing for gender + diy craft reasons. i'm so sorry if you've answered similar questions before, but do you have any tips for where a newbie should start researching? either way, thank you thank you, your blog opens my mind wide and brings me much joy and reflection!

General research:

Spend some time searching the 'net, museum websites, and archive sites for fashion plates (such as archive.org—link leads to a date-restricted query for "fashion"—or the Smithsonian—link leads to fashion plates in their image collection). Take note of what you like, as well as which styles correspond to which decade. Karolina Żebrowska has a good rundown of English fashion over the decades.

The undergarments are what does the most work creating the necessary silhouette to make Victorian & Edwardian womenswear fit properly. If you've figured out a decade you want your outfit to draw on, doing a quick search for "[decade] undergarments" should bring up plenty of blog posts, which may or may not cite primary sources (such is the fickle nature of the historical blogosphere). Bustle pads and sleeve supports can be purchased or made; they're both pretty simple, and tutorials abound.

Purchasing clothing:

Reproduction made-to-measure clothing can be readily found on etsy, but can be in the several-hundred USD range. I've had some luck finding vintage reproduction clothing (like, a skirt someone made by hand in the 1980s to a 1900s walking skirt pattern), which tends to be much cheaper.

Men, women, and children wore stays and corsets. As far as I know, Orchard Corset has the cheapest OTR corsets that are good quality and safe to wear. If you get a corset in the style of a specific decade handmade or made to measure, make sure that the seller tells you what the boning material is, what construction the boning is (spiral steel is sturdiest and most flexible), how many bones there are, what the corset material is, &c.—otherwise it's an indication of an unserious maker. Follow general advice for wearing corsets at a waist reduction (lace up slowly, break it in, &c.).

Antique Menswear on youtube gives a lot of good, practical advice for wearing late 19th-century and early 20th-century men's clothing (including where to buy reproductions and how to treat them, how to modify modern shirts to 19th-century standards with basically no sewing skills, &c.).

Actual antique clothing can be found and purchased online or at estate sales—usually in very small sizes, but I've seen Edwardian skirts and petticoats in an XL (also a small size, but...). You can also just simply browse this kind of thing for inspiration and save photos of anything you think you'd like to recreate.

Even clothing that was not "meant" to be worn by re-enactors can be clearly historically influenced (e.g. the huge boom in Victorian- and Edwardian- style blouses in the 1980s), so keep an open mind when shopping for vintage clothing! A lot of 1970s dresses that look "hippy" on their own can look very Victorian with the right undergarments and an updo. A lot of 1980s men's trousers also approach the right silhouette for the 1910s-inspired three-piece suit I'm trying to put together. Witness also the recent trend for big puffed sleeves!

Making or modifying clothing:

Victorian and Edwardian manuals for garment drafting and sewing can be found online—go to archive.org and search for "sewing," "drafting," or "dressmaking," then use the filters on the left to chuse which year(s) you want to see results from. Most of these have patterns that are sort of vibes-based: The work-woman's guide is one manual that claims to have patterns laid out strictly according to a grid.

I don't sew garments, but if Victorian pattern-writing for sewing is anything like it is for knitting, that may not be super useful. People do sell updates and graded 'translations' of antique patterns (which tend to be written in only one size) on etsy and ebay—just make sure from the description that it's 'deciphered' and translated rather than a scan of the original pattern!

One of the easiest things that you can do to add some Victorian or Goth flair to an otherwise plain-looking garment is to add trim. You can knit, crochet, or tat your own trim from Victorian lace-making patterns; purchase antique trim from resale sites; or buy braided or lace trim very cheaply at any craft store. Trim doesn't just have to go around the hems and cuffs of a garment: lace "insertions" between two pieces of fabric, as well as raised geometric patterns over the surface of a garment, are common in 19th-century clothing.

[ID: first image shows a black overdress showing lace insertions between strips of fabric of equal width, creating a striped effect. second image is the back of a black blouse with trim in a geometric design centred around right angles and parallel lines. end ID]

Jewellery (women's and men's):

Actual antique jewellery (including men's jewellery and fastenings) is not as expensive as you might think. Even if you're not willing to spend a lot of time learning what to look for and scouring estate sales for people who don't know or care what they have, late Victorian mass-manufactured costume jewellery often goes for sub-$50 or even $30 prices at auction on ebay (USD, in the US—in my experience it is even more plentiful and cheaper in the UK).

