#Anne Lowe

[lookingbackatfashionhistory]

• Dress.

Date: 1967

Designer/Maker: Ann Lowe

Place of origin: United States: New York, New York City

Medium: Silk, cotton, velvet.

[omgthatdress]

Evening Dress

Anne Lowe, 1962

The Metropolitan Museum of Art

Pink means sex.

Central Florida Emergency Trans Care Fund

Equality Florida

ACLU Florida

Tampa Bay Abortion Fund

[ripplefactor]

Ann Lowe: American Couturier, Rizzoli, 2023 .. @fashionbooksmilano ..

[easyaesthetics]

Click to see Joker and Akechi’s couples shirts :)

[smudgeandfrank]

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[myokk]

It's a clear, beautiful summer's day, the type of day that starts out bright and full of birdsong, that ends looking up at the stars and the moon while crickets chirp and fireflies show soft bursts of light. When the air is warm and full of life and the smell of hot grass and lavender and honey permeates everything.

The whole summer had been like that, really. Running outside with abandon, chasing each other through the tall grass deliriously happy and lying down in the fields surrounding their village, watching the clouds float by while they eat cucumber sandwiches. It's the summer before their first year at Hogwarts; the Sallow twins know that their life's about to change and are determined to enjoy their last summer of childhood.

Maybe they're too old for this sort of thing - they are eleven, after all, but both of them know that this summer is a turning point for them and they want to cherish every moment for as long as possible. Their parents have been encouraging them, often sending them out for the whole day, piling journals and ink and quills and picnic baskets full of food in their hands, encouraging them to research and be curious about the world around them as they had always done.

This day, however, their parents are almost eager to push the twins out of the house. Their mum's smile doesn't quite reach her eyes. Sebastian feels nervous about this, but doesn't realize why until much later, when the memory is analyzed and remembered during his dreams. (definitely not while awake). When they leave the house in the morning, she makes sure to kiss each of them on the cheeks which she normally never does and Sebastian pushes her away in disgust, much to his future horror. In the moment, all he can think is that he might still be holding on to the last moments of his childhood, but he's too old to be kissed by his mum.

(but now, Sebastian doesn't know if his memory is faulty and he is adding moments that never actually existed in the first place. the mind is a tricky place)

He never allows himself to think about these halcyon days, the perfect-until-it-wasn't summer before they went to Hogwarts; this day in particular is forbidden to remember. His unconscious mind rebels against his iron will.

They spend the morning looking for the fairies that Anne had dreamed about the night before. She's convinced that it's a prophetic dream and they march around in circles in the little copse of trees - a forest to the two children, who haven't really ventured out of their village - as Anne tries to remember where she had seen the fairies in her dream.

Sebastian is happy to follow her even if (maybe especially if) he thinks it's a futile adventure - what else are summer days for?

They're in that strange junction between childhood and adolescence; desperate to just grow up already and become the people they were always meant to be, and yet just wanting to spend their days being kids, without a care in the world.

"Come on, Sebastian," Anne calls to him, a tiny stream gurgling between them. In one hand, she's holding the map that she drew as soon as she woke up; in the other, boots stuffed with her stockings.

Sebastian huffs as he trudges behind her, arms full with their bags, his shoes, and the picnic basket. Anne had offered to help him carry things, but he refused on principle. Their dad is always doing small things like this for the women in his life, and Sebastian wants to be just like him.

Anyways, Anne has her own role as the leader today, and it won't do to have her bogged down.

And he's eleven, more than old enough to carry everything.

He steps through the tiny creek, mud and slush squishing through his toes, and he smiles. There isn't anything he loves more than being outside, except maybe being outside with a good book.

"Keep your eyes peeled for a tree with a knobby trunk, with lots of knots that look like faces," Anne tells him, glancing over her shoulder, then turns her face back to her map and scrunches up her face. "In my dream, the fairies lived nearby."

They spend the rest of the morning continuing their fruitless search, laughing as they walk in circles, then set up their picnic in the field next to their house.

"What do you think Hogwarts will be like?" Anne asks, a dreamy look on her face.

Sebastian doesn't look at her when he answers. He lies back and stares at the clouds. They've already had this conversation hundreds of times since their Hogwarts letters arrived, both of them have their parts memorized. "Amazing. I can't wait to actually be able to use our magic instead of just reading about it."

Anne rolls to her side and props herself up on her elbow, getting a better look at her brother's face. With a smirk, she says, "I think I'll like Transfiguration the best. I can't wait to be able to turn you into a -"

A huge noise interrupts her before she can continue. Sebastian sees the confusion in her face before he truly registers that something has happened. It's like everything's moving in slow motion and all he remembers clearly whenever he dreams of this day are his feelings of confusion and disbelief and the smell of fire.

