#Fashion model arya

[filmynews57]

New Finance Goal Should Be $1 Trillion Annually, Says Top Climate Expert

The urgency of addressing climate change has reached a fever pitch, particularly concerning the financial implications of extreme weather events. As reported by leading climate experts, an ambitious financial goal is necessary to mitigate these impacts. One such proposal suggests that the global community should aim for an annual investment of $1 trillion to better prepare for and respond to climate-related disasters, particularly in vulnerable regions like India, which faces staggering economic losses due to uninsured extreme weather events.

The Economic Toll of Climate Change in India

India serves as a prime example of the devastating economic repercussions of climate change. Over recent years, the nation has experienced a surge in extreme weather events, from devastating floods to severe droughts. The economic losses associated with these disasters are estimated to be in the hundreds of billions of dollars, and alarmingly, a significant portion remains uninsured.

1. **Types of Extreme Weather Events**: - **Floods**: Monsoons have become increasingly unpredictable, causing extensive flooding. - **Droughts**: Prolonged dry spells have devastated agricultural output. -

**Heatwaves**: Rising temperatures have led to health crises and impacted productivity.

2. **Impact on the Economy**: - **Agriculture**: Agriculture, which employs a substantial portion of the population, is heavily affected.

- **Infrastructure**: Damage to infrastructure leads to increased repair costs and loss of function in critical systems.

Health: Increased healthcare costs due to climate-related illnesses strain public resources.The need to develop financial strategies that address these losses while also investing in resilience measures has never been more critical.

The Case for a $1 Trillion Annual InvestmentOne of the leading advocates for this financial goal is a top climate expert who emphasizes that the $1 trillion mark is a critical threshold.

This investment would not simply be a number on paper; rather, it would involve transformative initiatives aimed at reducing vulnerability and enhancing adaptive capacities in climate-affected regions.

Key Areas for Investment:1. **Renewable Energy Sources**: - Transitioning to solar, wind, and other renewable energies could drastically reduce dependency on fossil fuels. - Investment in technology can improve efficiency and decrease costs.

2. **Disaster Preparedness Infrastructure**: - Building resilient infrastructure, such as flood defenses and improved drainage systems, can save lives and property. - Early warning systems can help mitigate the effects of disasters by giving communities time to prepare.

3. **Insurance Schemes for Vulnerable Populations**: - Developing affordable insurance products can ensure that families are protected, preventing catastrophic losses. - Innovative financial solutions, such as parametric insurance, can offer rapid payouts based on predefined weather conditions.

4. **Research and Development**: - Funding R&D in climate science can help communities anticipate new risks and develop innovative solutions. - Collaborations between governments and academic institutions can foster innovative contributions to climate resilience.

Why $1 Trillion MattersThe proposed investment of $1 trillion annually represents more than a mere fiscal goal; it marks a paradigm shift in how societies approach climate adaptation. By mobilizing these funds, countries can develop holistic frameworks that integrate climate risk into economic planning. - **Global Collaboration**:

Achieving this goal will require unprecedented levels of international cooperation. Countries must work together to pool resources and knowledge.-

**Leveraging Private Investment**: Public funds must act as a catalyst, encouraging private investments in climate-smart projects.##

Conclusion

the call for a $1 trillion annual investment towards climate resilience reflects the growing understanding of the severity of climate change and its economic implications, especially in regions like India. As extreme weather events increasingly become the norm, the time for decisive action is now.

By embracing this ambitious financial goal, the global community stands a chance to safeguard lives, stabilize economies, and build a sustainable future against the unforgiving backdrop of climate change. In an era where financial resources can make the difference between recovery and catastrophe, prioritizing such goals is not just advisable; it is imperative.

STAY TUNED

[ophelias-lamentation]

Modeling AU

Shireen, Arya, and Daenerys in a throwback photo shoot for the magazine ‘Highgarden’

[circuslollipop]

arya costume designs!! ......yeah i ended up doing a lot, including a couple based off of actual book descriptions, and i even included an older model! but really i am quite happy with how these turned out. most of these are based loosely off of canon (aside from the older ones) but i took some creative liberties

top, left to right: winterfell, king's landing/on the run, bolton cupbearer, acorn dress, lilac pearl dress

bottom, left to right: riding clothes from lady smallwood, braavos fashion headcanon, house of black and white, general older design (the half-cape was inspired by the show), queen in the north (i plan to make royalty designs for all the starkings i end up getting to)

[agentrouka-blog]

omfg you have every right to be angry over that anon. What a condescending, arrogant ask. There's an extra level of insult, because people aren't just trying to dispute your opinion, they're trying to waste your time, energy, and thinking too. It's not an honest and equal debate, it's just pure entitlement.

Something for your perusal: I've been reading the ASOIAF books again and was curious when I came upon Catelyn's passage up the Eyrie in AGOTA, where she laments that Mya Stone won't be able to marry the boy she's in love with because she's a bastard. Then Catelyn muses that Mya reminds her of Sansa. I thought this was interesting because of how the information is introduced, and then the Mya-Sansa parallels. Sansa becomes a bastard when Jon is a secret prince sort of business. I haven't seen anybody mention this and thought it was curious.

Thank you! <3

And there's actually a lot of stuff in that Mya Stone moment.

For one, it happens at a time when we already know that Sansa's own dreams are as hopeless as Mya's, no matter that Sansa is trueborn, because Cat and Ned both agreed to marry her to House Lannister and at the Trident Joffrey took off his mask and nothing is being done about it regarding Sansa.

Then we have the parallel to Littlefinger, whose crush (trueborn but low status) was always as hopeless as Mya's.

Then we have the fact that Cat foregoes an obvious comparison (tomboyish Arya) by focusing on not one but two other people in regard to Mya. First the unpleasant association with Jon Snow, followed by a softening when she recognizes the resemblance to Sansa.