Specifically, I've lucked out with lots ("lot" as in, a bunch of small things being sold together) of "vintage men's accessories" going for $20 or so that contained Victorian cufflinks (in low-karat gold, mother-of-pearl, and jet), collar studs (in low-karat gold and base metals), and shirt studs (in low-karat gold, with garnets and seed pearls, &c.). Searching for lots of accessories is generally a good idea since by and large people do not know what these things are... but if you're willing to spend a little more for something that has been identified and is more likely to still be with its set, use the specific search term for that item (e.g. "antique collar studs").

Answers to Questions About Old Jewelry (though aimed at estate sellers and, if memory serves, full of regrettable pæans to Queen Victoria) is a good reference text to dating antique jewellery. I also recommend Miller's Illustrated Guide to Jewelry Appraising. Both of these texts are available on libgen.

Feel free to ask me follow-up questions if you want more detail on any of these points. As you can see I am perfectly happy to blather away on this topic

#questions #Victorian #Goth #long post /#Anonymous

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brooklynmuseum · 1 year

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“The very word ‘submission’ contains the paradox of wanting and not wanting,” William S. Burroughs wrote in the introduction of Jimmy DeSana’s 1980 book Submission.

For the photogragraphic series featured in the publication, made between 1977 and 1978, DeSana built on 101 Nudes (1972) and his work for File Megazine by creating theatrical and often comic photographs that push the limits of respectability and explore domestic confinement, consumer affluence, and social conformity. He was also mocking the recent trend of S-M scenarios in fashion photography and advertisements.

He titled many of the images after the objects depicted in them—Toilet, Coffee Table, Television, Shoes, Shower—rather than sex acts or the names of the individuals shown, who are always anonymous and often wearing masks. This strategy not only protected the identity of his models, many of whom were friends, but also contrasted with his better-known portrait work during this period, which he did to make money. Many of the photographs comically equate practices of everyday life and consumerism (washing dishes, taking a shower, driving a car) with forms of bondage and discipline.

In exploring S-M through an aesthetic and performative lens, DeSana joined a long history of twentieth-century avant-gardes that engaged with these practices in order to compel debate on freedom of expression and power.

📷 Jimmy DeSana (American, 1949–1990). Toilet, 1977–78. Gelatin silver print, 9 9/16 × 6 3/4 in. (24.3 × 17.1 cm). Courtesy of the Jimmy DeSana Trust and P·P·O·W Gallery, New York. © Estate of Jimmy DeSana. (Photo: Allen Phillips)

#Brooklyn Museum #brooklyn #museum #art #exhibition #photography #Jimmy DeSana #JimmyDeSanaBkM #artist #lgbtq+#FILE Megazine #photographer #New York City #nyc #things to do #things to see

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yridenergyridenergy · 11 months

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What is it with Die and "big gurl" 😂😂😂 I tried looking up the Japanese phrase but only his posts came up so I'm still confused. I wonder if he even knows what he's saying in English.

Yeah, I don't know why I zoned out before and only focused on his written post this time around, but there really have been at least three instances of him referring to himself as "big gurl". And according to this site, "channee" is indeed old Japanese slang for "girl" or "older sister". It"s essentially like the French verlan trend of switching syllables around (nee-chan).

https://takashionary.com/japanese-outdated-slang/#%E3%83%81%E3%83%A3%E3%83%B3%E3%83%8D%E3%83%BC

And "dekai" means huge, so whoever is translating that does seem to be honouring the original text written by Die...

Somebody who has followed him on Die-mobile for ages should tell us if we are just super late to find out about this since he did not have a public account before hah.