There's a huge explosion and the air is full of smoke and he and Anne are scrambling up, the picnic blanket tangled up around their bare feet and -

Hand in hand they run in the direction of the huge black smoke that is billowing up. It coats the air - they can't see anything and the smell of burning fills their noses and the smoke fills their lungs and they're coughing coughing coughing -

Sebastian doesn't want his sister anywhere near the blackened husk of their former house but he is also terribly afraid to be alone. They stand in the middle of what used to be their house, blackened half-walls, charred wood that used to be their table, the old couch they read on every night, it's all smoldering, all gone, the thick black smoke making his eyes water and choking and smothering everything in its wake. His mind can't comprehend what he's seeing. Everything is so familiar and yet so wrong.

He doesn't know how long he and Anne stand there, clutching each others' hands like they are a tether to reality. Which, he supposes, they are. They might be there thirty seconds, ten minutes, one hour, an eternity...

Then, neighbors are running to the twins, coughing, covering their faces in the crooks of their elbows as they conjure blankets with their wands and wrap Sebastian and Anne up and drag them out of what is - was - their home.

This part is always hazy. Sebastian can't remember if he cries. Or if he even says anything. He just stands there with Anne, the smoke thick and oppressive as it pours out of their house. Everything is crumbling apart.

(A hand gently caresses his scalp, fingers light and reassuring as they dance through his hair)

Their neighbors try their hardest to salvage what they can. The daguerrotype that their mother had cherished more than anything, taken a few years before, miraculously survives. Sebastian stares at it, the tiny figures moving and laughing and smiling as though everything is perfect. He wants to throw it and break it or maybe rip it up to shreds but he can't bring himself to do anything but stare.

Their father's wand is also shoved into Sebastian's hand, unscathed. It was found just outside of his father's curled fingers, lying pristine on the ground as if mocking the destruction that it caused.

At some point, their Uncle Solomon, who they've only really seen once a year growing up, shows up with a loud crack and tears through the rubble, tears carving wet tracks through the soot on his face. His voice goes rough with desperation and when he walks up to the two orphans, he is almost unrecognizable.

As if in slow motion - maybe an after-effect of the curse that has destroyed their lives is that the air has turned into molasses - Sebastian watches his uncle stagger over to them. He looks much older than Sebastian remembers.

Later, when Sebastian looks at his reflection in the mirror of his new home, the boy staring back at him also looks much older than he remembers.

Before It Felt Like A Sin, Chapter 14

[keepitdreamin]

Black Sails tarot part 2 (1, 3, 4, 5)

this post is just for the lovers lol. madi and silver are the official lovers card, but i also made variants for my other favorite ships

[dizzy-izzy-in-a-tizzy]

ofmd s1: fuck conformity, fuck queer respectability, be who you are, repression is killing you

ofmd s2: but also maybe let's cut all the poly couples (garlic soup; fang) and have the queer-coded kinksters get murdered (izzy hands, ned lowe [whose kink was a core part in his villainy, and had zero positive contrast]) unless they're femme-presenting and coded as insane lesbians despite being historically bisexual because that's hot (anne bonny, mary read) and keep in mind we're cutting poly rep there too (calico jack)

[white-cat-of-doom]

Promotional photos from the International Tour in China.

Sam Brown as Munkustrap and Hal Fowler as Asparagus, with the backing of the Tribe, stare down the audience.

Isabel Moore as Victoria.

Sam Brown as Munkustrap and Hal Fowler as Bustopher Jones.

Ann-Marie Craine as Jellylorum (amongst other Kitties).

Jesse Chidera as Rum Tum Tugger.

Alice Oberg as Demeter and Rhianne Alleyne as Bombalurina.

Liam Mower as Mistoffelees (with Charles Croysdill as Carbucketty in the back).

Lucy May Barker as Grizabella.

Michael Robert-Lowe as Old Deuteronomy.

[meyerlansky]

timestamp roulette: BLACK SAILS EPISODE XI ↳ congratulations, jack. now you know what it's like to rise from the grave.

[boseman-chadwick]

ANNE HATHAWAY photographed by Mariah Tauger at the Los Angeles Times Studio at the Sundance Film Festival at Park City, Utah, January 21, 2023.

[blacksailsmeansdeath]

Black Sails + Reductress headlines (part 3)

[fyblackwomenart]

Ann Lowe by Erin K. Robinson

“I wanted to prove that a Negro can become a major dress designer.” 

[nightthinker-08]

:P

[sarucane]

Ed Teach's Stories

From practically the moment we meet him, Ed's identity is unstable. We know who is he (Blackbeard) from context, from the story told by the the room around him, by Izzy and the flag his crew. But the thing is, Ed doesn't fit the story of the Mad Devil Blackbeard. Two of his first few words are "good" and "love" for crying out loud. He's called "Blackbeard," but his beard is grey.

This instability exists because Ed himself isn't sure what story he's telling--or wants to tell. "I shouldn't be bored, I'm fucking Blackbeard!" All through his early episodes Ed is in increasingly desperate tension with his own identity. He's trying to tell stories within stories, wanting all the stories to be true at the same time, yet aware of the reality that the world is constantly trying to wipe one or another of the stories away. And not really trusting that he can tell the whole story of who he is.