"Mya Stone, if it please you, my lady," the girl said. It did not please her; it was an effort for Catelyn to keep the smile on her face. Stone was a bastard's name in the Vale, as Snow was in the north, and Flowers in Highgarden; in each of the Seven Kingdoms, custom had fashioned a surname for children born with no names of their own. Catelyn had nothing against this girl, but suddenly she could not help but think of Ned's bastard on the Wall, and the thought made her angry and guilty, both at once. She struggled to find words for a reply. [...] "Mychel's my love," Mya explained. "Mychel Redfort. He's squire to Ser Lyn Corbray. We're to wed as soon as he becomes a knight, next year or the year after." She sounded so like Sansa, so happy and innocent with her dreams. Catelyn smiled, but the smile was tinged with sadness. The Redforts were an old name in the Vale, she knew, with the blood of the First Men in their veins. His love she might be, but no Redfort would ever wed a bastard. His family would arrange a more suitable match for him, to a Corbray or a Waynwood or a Royce, or perhaps a daughter of some greater house outside the Vale. If Mychel Redfort laid with this girl at all, it would be on the wrong side of the sheet. (AGOT, Catelyn VI)

Mya makes her feel guilty and angry when thinking of Jon Snow, but bittersweet when contemplating her similarity to Sansa and the impossibility of her dreams. It's easier to handle Mya's status when connecting her to Sansa, someone Cat knows how to love, rather than Jon, whose existence strips all romance from the veneer of the brutal society and the reality of patriarchy for Catelyn herself. She doesn't hate bastards, she even has sympathy for them. She only hates what Jon represents for herself.

Sansa ends up modeling her own bastard figure after Jon Snow (fourteen and bastard brave), and from what we have seen of Jon's own struggles with bastardy, his own unfullfilled dreams, it becomes easy to directly compare Sansa and Jon as similar souls, with similar hopes and disappointments, with their shared longing for something unattainable by the rules of their society.

Within the one mirroring scene coming down the mountain in AFFC, Sansa contemplates Mya Stone's lost virtue (after Cat's predictions have come to pass) and potential future husband of fitting status who would love her anyway, and she will also be reminded of Jon Snow. "I am a bastard too now, just like him. Oh, it would be so sweet, to see him once again. But of course that could never be."

The chapter ends with a proposed miracle transformation. Littlefinger paints the picture of a reveal of true identity: The bastard sheds their mask and is recognized for their true self. Something that can only happen to a false bastard. Like Sansa.

Who is so similar to Jon. With his impossible dreams.

[atopvisenyashill]

GOT MET GALA

gala theme: fits george’s worldbuilding, works in universe

event theme: DO I THINK ITS PRETTY

8. MARGAERY BLUE PATTERNED DRESS

I love the cut, I love the fashion they established in the Reach through the new cut, I love her long flowy hair making her look prettier but also kinda ~sultry and wild~ to appeal to Joffrey, I love the little belt thing too. It’s pretty, it fits the Tyrells, it fits the look Margaery is going for.

7. JON’S KING FIT

*kit voice* i like the wolf bit. aksjd. i really do love that Jon has the direwolf sigil on his gorget but Robb and Ned don’t - shows Jon is just a little unsure of his Starkiness too, and trying to emphasize it. I also love that they gave him a manbun, he really channels Sean Bean’s long hair even with his curls.

WORST DRESSED: DAENERYS IN QARTH

This girl has never served once in her life but this one was the worst. Why is that bit in the kiddle sticking out. Why is that purple going down between her legs. Why do those colors clash so bad. the whole thing is so bad and it looks funky to move in as evidenced by how deeply awkward Dany looks in it, when she moves much less awkwardly in her other more notoriously ugly outfits. Just bizarre choices all around here.

6. BRAN STARK THE LITTLE LORD

I know i’ve talked about how gorgeous the gorget is, but I also love that he’s wearing his fish pin. I think it’s cute that like Sansa, like Ned in the books, Bran is taking care to LOOK the part when he has to take on responsibility, and wants his mother’s house to be on display alongside his father’s. Considering we see him play with the pin, I wonder if it was a gift from Catelyn or if it straight up IS Catelyn’s that he just took when she left. Anyways, both look really good with his longish hair, and I loved his bangs in early seasons because they are always slightly greasy, and it reminds you how young Bran is (he don’t wash his hair well, like a lot of little kids!)

5. CERSEI LANNISTER ARMORED DRESS

the reason this one is imo superior to the other ones is because of the practicality of the fit. There’s a lot here gender & character wise, from the way her hair is done in a much more “soft feminine” way to the literal armor she’s wearing to set herself apart, the insistence on Lannister Colors Wlways, the silhouette is gorgeous and it just looks REALLY GOOD but! Considering she’s worried about them losing & plans to herself and Tommen over being captured, to focus on both her femininity to make her seem more weak while putting her in armor to make her seem strong, but giving her an outfit and hair style she can RUN in, she can DIE in, kicks it up into faves for me.

4. JOFFREY BARATHEON ARMOR

I love how he’s allergic to Baratheon colors & symbols, I love the crimson being used here, i love how ornate the armor is, I love how he has to have that gold and crimson pattern he loves even in battle on the bottom. Jack’s makeup is really well done here too, the black around his eyes makes him look small & petulant.

3. CERSEI’S REVENGE DRESS

The black/perpetual morning angle, while also evoking the Targaryens. The shoulders and ornamentation modeled off Tywin. The fuck ass bob. Really solid look that’s grounded in Cersei as a character & where she is emotionally, and it’s got a great silhouette. Cersei has other, more popular outfits but in my opinion, it’s her best fit in the show because it tells the entire story of her character up to this point, AND it looks good AND it even fits the more over the top style George likes with the gorgeous silver ornamentation.

SO CLOSE - Sansa’s Northern Furs

It’s the necklace. I hate that ficking necklace it ruins the whole look. It’s ugly, it clashes with the top, the bottom of the chain is so random, it tanks every single Sansa outfit bc it sticks out so bad. At least make it black iron or something why is it so silver.

2. Arya’s Ned Stark homage

I’ve talked about it before so I won’t go on too long but I love LOVE the way tbis outfit is like Arya Realized, Arya’s Final Form. Being able to model herself off her father, having Needle around her hip, really leaning into a style that looks good and looks practical, and fits her well. Not trying to pass as a boy, as Cat, as No One, as Nan, but being fully ARYA STARK.

1. SANSA DRAGONFLY GOWN SWEEEEEEEEP

Once again, I want this on my body. The sleeves, the front layering, the design, the COLOR. The way it evokes the prince of dragonflies & jenny of oldstones aesthetic!!! I love how much she looks her age here too - it’s not too revealing, it’s not too grown up, but it’s not too simple either, it’s perfect for a maiden. also bonus but i love shae’s dress i think it’s really underrated. i love how it matches most of the stuff in Sansa’s wardrobe, I love that her personal style is like “upscale peasant” and i love the layers that seem to keep her warm as it gets colder. they look so adorable sitting next to each other, justice for the shae/sansa relationship!!!