#also curious to know if anybody in the band refers to him as that #because it would be weird if you only want your fans to call you that

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kiatheinsomniac · 2 years

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Hey! are you still accepting requests? If yes, could you write some fluffy and funny headcanons for Jacob Frye with a goth s/o? Thanks🖤🖤🖤

notes: based on Evie's Victorian Legends outfit, I wanted to keep this as canon time period Jacob even tho goth wasn't really a subculture until the 1980's (yeah, I know it's a music based subculture but I thought that the misunderstanding of Victorian Jacob with a goth partner would be fun to write lol). I think I've ended up leaning more towards making the reader a romantic goth bc it's my favourite gothic subculture lol

☾ ⋆ﾟ MASTERLIST / RULES / TAGLIST FORM

Ok so this is the Victorian era so, to begin with, Jacob had this huge crush on you but he made no advancements because he thought you were mourning and it would be highly disrespectful of him to do so

So he simply befriended you in the meantime and he just adored your company

You never brought up your 'loss' so he never asked about it or made any mention of your all-black clothes

He's never been much of a reader (that was always Evie's job) but your love for this new trend of gothic literature made you look so happy whenever you spoke about it so he would read all of your favourites on the train while Evie teased him

One day she asked him why the two of you weren't courting yet as he so clearly liked you and he explained that he was waiting for your mourning period to be over first out of respect

Evie had laughed at him and explained that your clothes were merely a reflection of your interests and traditional mourning fashion was a key part of it

Jacob honestly could have kicked himself - he could have asked to court you weeks ago!

Knowing your love for the more morbid things in life, he took you on a stroll through an old graveyard, the two of you stopping on a bench outside the church. It was cold and mist was rolling about the place while clouds dappled the starry sky

While you were admiring the place, Jacob set his coat around your shoulders to try and keep you warm and you leaned against his shoulder, fingers slowly creeping to take his hand in yours

The silence between you two was comfortable but Jacob broke it by brining up the new set of poems that you had recommended to him

He needed your help in understanding their meanings below surface-level but that's what he liked about reading them: he liked the way you looked at the world, the things you could gather and see that he would never think of, how you treated these darker aspects of life with a fascination and sought beauty in them whereas many others would simply wish to shut it out altogether

You only removed your hand from his to push your black veil back and look up at him, your faces so close and seeing the clouds of your breaths mingle before you leaned up just that little bit more to press your lips to his

His arms wrapped around you and pulled you so close, a hand cupping your clod cheek while his other one went down to try and pull his coat around you more, wanting to keep you warm

The way that you smiled up at him afterwards made his heart soar and, like a gentleman, he walked you home when the two of you were done and left his coat with you

He claimed it was so he would have an excuse to come and visit you the next day

He practically ran all the way back to the hideout with this huge grin plastered on his face, eager to tell Evie all about it

☾ ⋆ﾟ Buy me a coffee?

🏷️@gojohater101 @daddyadler @writing-noah @havatnah @aarnodorian

#jacob frye x reader #jacob frye #jacob frye x you #jacob frye/ reader #assassins creed #assassins creed x reader #assassins creed fanfiction #assassins creed fanfic #goth! reader #assassins creed syndicate

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warwickroyals · 1 year

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what styles of wedding dresses do you have in mind for each of the warwick brides? 👀

Well, it depends on the decade when the marriages happen, but I hope to make wedding gown sets in chronological order based on the prevalent fashion trends of each decade. I'll give you examples of the wedding gowns I'm taking inspiration from. This would take a long, long time, but I'd work on these over the course of months.

Queen Katherine (1941): Katherine was a wartime bride, so her dress was cheaply made and very understated, most likely made of silk. INSPO: Gloria Vanderbilt's FIRST wedding gown, Babe Paley's wedding gown, Brenda Frazier's wedding gown

Princess Elizabeth (1952), Princess Alice (1954), Esther, Duchess of Glencairn (1956): For Louis's three aunts that were married in the 1950s, I was hoping to make a miniset of wedding gowns inspired by the Kennedy sisters particularly Jaqueline Bouvier, Eunice Kennedy and Joan Bennett's

Queen Irene (1968): I made Irene's wedding gown a while back but I don't know, it's fallen out of favour with me and I want to redo it with a different vibe? I love Julie Nixon Eisenhower's gown so much, so maybe expect something similar to that?

Phyllis, Duchess of Pape (1980): Probably the only opportunity I have to make an obnoxious 80's wedding dress that looks really ugly in hindsight. Maybe something similar to Olivia Newton-John's wedding gown or Lisa Vanderpumpp's. Obviously, these gowns are derivative of the ultimate 80s wedding gown (I don't even have to name or link it, you know).

Princess Jaqueline (1997): I really like Marie-Chantal Miller's wedding gown (probably the only thing I like about that woman). I think it would suit Jaqueline very well: a 90s wedding where a blonde socialite marries in a wedding way too grand for her status.

