Dec 12, 2025
Chocolate keychains (yummy)
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Chocolate keychains (yummy)
Business Casual Outfit Inspired by Mick St. John
This outfit is inspired by the one Mick wore in New York in the 10th episode "Sleeping Beauty". I chose high-end items because Mick seems to be pretty wealthy, though not as wealthy as Josef. The coat is DKNY, the sweater is Tom Ford, the scarf is Alexander McQueen, the pants are Saint Laurent, the watch is H. Moser & Cie., the purse is Christian Louboutin, the boots are Gianvito Rossi, the sunglasses are Ferragamo, and the lipgloss is Chanel. The jewelry is vintage white gold.
Aug 21, 2025 - Discover (and save!) your own Pins on Pinterest.
My Halloween outfit collages for this year (names and site I made them at in Alt text). Hope you all have a happy Halloween this year!
some of my fits 🎀
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I made these Disneybounds of "Smosh: The Live Sitcom" characters on an app called Combyne! It's a fashion collage app that's similar to Polyvore. My account is @/studio.gradience.22 if you're interested.
All rights belong to Smosh.
Posting some of my favorite Combyne outfits I made over the summer! If you were into Polyvore or like fashion and collage, you should come and join me— the site could use some more grown-ups to balance out the middle schoolers with same-ey taste. Here’s my profile, let’s be friends!
Shadows of Shalott 1/58: “The Lady of Shalott”, Tokyo & the Boy // Combyne
“Shadows of Shalott” is a 58-installment project where I curate one outfit per song adapting, based on, or inspired by the Tennyson poem ‘The Lady of Shalott’. Spoken word recordings are exempt, as are covers; the 58 songs I selected are original musical pieces. The tag to track (or block) is “shadows of shalott”.
To start this project off, we have a loud, sonically demanding track that sounds like a meeting between Tori Amos and Aurelio Voltaire. The pounding piano and ugly drums demand attention, and the vocalist sings of being pulled in and killed by her fateful obsession with a boy, presumably Lancelot. I chose a floral, rose-heavy red with beiges and neutrals as the backbone of the look, hammering home the femme and avant-garde nature of the music and subject matter. This singer is not furious about her fate, but she is morose and resigned.
Something I’ll be curious about over the course of this examination is how often the Lady herself is the narrator, compared to someone else. Here, she speaks for herself, primarily clinging to resigned acceptance as she faces her death - later, she may be angry, or bitter, or elated. Now, though, she’s aware of what she describes as enslavement to Lancelot, something that binds and compels her, and perhaps she may be angry but mostly she simply knows it’s the end.