[lobotomydaughter]

ik i could just ask this on discord but it’s not urgent so i didn’t wanna like. @ you or anything

i just had a couple of steph questions!! first: i swear i remember reading that steph was a vegetarian or had attempted being vegetarian at some point? but i can’t find anything about it & am starting to think i imagined it shsjjdkdjd

& then my second question: is she mentioned to like. enjoy any particular shows/movies or genre of shows/TV??

(these are for fics but like… minor, single sentence details so. def not urgent <333)

also feel free to throw any other interesting steph facts at me!! esp things you feel ppl forget / leave out 💞

ahhh you know i am always happy to talk about my girl <333 it’s after midnight for me so i am sorry that this isn’t the most eloquent answer and i am sure i am forgetting some things (i’ll add to this later/dm you if anything hits me) but to the best of my knowledge:

yes, stephanie is/was(?) a vegetarian. not sure off the top of my head if it was stated anywhere else but i dug up this screenshot from batgirls #13.

(for clarification this was when steph and cass body-swapped)

so no, you didn’t imagine it! though i can’t recall if she is still a vegetarian now, sorry.

now, your other question was much harder lol. i actually went and skimmed through all of the comics i have marked down as my favorite reads for her (+ a few non faves that i thought might have smth relevant) and most of the time when stephanie is shown watching tv or in front of a computer, all that’s ‘on’ is the news.

but! for you, livvy, i didn’t give up.

in nightwing #106, stephanie, cass and dick are all sitting down for their movie night. it’s cass’ pick that week but since steph did stay to watch, i think we can go on a limb and say that she at the very least doesn’t mind horror/sci-fi.

i know that she’s also referenced harry potter throughout her comics— usually just a throwaway line like ‘accio’ so from there we can infer that she does like fantasy/adventure as well.

(took some digging but i found an example in batgirl #18)

she’s referenced star trek as well, and at least in one conversation has been shown to know enough about game of thrones and star wars to joke about it with cass in batman: urban legends #5

i know that’s toeing the line of pulling at straws but given her more delved into interests in the action and fantasy genre i feel like it’s okay to assume that she does like those shows :) and if not who is going to tell me i’m wrong :) stephanie brown would love arya stark

all of this to say that stephanie has been shown to enjoy and understand pop-culture. a good portion of her civilian friends are alt as well, and i’d go so far as to say that given that, it wouldn’t be unreasonable to assume that she would enjoy independent films.

she’s a self-confessed music snob with an interest in art. i could easily see that playing into a joy for film festivals.

(didn’t include because this is already so long but after this panel — i already had it screenshot but i believe it comes from batgirls #1 — was her saying that they were looking for models and steph did consider it so i’d argue that she would enjoy fashion shows as well, though probably ones that are entirely student-run or by small designers)

(she hung that poster up on her bedroom wall next to her bed later on)

i know this isn’t covering everything, but i hope it’s enough to help!!! so excited to read your upcoming fics 🫶🏻 and as always if you have more steph questions or need a panel dug up, i am your gal

[atplblog]

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[nguyenphankien]

WEEK 6: SOCIAL MEDIA INFLUENCERS AND THE SLOW FASHION MOVEMENT

1. Fast fashion:

Fast fashion has grown in popularity in recent years, coinciding with rapid development and the demand for inexpensive and convenient clothing in the "fast-food" manner. Dr. Preeti Arya, an assistant professor of textile development and marketing at the Fashion Institute of Technology in New York, defines fast fashion as a business model that focuses on producing clothing in large quantities and as quickly as feasible in reaction to current trends (Nicioli 2023). The term first appeared in a New York Times article in 1989, when Zara's first store debuted in the United States. According to the Times, the clothing were meant to be designed from concept to final product in 15 days, at moderate pricing and with client ease.

Ever since the inception of "fast-fashion" trend, brands such as Zara, H&M or Mango has been trying to replicate styles which inspired from prestigious runways of New York, Milan, Paris, etc. The great side is that they can do a mass production of those so-called "trendy designs in real-time" as brands can deliver vast amounts of apparel and ensure that customers never run out of inventory (Stanton 2023). The goal is very clear: Getting these designs into customers' hands while the clothing is still popular and affordable. Buyers can experience dressed in the same manner as their favorite celebrities, as if they were on the real fashion runway, for a much fairer price.

2. Impacts of “instant noodle” fashion styles on the environment:

However, everything has their own down side and fast-fashion is not an inception. Given the fact that brands have been producing clothes in mass quantities, the consequences of it has always been a hot topic, if not the hottest to debate. The fashion industry has faced criticism for failing to address social and environmental concerns, putting non-financial expenses on the global agenda (Niinimäki et al. 2020) and an analysis from Business Insider has proven it right. Fashion production accounts for 10% of total world carbon emissions, which is comparable to the European Union. It depletes water resources and pollutes rivers and streams, and 85% of all textiles end up in landfills each year (Maiti 2024). Washing clothes everyday might seem to be a harmless daily to-do in every individual's bucket list but in reality, it throws 500,000 tons of microfibres into the ocean each year, which is comparable to 50 billion plastic bottles. Fiber production is also regarded as one of the major contributions to the industry's worldwide pollution footprint. The survey also discovered that fiber production has the greatest impact on freshwater withdrawal (water diverted or removed from a surface water or groundwater source) and ecosystem quality due to cotton agriculture. The UN predicts that by 2030, emissions from textile production would have increased by 60%.

3. "Slow fashion - slow food - slow digestion"

On the other brighter side, Kate Fletcher (2007) developed the slow fashion movement after being inspired by the "slow food" movement, which promotes responsibility in food production and consumption. Slow fashion companies prioritize craftsmanship, environmental stewardship, and high-quality items (Brewer 2019). Slow fashion is a fashion philosophy that values sustainability, ethical principles, and quality before quantity. It focuses on quality above quantity, ethical manufacturing, sustainable resources, local production, and transparency.