Tatiana, Princess of Danforth (1999): The late 90s - early 00s were a time of hideous royal wedding gowns (awful, just awful, don't argue with me, don't bring up Crown Princess Mary, I hate her gown) so I had to look elsewhere for inspiration. Mette-Marit of Norway's gown is the rare exception to this, so is Princess Clarie of Belgium whose dress really resembles Anne Hathaway's gown in Princess Diaries 2.

Courtney, Duchess of Woodbine (2005): I've always imagined Courtney in Vera Wang. Think Jessica Simpson and Kim Kardashian's first weddings, those types of gowns dominated in the mid-to-late 2000s. I envision her in something similar to Chelsea Clinton's wedding gown, or maybe Avril Lavigne's, she's named after Courtney Love, so keeping that punk princess theme with her would be cool.

Shelby, Duchess of Sherbourne (2019): I did her wedding for my story, but that was so long ago and so terrible that I sort of want to reimagine her wedding gown because I never really liked the one I used anyway.

#warwick.answers #anonymous #long post

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queencaffeine18 · 10 months

Text

God Is A Woman

Character Profile 1: Mina Ashido

Birthday: July 30 Zodiac: Leo Age: 16

Height: 5'5" Hair: Pink, very curly (3c) Skin: Pink Eyes: Yellow (with black sclera)

Body Type:

Athletic

Built like a roller derby skater

Powerful legs and abs

Other attributes:

Yellow horns

Fangs

Personality:

Cheerful

Easygoing

Social

Bad Bitch™

Confident

Good at reading people

Energetic

Morning person

Courageous

Romantic

Impatient

Fast on her feet, good at thinking on the fly

Likes:

Dancing (hip hop, ballet, contemporary, breakdancing)

Gossip

Spending time with friends

Roller skating

Volleyball

Fashion (especially colorful fashion)

Being outdoors, the beach

1980’s fashion trends

Makeup

Dislikes:

Studying (she is good at chemistry though)

Long waits

Airplanes

Horror movies

Bullies

Family:

Father: Kenji Ashido

Quirk: Acid Immunity

He is immune to/can’t be harmed by any acid

He is a scientist

2. Mother: Masumi Ashido

Quirk: Hyperflexibility

She has enhanced agility and flexibility

She is a famous ballerina and dance instructor

3. Oldest brother: Haru Ashido

Quirk: Acid Spit

He can make his saliva acidic at will

He is a pro boxer

4. Second oldest brother: Kyo Ashido

Quirk: Chemical Breakdown

He can understand the chemical makeup of any material he touches

He is going to university to be a chemistry professor

Hometown:

Born in Chiba prefecture, grew up in Musutafu

Lives with her parents, both her brothers are living on their own (middle brother is overseas in Las Vegas for university)

Quirk: Acid (she can emit acid from her skin)

Abilities:

Can skate on her acid

Can coat herself in acid as armor

Can create acid rain

Can control solubility/viscosity of her acid ~ Lower solubility = less harmful acid ~ Raising viscosity = slimy acid that can act as an adhesive

Acid generally has highly corrosive properties

She is very flexible

Extremely good reflexes = good at close range fighting

Drawbacks:

The longer she uses her acid, the less resistant her skin becomes to it (tolerance is reset after 24 hours)

Current limit is 3 hours straight of acid production

Stats:

Power: 3/5

Speed: 4/5

Technique: 5/5

Intelligence: 3/5

Cooperativeness: 4/5

Hero Suit:

Inspiration: roller derby outfits, dance costumes, 1980’s fashion

Dark purple reinforced bodysuit with shorts that reach her knees

Teal, blue, pink, and white windbreaker

Pink and yellow reflective body armor (shins, knees, forearms, gloves)

Pink and yellow utility belt under windbreaker ~ Holds unbreakable canisters hooked up to tubes that run up her back and attach to her gloves so she can spray acid from her knuckles ~ Has canisters that can hold extra acid buildup as well as fill small glass vials she can use as grenades ~ Holds several knives

Steel-toed white combat boots with holes in the soles to allow her to skate on acid

Hero Name: Venus

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sunfishsiestalah · 2 years

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So, I saw in one of the tags that you had an AU, What's the AU about? Also, I like your drawings, they're cool

