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hotluncheddie · 10 months ago

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Day 3: 24/7 dynamic

"Angel"

Ao3

wc: 1.5k | rated: M | tags: Sub Eddie Munson, established relationship, kas!eddie, blood drinking, handjob

written for @subeddieweek <3

🦇🦇🦇🦇🦇

Soon.

6 1 5

Soon.

Always.

Home.

The house windows glow deep red like a womb.

Steve used to hate it, coming home every night to his parents big empty house. He kept the lights on wherever he was there. Attempting to keep the darkness away, the monsters out. The nail bat by his side.

Steve is never alone now though, and never had to fear again.

The house is his. Property market gone along with the maws that opened across Hawkins. So his parents left everything in town to him, as they hurried to leave. A practical gift, more to help themselves, then to give Steve anything.

But he was grateful, in ways, for their absence.

Because now the house meant safety, and refuge. For him, and others.

Home.

He slips through the front door, bathed in a hazy light that fills the room and draws patterns across the walls. Lamps of varying sizes are scattered across the whole house, all covered in scarves and bandanas to dull and tinge, make the walls a deep red, or sweet pink.

He drops his keys in the bowl and puts his coat on the hook. Sighing the day away. Focusing on where he is now.

Home. Where he is met, like always, by his sweet thing.

His fallen angel.

Eddie sits kneeled by the door, monstrous leathery wings now extensions of his shoulder blades, clawed hands and feet curled against the carpet. He’s impossibly strong, now, broad and muscled beneath his moon pale skin. Tattoos stretched and warped, ears pointed and tinged grey like his fingers and feet.

But he’s crouched, curled, kneeling so prettily. Defenceless in his submission, his adoration. Face open with shy excitement for Steve’s return.

Steve smiles at him. He’s perfect.

Eddie’s mouth parts and his tongue laves over his lips, sharp fangs glinting with spit.

Stepping closer makes Eddie sit a little straighter, hands pressing down on his thighs, loose shorts ridden up into his hip crease, sharp nails digging into skin. Presenting himself.

Steve’s heart clenches, he’s learned so well, so quick to be good.

For Steve, Eddie is always good.

He lets two fingers slip past pink lips, into the impossible heat of Eddies changed mouth. Spit thicker, medicinal, and his teeth bite down playfully. His throat purring and pupils blooming so big his eyes look black.

Steve hums, pleased. Pets over Eddie’s jaw and presses his thumb into the sharp point of his tooth, teasing - pulse point against fang - before walking off to the kitchen to make dinner.

Eddie follows, staying low on his haunches and clawed hands. Long hair swaying and wings flapping lightly.

When Eddie emerged, again, bloody and weakened by the fight against Vecna, against the monster of the upside down. Eddie, mutilated and broken, back from the dead. He was still blindingly beautiful, to Steve.

But being alone in hell, being hurt, had made Eddie skittish and quick to lash out. Skulking amongst the shadows of Steve’s house, hidng, not wanting to be near anyone.

For a while he wouldn’t leave the furthest dark corner of the kitchen, wound tight and scared - he’d stay in his nest of blankets, eyes searching and alert to any small sound.

Until Steves steady presence coaxed him out, or Eddie grew braver. Either way they were both hole up in the house, alone for months, hiding and recovering. The party staying connected through walkie-talkies, not wanting to draw attention to Eddie by coming over. All having wounds to heal and family to see. Rebuilding themselves before attempting to deal with the rest of Hawkins.

So Steve and Eddie were thrust together. In this big empty house. Left to rest and lick their wounds, and eventually, each others.

Now Eddie doesn’t like to leave Steves side, if he can help it. Kneels by the island while Steve cooks. Always watching, waiting, placated by Steve being there, back in their home.

Steve bristled at first, once Eddie began to explore. Didn't like eyes always being on him. But Eddie relaxed so much more quickly, with Steve staying where Eddie could protect him.

So then Eddie had to earn it, his constant presence around Steve. Had to be good. Listen to Steve and obey, to help keep them both safe - from what could come back out of the ground, and from the outside, the people.

And now, after time and care and love, Eddie’s always good. Always waiting to be told what to do, so he can feel safe. And Steve is always ready to guide, so he can feel used, needed.