4. Effects of slow fashion on the environment:

Subsequently, slow fashion emphasizes environmentally friendly processes and ethical working conditions. In contrast to fast fashion, it values quality and longevity while advocating for both the environment and people. Slow fashion promotes environmentally friendly materials, decreases waste, lowers carbon emissions, and encourages ethical manufacturing practices. It also ensures quality manufacturing, which extends the life of the garment or material. A growing number of farms and organizations support the slow-fashion movement. One such example is the Better Cotton Initiative, which establishes principles and practices for sustainable production, while several other organizations provide resources and information to modern farmers. Slow fashion seeks to foster a more sustainable and ethical fashion sector that prioritizes workmanship, durability, and social responsibility by encouraging thoughtful consumption and responsible production processes.

References:

Nicioli, AM, Taylor 2023, What is fast fashion, and why is it so controversial?, CNN, viewed 24 February 2024, https://edition.cnn.com/style/what-is-fast-fashion-sustainable-fashion/index.html.

Stanton, A 2023, What Is Fast Fashion, Anyway?, The Good Trade, viewed 24 February 2024, https://www.thegoodtrade.com/features/what-is-fast-fashion/.

Niinimäki, K, Peters, G, Dahlbo, H, Perry, P, Rissanen, T & Gwilt, A 2020, ‘The environmental price of fast fashion’, Nature Reviews Earth & Environment, vol. 1, no. 4, pp. 189–200.

Maiti, R 2024, Fast Fashion and Its Environmental Impact, Earth.org, Earth.org, viewed 24 February 2024, https://earth.org/fast-fashions-detrimental-effect-on-the-environment/.

Fletcher, K 2007, Slow Fashion, The Ecologist, viewed 24 February 2024, https://theecologist.org/2007/jun/01/slow-fashion.

Brewer, MK 2019, ‘Slow Fashion in a Fast Fashion World: Promoting Sustainability and Responsibility’, Laws, vol. 8, no. 4, p. 24.

[quocanhh55]

WEEK 6: SOCIAL MEDIA INFLUENCERS AND THE SLOW FASHION MOVEMENT

1. Fast fashion

In recent times, along with the rapid development and the demand for a “fast-food” like style of clothes, cheap and convenient, fast fashion is becoming more and more popular. Fast fashion is a business model that focuses on the production of garments in bulk, and as quickly as possible, in response to current trends, according to Dr. Preeti Arya, an assistant professor of textile development and marketing at the Fashion Institute of Technology in New York (Nicioli 2023). The term was initially used in a New York Times article in 1989 when Zara's first shop opened in the United States. According to the Times, the clothes were expected to have a design created from an idea to the final product in only 15 days, with reasonable prices and convenience for customers.

In general, fast fashion is developed based on luxurious showcases from many celebrities and designers, in many fashion runways of New York, Paris, Milan… Reputable brands such as Zara, H&M, or Mango replicate those trends as they appear in real-time to create new, desirable styles weekly, if not daily. They can provide massive amounts of clothing and can ensure that customers never tire of inventory (Stanton 2023). The objective is to get these designs into the hands of customers while the clothing is still at its peak popularity and all-too-low costs. Buyers can have a feeling of dressing in the same style as their admired celebrities like they are on the real fashion runway at a reasonable price.

2. Impacts of “instant noodle” fashion styles on the environment

In recent years, the fashion industry has received abundant criticism over its limited consideration of social and environmental issues, placing the non-financial costs of fashion on the global public agenda (Niinimäki et al. 2020). According to an analysis by Business Insider, fashion production comprises 10% of total global carbon emissions, as much as the European Union. It dries up water sources and pollutes rivers and streams, while 85% of all textiles go to dumps each year (Maiti 2024). Even washing clothes releases 500,000 tons of microfibres into the ocean each year, the equivalent of 50 billion plastic bottles. Fiber production is also considered one of the main contributors to the industry’s global pollution impacts. The report also found that fiber production has the highest influence on freshwater withdrawal (water diverted or extracted from a surface water or groundwater source) and ecosystem quality caused by cotton agriculture. In 2030, the UN predicted that emissions from textile production itself are expected to increase by 60%.

3. "Slow fashion - slow food - slow digestion"

On the opposite end of the spectrum from the fast fashion production model, Kate Fletcher (2007) founded the slow fashion movement by drawing inspiration from the “slow food” movement, which emphasizes responsibility in food production and consumption. Companies that emphasize more sustainable practices make up the slow fashion movement, prizing craftsmanship, good stewardship, and quality products (Brewer 2019). Slow fashion is an approach to fashion that prioritizes sustainability, ethical principles, and quality over quantity. It emphasizes quality over quantity, ethical manufacture, sustainable materials, local production, and transparency.

4. Effects of slow fashion on the environment

Slow fashion promotes sustainable techniques and ethical working conditions. In opposite to quick fashion, it prioritizes quality and durability while advocating for both nature and people. Slow fashion promotes eco-friendly materials, minimizes waste, reduces carbon emissions, and supports ethical production processes. It also guarantees excellent manufacturing, extending the life of the garment or material. A rising number of farms and organizations favor the slow-fashion trend. One such example is the Better Cotton Initiative, which specifies principles and practices for sustainable production, while several more groups give resources and knowledge to modern farmers. By promoting mindful consumption and responsible production practices, slow fashion aims to create a more sustainable and ethical fashion industry that values craftsmanship, durability, and social responsibility.

References:

1. Brewer, MK 2019, ‘Slow Fashion in a Fast Fashion World: Promoting Sustainability and Responsibility’, Laws, vol. 8, no. 4, p. 24. 2. Fletcher, K 2007, Slow Fashion, The Ecologist, viewed 24 February 2024, https://theecologist.org/2007/jun/01/slow-fashion. 3. Maiti, R 2024, Fast Fashion and Its Environmental Impact, Earth.org, Earth.org, viewed 24 February 2024, https://earth.org/fast-fashions-detrimental-effect-on-the-environment/. 4. Nicioli, AM, Taylor 2023, What is fast fashion, and why is it so controversial?, CNN, viewed 24 February 2024, https://edition.cnn.com/style/what-is-fast-fashion-sustainable-fashion/index.html. 5. Niinimäki, K, Peters, G, Dahlbo, H, Perry, P, Rissanen, T & Gwilt, A 2020, ‘The environmental price of fast fashion’, Nature Reviews Earth & Environment, vol. 1, no. 4, pp. 189–200. 6. Stanton, A 2023, What Is Fast Fashion, Anyway?, The Good Trade, viewed 24 February 2024, https://www.thegoodtrade.com/features/what-is-fast-fashion/.