Hi, thank you so much for your kind words anon! I really appreciate that 🥰

TLDR version: I realized that I rarely draw anything these days, so to motivate myself to study and draw again I basically created an AU for the main purpose of using illustrations from early-to-mid 20th century as references and studies while doubling as ship art (by slapping the faces of those two dorks on them to encourage myself to make more)

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Long, in-depth explanation of the AU + shitpost art under the cut

The main premise of this AU is that in 1960, 'Perseus', who had just became the leader of Collective, found himself to be in over his head with this newfound responsibility and needed all the help he can get, so he invited his longtime friend most trusted confidante Bell (who isn't Bell in this AU) to became co-leader with him because he can (my headcanon is that every Perseus can make their own rules and the next one can amend or remove it to their pleasure).

Other basic infos about this AU:

They both are the same age (b. 1921)

Crossed paths with each other multiple times during WWII (different unit)

Only became friends after the war when they found themselves working together in the same building

Mainly focuses on period between 1950s up to 1980s

For more than a decade now, I've always been fascinated with artworks from the Golden Age of Illustration (1880's - 1920's) up until 1960's, thanks to Black Ops 1 ironically lmao. Back in 2010 when I was obsessed with the game I was always on the Internet searching and learning everything that is related to the game's time period (fashion, music, art, events etc.). During that time I was exposed to artists like Al Parker along with Coby Whitmore, and I immediately became obsessed with the art style.

So other than me making up a reason to trawl the Internet again for good old retro illustrations like the old days and to draw these two in intimate poses (not that kind of intimate, if you catch my drift), I also made the AU set at this specific time period as a convenience to myself so that I don't have to spend extra time researching fashion trends or hairstyles in 1950's etc., because the illustrations that I'll be using as studies were already from that era 😎

---

Extra notes

At first, I wanted this to be a simple and self-indulgent AU complete with the usual slapstick comedy but I caught myself making it more complex and poignant through imagining both of them struggling to heal and navigate their lives together post-war + before & after de-Stalinization, so uhhh that's kinda cool and sad I guess

I even bought an art book hoping that it'll provide me with cool references and inspiration to draw them both along with making art of my mutuals' OCs

This AU already has a tag (duo au), haven't chose an official name for it yet but I here's a few that I made last month:

'Duumvirate' AU

'Local man too chicken to confess his feelings to his BFF, then panickly asked them to co-lead his secret spy club instead' AU

'Tryhard supervillains' AU

'Rule of Two' AU

'I've been waiting for you, Mr. Bond' AU

As a thank you for managing to understand my incoherent ramblings and saying my drawings are cool, please enjoy this pic of Officer's Uno Night at Lubyanka

#ngl tryhard supervillains is growing on me #tldr 2: i just wanna have fun while trying learn more about art #asks #anonymous #my art #bocw #call of duty #cod cold war #cod perseus #perseus #bell x perseus #well the actual bell in this au is just another operative that didn't survive at the end of bocw #duo au #and yes this AU is quite campy and OOC #oh and thanks yet again for taking an interest in my aus anon <3 #tldr 3: i just wanna see them grow old and happy together #from bo1 to bocw #we've gone full circle

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parachutepantstore · 1 year

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The History of the Parachute Pant

How the Style Influenced Clothing in the 1980s and 1990s Are you prepared to travel back in time? Let's speak about parachute pants, the style that helped define an age. From Vanilla Ice to MC Hammer, everyone wore the recognizable baggy pants in the 1980s and 1990s. But why did they vanish almost as quickly as they emerged, and where did they originate from? This blog article will examine the emergence and demise of parachute pants and how this trend had a long-lasting effect on fashion. Take a trip down memory lane with us and don your neon windbreaker!

Where Parachute Pants Came From The early 1900s saw the introduction of parachute trousers, a brand-new type of garment. These oversized, billowing pants were modeled after the gear worn by skydivers and paratroopers. They immediately gained popularity among both men and women as a style. Originally, the purpose of parachutes pants was not for fashion. They were manufactured of strong materials that could withstand wear and tear and were loose-fitting to allow for effortless mobility. It didn't take long, though, for designers to tinker with the look and produce more stylish iterations of the pants using various materials and embellishments.

How the Trend Changed and Spread In the s and s, clothing that had previously only been worn by the military became a mainstay of both men's and women's fashion. Windbreakers, commonly referred to as parachute trousers, were initially made available to the general public in the s by companies like JNCO and Coogi. Skateboarders and hip-hop aficionados were big supporters of the loose, comfy look, which quickly caught on with other subcultures.