Steve finishes the dinner and sits on the couch, putting something he doesn’t greatly care about on the tv, sound so low he can’t really hear it.

Eddie by his feet.

He prefers to stay low to the ground, only perched up high if there are a lot of people over. Climbing the bookcase or choosing the couch armrest over the seat. Wants to be where he can see, and observe. He just always wants to see, to move, to be where he chooses. After what Vecna did, Steve thinks.

But mostly he chooses to be by Steves side, in Steves space, Steves presence. And for that they both prefer him low. Feet on the ground, knees near the floor, face easy for Steve to reach, to pet.

They tried to get him to sit and stand and dress more like he used to. But it made Eddie furrow his brow and bite his lip. Until his patients stretched thin and he slunk away to hide once more. Uncomfortable and uncoordinated.

He needed to be adapted to, not reversed.

They’ve grown from that, found boundaries and safe spaces and now they have a routine that works for both of them.

Steve goes out and helps, rebuilds the town, sees the people he loves, who he needs to see to sleep soundly at night.

And Eddie waits. Waits for Steve to come home, at 6:15. When eddie is allowed to be close, and watch. All night.

‘What did you do today angel?’ Steve asks, letting his tired muscles relax into the couch.

‘Book’ Eddie rasps, syllables lilting and still a little uncanny. Steve nods. ‘Letter.’ comes next - written words coming back to Eddie much quicker, the feel of a pen, the shape of a sentence. He had lost speech but not his words, not letters just their sounds.

And Steve himself has quieted, lost elements of his speech. He needs it less, doesn’t feel inclined to share. Not when Eddie seems to read him so clearly, not when so much pain and hurt has happened around him. In his safety, it seems, silence is a much enjoyed gift. For them both.

Eddie dips his head, pulling his eyes from Steve’s gaze. ‘Nest.’ He speaks softly, pointed ears flushing with blood.

Steve hums and finishes his food, drinks his water. He turns to Eddie, placing one finger under his chin, reconnecting their sight. ‘Show me.’ Steve whispers, commands, tugging once on the little metal ring at the front of Eddie’s black collar.

‘Oh.’ Steve breaths, removing his shirt and settling down amongst the blankets and pillows and clothes. Eddie must’ve spent days slowly collecting, gathering and building this soft little tomb of a space. Out in a far most corner of the house, a room now mostly unused, but claimed now none the less.

Steve brings Eddie close to him, pulling him from where he crouches at the side, waiting, unsure. Settling Eddies bigger frame between the v of his legs, pulling Eddies face close, down amongst the tangle of soft things.

He kissed Eddie’s cheek, hand strong and firm on the back of Eddie’s collard neck. ‘Drink now.’ Steve murmurs, pulling Eddie’s lips to the soft skin of his pulse point. Eddie opens his mouth, letting his sharp teeth free. ‘That’s it, for being so good, so good for me.’ Steve praises, softly, tucking Eddie closer.

Steve can’t help the sharp inhale of breath as Eddie’s teeth cut and bite. His hot tongue laving up and drinking. Warm, and wet.

Eddie makes a high noise in his throat, he would get so nervous at the beginning, once Steve realised this was something Eddie needed, something they both wanted. A vulnerable and sacred privilege for Eddie, the act of consumption. Allowed to survive from Steves being, devout.

‘Stop.’ Steve instructs, feeling the loss of blood prickle the tips of his fingers, more than enough for tonight.

Then his hands wander, as they are wont to do. Exploring each others bodies still very much a gift of their entwining love. Steve slips past Eddie’s loose shorts. palm firm and slick on Eddie’s now familiar, but still changed cock. It’s thicker, wilder, ringed grey like his clawed fingers and toes.

Eddie snuffles in closer, a whining chittering cry leaving his throat. Steve soothes him through it, feeling as Eddie spills all over his hand. ‘That’s it, my fallen angel. Mine’ Steve says into Eddie’s hair. Feels him come to rest boneless in their embrace.

Eddie noses behind Steves ear, smelling him and licking over the skin. One of his clawed hands sliding over Steves hip and up his side, coming to rest over his heart.