[baliportalnews]

Tak Kalah Menarik di Hari Kedua, Fashion Show Swarnakara Kembali Tampilkan Karya Terbaik Desiner dan UMKM Unggulan Denpasar

BALIPORTALNEWS.COM, DENPASAR - Setelah sukses pada gelaran hari pertama, Fashion Show bertajuk Swarnakara yang diinisasi Dekranasda bersama Disperindag Kota Denpasar dalam ajang Denpasar Festival (Denfest) ke-16 kembali menampilkan karya terbaik dari Desainer dan UMKM Unggulan Kota Denpasar pada hari kedua yang digelar di Halaman Inna Bali Heritage Hotel, Minggu (24/12/2023) malam. Hadir dalam kesempatan tersebut, Ketua Dekranasda Kota Denpasar, Ny. Sagung Antari Jaya Negara, Wakil Ketua Dekranasda Kota Denpasar, Ny. Ayu Kristi Arya Wibawa, Ketua Dekranasda Kota Denpasar Periode Tahun 2008-2021, Ny. Selly Dharmawijaya Mantra, Kadis Perindag Kota Denpasar, Ni Nyoman Sri Utari serta undangan lainnya. Ketua Dekranasda Kota Denpasar, Ny. Antari Jaya Negara dalam kesempatan tersebut mengatakan, gelaran Fashion Show Swarnakara pada Denfest ke-16 ini merupakan bentuk dukungan terhadap perkembangan ekonomi lokal. Sehingga melalui kegiatan ini diharapkan mampu memberikan kesempatan bagi pelaku usaha lokal untuk memperluas jangkauan pasar. "Dekranasda yang berkolaborasi dengan Disperindag Kota Denpasar terus berupaya mendorong sektor industri kreatif masyarakat, terlebih di dunia fashion agar bisa turut  membangkitan ekonomi di Kota Denpasar," katanya. Antari Jaya Negara juga merasa optimis, ajang ini akan menjadi sebuah wadah untuk memperkenalkan hasil karya industri lokal khususnya dalam sektor busana dan kerajinan yang ada di Kota Denpasar. Selai itu, dengan karya yang luar biasa, tentunya kain Bali dan desainer lokal memiliki potensi untuk bersaing di kancah nasional bahkan internasional. Kadis Perindag Kota Denpasar, Ni Nyoman Sri Utari yang ditemui disela kegiatan menjelaskan, pada pelaksanaan hari kedua ini, sederet karya dari desiner dan UMKM/IKM juga akan ditampilkan. Antara lain, Dewata Busana, Artini Kebaya, Gexoya Kebaya, Kesara Bali, Ayu Khirana dan Prana Bali yang tentunya dibawakan oleh model dengan kepiawaiannya membawakan busana di atas panggung fashion show. "Semua karya yang ditampilkan merupakan binaan dari Dekranasda dan Disperindag Kota Denpasar, diharapkan karya dan kain ini mampu menembus pangsa pasar nasional dan global sebagai sebuah kekayaan fashion khas Bali, khususnya Kota Denpasar," urai Sri Utari.(bpn) Read the full article

[queenaryastark]

With all this wank about how girls/women like Arya aren't worthy of romance and family (despite the fact that GRRM has girls/women like her as his romantic heroines in the pre-series material), I find it really interesting that my other obsession, The Bachelor franchise, is full of tomboys who rise to the top of the game. Several "winners" and Bachelorettes said they were tomboys. And it shows because they take the modern fairytale and turn it into their own sporting event that they dominate in.

For instance, Courtney Robertson was a tomboy according to her autobiography and several interviews. When she first started modeling (tomboys fill that field as well) she needed guidance in basic grooming. When she went on the Bachelor, she came to "win" and took no prisoners. She's still a tomboy and a married mother of two. Vienna was very much the same, even saying she didn't know how to do her make up which didn't prevent her from "winning". It also didn't prevent her from becoming a mother while continuing to be an athlete.

Hannah Brown (the Beast) is considered the ultimate Bachelorette even though she spent her first season as a competitor snarling and growling. Ali F. calls herself a tomboy and claims she had no idea about fashion or how to dress, yet she left the Bachelor on her own terms and became one of the strongest Bachelorettes. She's also married with children. Michelle Young and Rachel Lindsay are both openly athletic tomboys who were Bachelorettes. Both of them even got to show off their basketball skills in group dates on their seasons. Rachel is now married and talks about having kids. Madi Prew and Susie Evans essentially used their athleticism to humiliate their respective Bachelors and to maximize their screentime before "winning".

I could go on, but all of this is to say, that not just one type of woman can have romance (whether real or used as part of advancement) and children. Tomboys certainly aren't barred from it. Not even by the misogynistic modern fairytale and certainly not by real life. There's no reason a fantasy series with dragons and ice zombies would bar them from it.

[hufmagazine]

Body Funk photography by Raghav Bhatia published on @hufmagazine (https://hufmagazine.com/body-funk/)

As the famous photographer, Lara Jade said and I quote " Fashion photography is a collaboration and the combined creative input often leads to amazing & unexpected results." Every artist involved in this project, completely aligned to the idea and have put their best foot forward to produce such work of art. Studio 54 has had a lasting impact on music, fashion , photography & pop culture, fostering the boom & buzz of celebrity culture. Here's our take on the modern Studio 54!

Credits: Photography and creative direction by Raghav Bhatia @raghavbhatia_ Styling by Damini Sharma @banithanii_ Styling assistant : Palak Arora @palakaroraa_ Hair and makeup: Anurag Arya, Simran Sajal, and Sukhdeep Kaur @anurag_mua @blend_it_off @sukhdeep_kaur_artistry Lighting: Shiva Choudhary @shivachoudhary9059 Models: Shivika Bhandari and Punya Khurana @shivikabhandarii @punyakhurana Studio: Paraspace, Delhi @paraspaceofficial

[atplblog]

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[bewarebugbear]

Eragon AU/Rewrite Ahead

or: brom is black and so is eragon

[more under the cut]

HUMANS-

Set in the 80s, the everlasting President of Alagesia Gabe Torres, has cemented his dictatorship for several centuries, pushing technological progress and repressing magic in all peoples. Alagesia is based off of America in the 80s, with the overt patriotism, and the men in jorts and mullets. Humans are just typical humans; hard working, diverse, and not very magically inclined.