In the first season of OFMD, Stede wears a different outfit every episode. Yet Stede remains the same: despite his internal tensions (almost despite himself) there's a stability to his identity. But all through both seasons of OFMD, Ed putting on a new outfit means he's trying to tell a completely different story about himself.

And underneath this cacophony, there's Ed. And Ed is himself a chorus of stories, a living contradiction. A patricidal murderer who was protecting his mother; a paragon of masculinity who longs for softness and fluidity; a man renowned for violence and madness who has in fact carefully cultivated that reputation and is extremely careful with his violence; a killer who doesn't kill, yet who does kill all the time just at a bit of a remove; a half a dozen names and personas and yet always Ed; unloveable, yet deeply loved.

At the beginning of the show, Ed isn't actually good at telling his own story. He's good at listening to other people's stories, and conforming himself to them often without conscious effort. But when he tries to really tell his own story--asking Stede to run off to China, singing his break-up song song, going to become a fisherman--he fails. We don't understand in the first season why his judgement clouds, why he becomes weak when he tries to tell his story. But in the second season after spending half an episode in Ed's mind, a painful truth is undeniable: Ed, like Stede, doesn't think he's worthy of telling his own story.

So instead of telling his own story, Ed let other people tell his story. In the first season, Ed built off what Izzy told him he had to be. But he couldn't lose himself in Blackbeard, no matter how hard he tried. So in the second season, when Ed couldn't face living with his contradictions anymore, he wrote an ending worthy of Blackbeard.

All this, because Ed thinks he can only be "himself" by telling one, single story about himself. By denying his contradictions, rather than embracing them. Splitting himself in two to tell himself a story, rather than telling the story himself.

What Ed doesn't believe or trust is this: For Ed to really be himself, he has to be impossible. Two contradictory things, at the same time.

The second season of OFMD is about learning to embrace all these contradictions. In each episode of OFMD, character look at the same object or situation (a wanted poster, a unicorn, a velvety suit, a relationship, a past trauma) and they tell two completely different stories about it. Sometimes one of those stories turns out to be wrong, but more often than not both are true, and something else--something beautiful-- is born from the place where those contradictions meet. And the characters, Ed most of all, learn to accept and balance this dissonance.

Thematically speaking, I'd argue that's why the second season of OFMD is more fantastical than the first: fantasies are contradictions, real and not-real at the same time. And isn't that what transformation is, in the end? What you are and what you are not, meeting and becoming "you"?

Transformation isn't all good. At first, Ed's fantastic stories hide his pain or invoke despair

But later, the fantasies make their way into reality. The impossible begins to shape reality--and opens a way for hope.

In the last episode of S2, Ed emerges from the waves as the kraken--but there's 3 musical tracks playing, three themes: the kraken, Ed, and Blackbeard. Then he reads a love letter, and has a deeply romantic moment with his boyfriend. He puts on a new outfit to escape the British, yet his personality doesn't change at all. When Izzy first apologizes to him, Ed says "I'm the one who should be apologizing," but then Izzy changes his entire understanding of their relationship. Becomes the first family figure to offer Ed permission to be himself.

Contradictions galore, and yet Ed is still Ed. Both who he was formed into by other people (his father, Izzy, Pop Pop) and yet who he is.

In the final scenes, Ed begins to finally accept the tensions of his life. He tells Zheng that yes, he wants to kill Richie--but he doesn't go on a revenge quest. And while before his forays into being someone else meant changing his name, his clothes and mannerisms, his whole story, he doesn't act like that at all in the last scene of the ep.

And Ed's been able to do all this, to come this far, because of Stede. Stede, who Ed was drawn to because he was a "fancy man who leads a brigade of imbeciles," yet had won a fight with Izzy. Stede, who looked at Ed at his lowest moment, after Ed had admitted that the entire basis of their friendship had been in bad faith, and said, "I'm your friend." Stede who, even knowing Ed wouldn't want to hear from him, poured his heart into letters about how their bond was unbreakable.

Stede is everything he is, all at the same time. And when Ed was drowning in his own contradictions, (a rope tied around him that he could not undo and yet had put on himself) trapped somewhere "inevitable, yet impossible," Stede appeared as a fantastic, beautiful creature and brought him home.

Stede lets Ed be everything he is, and sees it all as true and worthy of love. Even when Ed fucks up, it's all right.

And sometimes, telling two different stories about something doesn't lead to a fragmented self, doesn't drive people apart.

Sometimes, it means understanding. Means acceptance, safety, connection.

From discordance (contradiction), harmony. A gentleman can be a pirate. A man can be a bird, or a unicorn. Izzy can have been one of the good ones and a fucking nightmare. And Ed can tell all his stories, they can all be true--and he can still be Ed.

[costumeloverz71]

Evening dress, c. 1968. Ann Lowe.

@metmuseum