Conclusion The 80s and 90s' distinctive fashion trend known as the "parachute pant" has subsequently come to represent those years. These trousers had a lasting influence on fashion despite their brief day in the spotlight, and they are still worn today. The emergence and demise of parachute pants is evidence of how fashions come and go, but always leave something lasting, whether we recognize it or not. Visit https://parachutepantshop.com to get the ideal pair of parachute pants and take advantage of free delivery on purchases of $50 or more.

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jujujulia · 1 year

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I first began researching by watching Akira (1988) as it is a very classic and influential sci-fi anime/manga with iconic character designs. I also find it interesting to see how people from the past envision the future. Akira was made in the 1980’s and depicts a dystopian 2019. VERY different from the non fictional 2019. Past’s predictions of technological advancements.

Things I noticed in costume/outfits/character designs: Big jackets, Gloves, Helmets, Goggles. I noticed the world depicted in Akira is very industrial with barely any greenery. The way the protagonists dressed were almost an opposite to the world - very bright and colourful. Costumes stood out.

I also looked at designers like Fa and Fon Watkins and Hamcus because I like the way they present fashion and also the silhouettes and styles they choose to use. I briefly looked at trend cycles as well such as digital belt buckles from the 2000s and how they haven’t come back yet but might later in the future. I find it interesting how technology can be infused with fashion.

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manic-maniac-man · 2 years

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Eddie's last 《Dior Homme》 that determined the 80s revival

It was Hedi Slimane who showed off the momentum of the 80s revival, which had been swelling with wrinkles, in an unpredictably cool direction. The 2007-08A / W collection, the last of his work (Dior Homme). There were teddy boy-style regents or models with asymmetrical two-block hair just like New Wave. The feet are unified with combat boots, and cropped pants and sarouel pants are turned up so that you can see the opening. In addition, jackets and mohair knits with geometric pattern prints have also appeared. Such BOS feeling elements Weave by new.

Coolness, that's what the times were looking for

I can do it now. What did Hedi Slimane try to find in the 80's? United Arrows, Hirofumi Kurino

Ask your impression.

"Everything in the 80's of ants

New Wave was certainly creative. "

Hirofumi Kurino

"When I saw this collection of Eddie, I saw that time in real time.

I didn't think it was so old in the 80's. It's been 80 years since I've been wearing pants and boots with a certain length, but New Wave is the most difficult to understand in Japan, so it's the 80's. The 80's was really wide and there were a lot of crap. But New Wave was certainly creative, Eddie is an artistic director with a keen sense of the times, so I think it would be very effective to incorporate the essence of the 80's in that way. " Was Eddie a new wave and other 80s culture?

Eddie Draft Simmons was born in 1968 and loves that generation. I've asked them why they were in the 80's, but on the contrary, they said "Why do you hate it?" (Laughs). I was there in real time, so I was embarrassed, and there were a lot of things that asked me to stop. They are teenagers in the 80's, so I think it's the air of the 80's that I thought was cool. ¡You think it's wonderful only for what you saw in the times. We, real-time humans, have seen good things, but we have also seen a lot of bad things. I don't think that was always the case when creation was valued in the 80's. Of course, if you think positively, try various creations. "There were a lot of money and power opportunities. It was an era. ”I swallowed everything, never looked back, and stopped moving forward.

do not have. There must have been such a sense of speed at that time.

For example, Britain has ended the period of each trend, Teddy and Mod, while the 1980s was the first time in the history of fashion that everything was an ant. So, some look like the 50's, some look like the 70's, some look like the 20's. The mix of all decades was OK. It was creative, or worse, it was just a mess, and at the time there were people with a lot of momentum, so it would have been possible to put it together. I looked back again. I wonder if that was the 80's. Nobody is doing it as nostalgia. It seems that the 1980s have been re-evaluated because they showed us something new and new.

"After the punk, 80s New Wave tried to make a hole with his own innovation. The cry overlaps with Eddie who is always trying to open a new door. He entrusted his creation. I think it was a free-spirited and flexible spirit at that time.

#hedi slimane #2000s fashion #fashion #dior me #dior sauvage fake #dioraddict #dior homme

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