ELVES-

Based more on the 50s, they’re much more old fashioned and very magically inclined, but Very stuck up and snobby. There is absolutely some elitism going on with them and they’re dicks to everyone who isn’t an elf [or a full-blooded elf, we’ll get to that later]. They are vegetarian, not because of the like, well-being of plants, but purely for their own ego.

They’re all clean, well fed, pale, and unnerving to speak to. You have to tread as carefully as possible like you were at Thanksgiving Dinner with your Uncle Craig.

DWARVES -

Early 2000s core, you know there’s dwarven Daft Punk. They have early smart phones, and a lot of them are really into scene and bright colors to decorate the caves. Every one of those guys are sporting dyed braids, beards, moustaches, etc. Whatever they can get their hands on it is brightly colored.

They didn’t always live deep in the mountains, they lived on the surface but complications pushed them deeper into the earth, even though they love the open space of caving, digging. The earth is attuned to their music.

MAGIC IN OF ITSELF-

Magic in Alagesia is expressed through art; dances, drawings, sculptures, music, it is all magical if you truly put your soul in it. The language of magic is every song from the early morning birds, every stone stacked on top of each other, every wedding dance. But only a few people know how to wield it for battle.

Alright. Now that we have some basic worldbuilding out of the way. Time for my main guys.

ERAGON:

HE/THEY [AroAce] A young convenience store employee around 15-16 he is bright eyed and loving, with his fiddle in hand his uncle, aunt, and cousin gather around the heart to let him play them a tune. His heart lies with his family and he makes family easily wherever he goes. Though sometimes it’s easy to let their big heart get taken advantage of.

He loves art and nature, eager to learn and even more eager to develop and grow. Eragon is just a sweet boy. But that doesn’t mean they are completely naive, he is aware of the police, the government, and the reign of the President. He has a fire in their soul that cannot be put out, and will been gathering fuel the longer they live on.

SAPHIRA:

SHE/IT/THEY [This is a Dragon, she has no concept of human gender or sexuality]

Although wise she is still a young dragon, after hatching to Eragon she quickly grows sentience and knowledge, but still tends to bite off more than she can chew. With no other dragon to relate to she has a little bit of an ego that can get in her way. Saphira definitely enjoys cooler, softer environments, along with a high priority for her appearance.

More often than not, though, Eragon and itself are their highest priority, no matter how much it likes her scales waxed. They are a very special girl and love Eragon very much. 

BROM:

HE/HIM [Bisexual]

An old man he certainly does keep his flair. He is an older guiding figure to both Eragon and Saphira, passing on everything he knows for as long as he can and getting them to the Varden. Brom is eccentric, flamboyant, and very comfortable with who he is, a very good role model for Eragon.

MURTAGH:

HE/SHE [Gay]

Son of the last of the Forsworn, he is big, brash, and fond of trashy romance novels. Though very much sporting a negative outlook on life she still holds out for the hope that there is someone out there who would be willing to take him as she is.

ARYA:

SHE/IT/HE [Ace Lesbian]

Our favorite rogue elven princess. She’s 16, full of angst, and has enough regrets to make several old men start weeping. It’s snappy, and tired and just wants to keep on sleeping, maybe stay asleep. Forever.

[baliportalnews]

Fashion Show ‘Swarnakara’ Meriahkan Panggung Denfest Ke-16, Bertabur Hasil Karya Apik Desainer dan UMKM Unggulan Kota Denpasar 

BALIPORTALNEWS.COM, DENPASAR - Ajang Denpasar Festival (Denfest) ke-16, pada tahun 2023 ini turut dimeriahkan gelaran Fashion Show bertajuk Swarnakara, pada Sabtu (23/12/2023) malam. Digelar di Pelataran Lobby Inna Bali Heritage Hotel, ajang pagelaran busana tersebut, bertabur hasil karya memukau para desainer dan UMKM/IKM Kota Denpasar, yang diperagakan oleh para model. Hadir pada malam itu, Penjabat (Pj) Ketua Dekranasda Provinsi Bali, Ny. drg. Ida Mahendra didampingi Ketua Dekranasda Kota Denpasar, Ny. Sagung Antari Jaya Negara. Tampak pula di deretan kursi undangan, Ketua Gatriwara Kota Denpasar, Ny. Purnawati Ngurah Gede, Wakil Ketua Dekranasda Kota Denpasar, Ny. Ayu Kristi Arya Wibawa, serta Ketua DWP Kota Denpasar, Ny. Ida Ayu Widnyani Wiradana, serta para istri dari jajaran Forkopimda Kota Denpasar. Ketua Dekranasda Kota Denpasar, Ny. Antari Jaya Negara mengemukakan, gelaran Fashion Show Swarnakara pada Denfest ke 16 ini merupakan bentuk dukungan dan dorongan  bagi perkembangan ekonomi lokal dan memberikan kesempatan kepada pelaku usaha lokal untuk memperluas jangkauan pasar. "Dekranasda yang berkolaborasi dengan Disperindag Kota Denpasar terus berupaya mendorong sektor industri kreatif masyarakat, agar bisa turut  membangkitan ekonomi di Kota Denpasar," katanya. Antari Jaya Negara juga merasa optimis, ajang ini akan menjadi sebuah wadah untuk memperkenalkan hasil karya industri lokal khususnya dalam sektor busana dan kerajinan yang ada di Kota Denpasar. Kepala Dinas Perindag Kota Denpasar, Ni Nyoman Sri Utari yang ditemui saat acara menjelaskan, adapun tema Swarnakara yang diangkat tahun ini memiliki arti kekayaan yg terpendam (kain-kain sebagai salah satu kekayaan dalam masa kejayaan), dan menurut jadwal akan dilaksanakan selama 2 hari, yakni 23-24 Desember. Pada hari pertama, sejumlah pihak terlibat. Antara lain, Anacaraka, A2 Kebaya, Baliwa Songket, Pramada, Anyar, Bali Puspa, Bali Nusa, Rhea Cempaka, dan Taksu Design. Sedangkan pada hari kedua,  sederet karya dari desiner dan UMKM / IKM juga akan ditampilkan. Antara lain, Dewata Busana, Artini Kebaya, Gexoya Kebaya, Kesara Bali, Ayu Khirana dan Prana Bali. "Selain yang disebutkan tadi, ada pula beberapa UMKM/IKM yakni, Regina Fashion, Kinara Busana, Primadona Mode, Tri Agung Busana dan Raga Busana. Kesemuanya adalah binaan dari Dekranasda dan Disperindag Kota Denpasar," urai Sri Utari.(bpn) Read the full article

[dwellordream]

I posted 43,726 times in 2021

13353 posts created (31%)

30373 posts reblogged (69%)

For every post I created, I reblogged 2.3 posts.

