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fawnvelveteen

Cher, 1970s

yesterdaysprint

The Topeka State Journal, Kansas, May 23, 1896

mockiato-deactivated20200315

What a wonderful world!

This beautiful flower mantis was found in Nkutu Valley on Sunday. Experts said she looked like a pregnant female as you could see her broadening frilled edged belly beginning to extend sideways. She loves to hunt bees that visit the flowers of herbs such as purple and rose pelargonium, she sits at flowers and catches bees with her camouflage.

garboss-deactivated20200701

Edwige Feuillère in Olivia (1951) directed by Jacqueline Audry

aesthesiamag

The Veiled Christ by Giuseppe Sanmartino, 1753

Giuseppe Sanmartino, The Veiled Christ, 1753, Sansevero Chapel

In the nave of the Sansevero Chapel in Naples is the Veiled Christ by Giuseppe Sanmartino. This is a sculpture of Jesus after his crucifixion, lying on his back, covered with a thin shroud edged with intricate embroidery. The shroud, although carved from the same marble slab as the statue is so transparent and thin, you can make out the tiniest details in the sculpture such as the nail holes in his feet and hands, his ribs, a swollen vein in his forehead, and his facial expression. Some claim that the shroud was created from alchemy.

bending-sickle

There is another (and, in my opinion, more impressive) sculpture in that very church. It is visible in the last photo, first column to the right of the altar.

“Francesco Queirolo (1704–1762) was an Italian Genoese-born sculptor, active in Rome and Naples during the Rococo period.

Release from Deception (Il Disinganno), produced in 1752-1759, shows a fisherman being released from a net by an angel. The masterpiece was carved from a single piece of marble and can be seen in Cappella Sansevero, Naples. The ambitious project was considered by some to be impossible to complete, and only Francesco agreed to attempt it.” (Wikipedia, “Francesco Queirolo”)

vivienvalentino

What you notice is Edith takes on the gothic qualities of the house. Another thing about working with working with Guillermo is he understands how important it is for his designers to be involved early on in the process; he values us. The house really dictated how to approach the costumes, from a sculptural point of view, to give them extra depth, to give them a painterly quality. I didn’t want to get myself caught up in detail that didn’t feel like it meant anything, like generic lace or decoration. So all the details we made and they all came from the symbolism of the characters or the house itself. The leaves on Lucille’s dress were constructed by hand, with a single piece of cording. And for Edith, the motifs of the flowers, she blooms. It was about trying to create an atmosphere.

Designer Kate Hawley Talks The Menacing Beauty of Crimson Peak’s Victorian Costumes

jedi-anakin

Olivia de Havilland’s costumes as Lady Marian Fitzwalter in The Adventures of Robin Hood (1938)

Costume Design by Milo Anderson

theendofbad

I thought that was her

lovealwaysbeautiful-deactivated

“ - Oh Darling, save the last dance for me”

oldhollywood

Katharine Hepburn as Amazon warrior princess Antiope & Colin Keith-Johnston as Theseus in stage production of The Warrior’s Husband (1932) (Corbis)

crimelords

ok. ok

elodieunderglass

all right I’ll allow it

wizardposting666

Okay so some fun and interesting tidbits of info that @queer-taako gave me a while back regarding Katherine Hepburn: she may have possibly been either nonbinary or transmasc. She had a male persona, and gay men (as in exclusively gay men, men who only had sex with and were attracted to other men) had sex with her. They viewed her as just as much a man as any of them. In fact, the only reason I’m still using “her” and not “him”/“them” is because it was never confirmed (and let’s be real, it could have been very dangerous for her back then). But that information is out there.

charismat1c-megafauna

This is a pretty good article going into detail about Hepburn’s identity as well as how the era sort of impacted her experience. She described herself later in life as “the missing link between genders” and even as a child, had a secret name for herself which she preferred to be called among friends (Jimmy) and the information she gave about her childhood like not getting why everyone seemed to treat her like a girl, not wanting anything to do with feminine things, having a secret name, at the very least resonates with gnc and butch women, trans men and nonbinary people.

We have no way of knowing what she really was, and we cant really ascribe an identity to her, but she had relationships with men and women and wanted pretty much nothing to do with womanhood in her private life. Being non straight and/or not cis in Hollywood, especially back then, was such a minefield to navigate, and there was virtually no language to express yourself if your identity was anything other than gay or straight cis person, and even the term ‘lesbian’ wasnt used as often as youd think.

systlin

I did not know this.

chronically-sick-of-people-deac

Mhmm this though

androidbisexual

hedaslayer

“I wanted to challenge politically the kissing scene, which traditionally either has the surprise kiss scene thanks to a rain shower for instance, or the obvious kiss scene thanks to mustard on the corner of the lips, for instance, and it is generally carefully scripted as ‘They kiss.’ Or ‘They passionately kiss.’ And then it’s on the actors’ shoulders. It seems to rely a lot on them because it’s their bodies and fluids and interaction, but it shouldn’t be. It’s fake. It’s not about finding the magic. Actors should always be part of the elaboration of an idea, especially with intimate scenes. So I wanted to craft a scene that would embody the sexiness of consent. People who are questioning the idea of asking for consent in France, they do exist. They are brave fighters for the culture of French gallantry who say that asking for consent would not be sexy, it will break the mood. Some of the French critics thought the film lacked flesh, precisely because to them eroticism is about conflict. […] At some point I came up with the idea of them having to unveil their mouths like they would undress themselves. So I put a scarf, justified by a strong wind, pressed on their lips and thinking you would see their heavy breathing through the moving cloth.”

Céline Sciamma on creating a new first kiss

whenthegoldrays

Georges Rochegrosse, Le Chevalier aux Fleurs (The Knight of the Flowers) (detail) (1894), oil on canvas

themusewithinthemusewithout

Fendi’s 90th anniversary show held at the Trevi Fountain (Fontana di Trevi), Rome, last summer. The show’s inspiration came from the work of the Danish illustrator Kay Nielsen, and the collection of norse fairytales known as “East of the Sun and West of the Moon”, 1914. Sadly, the talented Kay Nielsen died poor and in obscurity in 1957, while his dreamy, delicate and intricate illustrations have regained popularity these recent years. Nielsen’s work belongs to what’s called as the “golden age of illustration”, that is the early 20th century.