I added 38,520 tags in 2021

#ask - 10140 posts

#anon - 9160 posts

#fashion - 7210 posts

#memes - 3181 posts

#word to the wise - 2273 posts

#aouh - 1600 posts

#victorian - 1572 posts

#history - 1526 posts

#writing - 947 posts

#medieval - 911 posts

Longest Tag: 138 characters

#the weird normalization of minors sharing seemingly ‘basic’ info about themselves combined with innocent posts alluding to where they live

My Top Posts in 2021

#5

contemporary YA authors don’t have the balls to change their heroine into a cackling, loud, aggressive stooped over little old lady for 90% of the book.

618 notes • Posted 2021-10-24 14:33:41 GMT

#4

wait which version of sansa is fanon sansa is?? i feel like the sansa of sansa stans has a lot of conflicting traits. is she ice queen sansa, who is all politics and cunning? or is she disney princess sansa, who is kind and the perfect lady?

I don’t know I hate all of them.

I hate showborn ice queen Sansa who decries her father and brother as honorable but stupid, I hate perfect impeccable princess Sansa who is held up as some sort of bullshit ideal model of feminine power as opposed to her sister, I hate shipping bait Sansa who is only defined by whatever dude the author is throwing her at.

That is not Sansa. Sansa is sensitive and spiteful and kind and ignorant and artistic and narrow minded and imaginative and brave and insecure and angry and observant and polite and vicious and clever and funny and wild.

She is not your model of ‘actually, going against prescribed gender roles is bad and you should feel ashamed!’ she is not some generic girl boss ice queen destined to live and die alone, she is not the walking talking conscience of any man, she is not the pure heroine to Dany’s villain or the cruel villain to Arya’s hero.

Sansa is someone who grew up chasing her sister around Winterfell and having snowball fights, who taught Jon how to compliment a girl, who played games of pretend with Robb, who comforted Bran when he was afraid of the dark.

She is desperate to please and anxious and hates change and is easily overwhelmed and she’s the introvert to her sister’s extrovert and she can say the meanest things but also is willing to put herself on the line for a perfect stranger like Dontos.

She is every bit Ned’s daughter right down to how she responds to trauma and she is much tougher and fiercer than her stans or her detractors give her credit for. She smuggles knives to secret meetings after dark and runs when someone tries to force her into marriage.

She evades guards and sneaks out of her rooms countless times. She remembers little details and she can think on the fly. She stands up to Sandor and calls out the men who harm her at Joffrey’s command. She learns to love riding and hawking with Margaery and in the Vale she befriends two outcast girls, Mya and Myranda, she’d never have even considered associating with back at Winterfell.

She lets her cousin sleep in her bed at night even though he wets himself and tries to suckle at her. She comforts him when he is sad and sick and keeps him calm during a perilous mountain climb. She talks circles around Harry Hardyng and runs around through the castle with Myranda just to blow off some steam.

Anyways I love Sansa because she’s a flawed human character who I can relate to, not because she furthers some shipping agenda or my specific brand of girl power.

633 notes • Posted 2021-05-10 23:10:22 GMT

#3

“...A lone woman could, if she spun in almost every spare minute of her day, on her own keep a small family clothed in minimum comfort (and we know they did that). Adding a second spinner – even if they were less efficient (like a young girl just learning the craft or an older woman who has lost some dexterity in her hands) could push the household further into the ‘comfort’ margin, and we have to imagine that most of that added textile production would be consumed by the family (because people like having nice clothes!).

At the same time, that rate of production is high enough that a household which found itself bereft of (male) farmers (for instance due to a draft or military mortality) might well be able to patch the temporary hole in the family finances by dropping its textile consumption down to that minimum and selling or trading away the excess, for which there seems to have always been demand. ...Consequently, the line between women spinning for their own household and women spinning for the market often must have been merely a function of the financial situation of the family and the balance of clothing requirements to spinners in the household unit (much the same way agricultural surplus functioned).

Moreover, spinning absolutely dominates production time (again, around 85% of all of the labor-time, a ratio that the spinning wheel and the horizontal loom together don’t really change). This is actually quite handy, in a way, as we’ll see, because spinning (at least with a distaff) could be a mobile activity; a spinner could carry their spindle and distaff with them and set up almost anywhere, making use of small scraps of time here or there.

On the flip side, the labor demands here are high enough prior to the advent of better spinning and weaving technology in the Late Middle Ages (read: the spinning wheel, which is the truly revolutionary labor-saving device here) that most women would be spinning functionally all of the time, a constant background activity begun and carried out whenever they weren’t required to be actively moving around in order to fulfill a very real subsistence need for clothing in climates that humans are not particularly well adapted to naturally. The work of the spinner was every bit as important for maintaining the household as the work of the farmer and frankly students of history ought to see the two jobs as necessary and equal mirrors of each other.

At the same time, just as all farmers were not free, so all spinners were not free. It is abundantly clear that among the many tasks assigned to enslaved women within ancient households. Xenophon lists training the enslaved women of the household in wool-working as one of the duties of a good wife (Xen. Oik. 7.41). ...Columella also emphasizes that the vilica ought to be continually rotating between the spinners, weavers, cooks, cowsheds, pens and sickrooms, making use of the mobility that the distaff offered while her enslaved husband was out in the fields supervising the agricultural labor (of course, as with the bit of Xenophon above, the same sort of behavior would have been expected of the free wife as mistress of her own household).

...Consequently spinning and weaving were tasks that might be shared between both relatively elite women and far poorer and even enslaved women, though we should be sure not to take this too far. Doubtless it was a rather more pleasant experience to be the wealthy woman supervising enslaved or hired hands working wool in a large household than it was to be one of those enslaved women, or the wife of a very poor farmer desperately spinning to keep the farm afloat and the family fed. The poor woman spinner – who spins because she lacks a male wage-earner to support her – is a fixture of late medieval and early modern European society and (as J.S. Lee’s wage data makes clear; spinners were not paid well) must have also had quite a rough time of things.

It is difficult to overstate the importance of household textile production in the shaping of pre-modern gender roles. It infiltrates our language even today; a matrilineal line in a family is sometimes called a ‘distaff line,’ the female half of a male-female gendered pair is sometimes the ‘distaff counterpart’ for the same reason. Women who do not marry are sometimes still called ‘spinsters’ on the assumption that an unmarried woman would have to support herself by spinning and selling yarn (I’m not endorsing these usages, merely noting they exist).

E.W. Barber (Women’s Work, 29-41) suggests that this division of labor, which holds across a wide variety of societies was a product of the demands of the one necessarily gendered task in pre-modern societies: child-rearing. Barber notes that tasks compatible with the demands of keeping track of small children are those which do not require total attention (at least when full proficiency is reached; spinning is not exactly an easy task, but a skilled spinner can very easily spin while watching someone else and talking to a third person), can easily be interrupted, is not dangerous, can be easily moved, but do not require travel far from home; as Barber is quick to note, producing textiles (and spinning in particular) fill all of these requirements perfectly and that “the only other occupation that fits the criteria even half so well is that of preparing the daily food” which of course was also a female-gendered activity in most ancient societies. Barber thus essentially argues that it was the close coincidence of the demands of textile-production and child-rearing which led to the dominant paradigm where this work was ‘women’s work’ as per her title.

(There is some irony that while the men of patriarchal societies of antiquity – which is to say effectively all of the societies of antiquity – tended to see the gendered division of labor as a consequence of male superiority, it is in fact male incapability, particularly the male inability to nurse an infant, which structured the gendered division of labor in pre-modern societies, until the steady march of technology rendered the division itself obsolete. Also, and Barber points this out, citing Judith Brown, we should see this is a question about ability rather than reliance, just as some men did spin, weave and sew (again, often in a commercial capacity), so too did some women farm, gather or hunt. It is only the very rare and quite stupid person who will starve or freeze merely to adhere to gender roles and even then gender roles were often much more plastic in practice than stereotypes make them seem.)

Spinning became a central motif in many societies for ideal womanhood. Of course one foot of the fundament of Greek literature stands on the Odyssey, where Penelope’s defining act of arete is the clever weaving and unweaving of a burial shroud to deceive the suitors, but examples do not stop there. Lucretia, one of the key figures in the Roman legends concerning the foundation of the Republic, is marked out as outstanding among women because, when a group of aristocrats sneak home to try to settle a bet over who has the best wife, she is patiently spinning late into the night (with the enslaved women of her house working around her; often they get translated as ‘maids’ in a bit of bowdlerization. Any time you see ‘maids’ in the translation of a Greek or Roman text referring to household workers, it is usually quite safe to assume they are enslaved women) while the other women are out drinking (Liv. 1.57). This display of virtue causes the prince Sextus Tarquinius to form designs on Lucretia (which, being virtuous, she refuses), setting in motion the chain of crime and vengeance which will overthrow Rome’s monarchy. The purpose of Lucretia’s wool-working in the story is to establish her supreme virtue as the perfect aristocratic wife.

...For myself, I find that students can fairly readily understand the centrality of farming in everyday life in the pre-modern world, but are slower to grasp spinning and weaving (often tacitly assuming that women were effectively idle, or generically ‘homemaking’ in ways that precluded production). And students cannot be faulted for this – they generally aren’t confronted with this reality in classes or in popular culture. ...Even more than farming or blacksmithing, this is an economic and household activity that is rendered invisible in the popular imagination of the past, even as (as you can see from the artwork in this post) it was a dominant visual motif for representing the work of women for centuries.”

- Bret Devereaux, “Clothing, How Did They Make It? Part III: Spin Me Right Round…”

7652 notes • Posted 2021-05-23 00:07:55 GMT

#2

“Consider the Vikings. Popular feminist retellings like the History Channel’s fictional saga “Vikings” emphasize the role of women as warriors and chieftains. But they barely hint at how crucial women’s work was to the ships that carried these warriors to distant shores.

One of the central characters in “Vikings” is an ingenious shipbuilder. But his ships apparently get their sails off the rack. The fabric is just there, like the textiles we take for granted in our 21st-century lives. The women who prepared the wool, spun it into thread, wove the fabric and sewed the sails have vanished.

In reality, from start to finish, it took longer to make a Viking sail than to build a Viking ship. So precious was a sail that one of the Icelandic sagas records how a hero wept when his was stolen. Simply spinning wool into enough thread to weave a single sail required more than a year’s work, the equivalent of about 385 eight-hour days.

King Canute, who ruled a North Sea empire in the 11th century, had a fleet comprising about a million square meters of sailcloth. For the spinning alone, those sails represented the equivalent of 10,000 work years.”

“...Picturing historical women as producers requires a change of attitude. Even today, after decades of feminist influence, we too often assume that making important things is a male domain. Women stereotypically decorate and consume. They engage with people. They don’t manufacture essential goods.

Yet from the Renaissance until the 19th century, European art represented the idea of “industry” not with smokestacks but with spinning women. Everyone understood that their never-ending labor was essential. It took at least 20 spinners to keep a single loom supplied.

“The spinners never stand still for want of work; they always have it if they please; but weavers are sometimes idle for want of yarn,” the agronomist and travel writer Arthur Young, who toured northern England in 1768, wrote.

Shortly thereafter, the spinning machines of the Industrial Revolution liberated women from their spindles and distaffs, beginning the centuries-long process that raised even the world’s poorest people to living standards our ancestors could not have imagined.

But that “great enrichment” had an unfortunate side effect. Textile abundance erased our memories of women’s historic contributions to one of humanity’s most important endeavors. It turned industry into entertainment.

“In the West,” Dr. Harlow wrote, “the production of textiles has moved from being a fundamental, indeed essential, part of the industrial economy to a predominantly female craft activity.””

- Virginia Postrel, “Women and Men Are Like the Threads of a Woven Fabric.” in The New York Times

25295 notes • Posted 2021-03-27 16:06:12 GMT

#1

some of you think ‘nuanced’ only means ‘morally grey’ and I’m here to tell you that actually straight up good characters can still be nuanced and unapologetically evil characters can still be nuanced. the character doesn’t have to be an anti hero or morally dubious to have depth. they don’t even have to feel sorry about their crimes to have depth.

48029 notes • Posted 2021-06-15 13:17:48 GMT

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