Lightly, he presses the pointed nail of his finger into Steve’s hairy pec. Eddie spelling out y-o-u-r-s in neat little scratches. Drawing it into Steve’s skin, not leaving marks, just spelling it out in the white ink pressure of his flowing blood. Into the beating of his heart, into his very marrow.

🦇🦇🦇🦇🦇

Tag List: @pearynice @xxfiction-is-my-realityxx @scoops-aboy86 @chickensinrainboots @cheesedoctor @marvel-ous-m

#:)#hotlunch #my fic #sub eddie week #subeddieweek #steddie #steve x eddie #steddie fic #kas!eddie #sub eddie munson #<3 #kas eddie in a collar oof

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akuma-lmklover · 5 months ago

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RedSon and MK +SpicyNoodles HCs!

1. RedSon-20-22

RedSon has cute little bull ears hidden by glamours, the short (yet very soft) fur the same blazing red as his hair. Accompanying the ears are horns, being a few inches long, but thick and sturdy. They're a creamy, bone white.

He has an extensive self care routine. Expensive shampoos, conditioner, body scrubs.. All of which are either scentless, or lavender. Helps soothe after a long day.

Due to his routine, his hair and skin are soft to the touch. He's quite proud of how well he takes care of himself. He puts a lot of pride in his outward appearance, and spends a few hours every other day taking care of his hair.

He has a small waist, which is normally hidden by his signature red jacket. (MK swears he can touch his fingers around it.) His despite his thin waist, he's quite muscular. He works out and trains often. He has to be able to assist his father in world domination, after all!

Loves cooking, but rarely decides to. Often is too busy burying himself in work, or is being dragged around by that Noodle Boy and Dragon Horse Girl. When he does cook, he also plates the food amazingly. It was a hobby when he was younger.

Speaking of work, he enjoys making complex gadgets. Phone from scratch? Right on it, and it's better than any on the market. TV? Already done. He also managed to make a VR headset once, but it broke after Mei found it. He was seething for hours..

Back to his bull features, he has a tail. Sort of like a cats in a way, it moves and reacts to his emotions. Swishing lazily when he's relaxed, still and ridged when scared or shocked. Lashing from side to side when he's angry. Limp and tucked between his legs when he cries.

RedSon's bad habits include forgetting meals as he works, scrubbing at his skin too hard in the shower when he's mad.. Sometimes tearing a few thin layers of skin. Rarely, but still happens. He often runs his hand through his fluffy hair when stressed, which on it's own is okay.. It's bad when he grips and pulls, but he never pulls hair out. Not much anyways.

2. MK/Qi Xiaotian-20-21

Unlike RedSon, MK has a frankly.. Shit self care routine. No skincare, yet somehow has clear skin.. Cheap, drugstore shampoo, no conditioner. But yet, it works for him. Yeah, his hair isn't very soft, and has dead ends.. But it cleans him, no? His bathroom has a few odd bottles of some product Mei gave him that he rarely, if ever, uses.

His monkey form is still unstable, and he avoids it like the plague. Yet, he often wakes up with monkey ears and a fluffy tail, covered in soft fur. He hates it, but keeps it to himself. It's a bad habit of his by now.

Is much smarter than he seems, and is quite skilled when it comes to art. Acts dumb to lighten the mood. He often sits at a cafe during his free time, or any local restaurants and draws people he sees walking by, or food from the menu, sometimes the inside of the building, or the sight of the street outside the window.

He used to draw RedSon before they even became allies. He shamefully hides a thick sketchbook of RedSon doodles under his bed. He uses a mix of cartoony styles and more realistic ones. He enjoys adding little cartoony details to more realistic sketches.

MK, while he does enjoy his job, finds his breaks to be too short, but doesn't want to bother nor burden Pigsy to extend them. Once again tying into his bad habit of keeping his feelings to himself.

He hasn't told anyone but his dads, Pigsy and Tang, Sun Wukong and Macaque, about his real name, Qi Xiaotian. He knows he should be able to trust Mei, and feels bad for not telling her, but chooses to keep it to himself regardless.

He's a bleeding heart, always sympathizing with others. He listens to his friend's problem, yet bottles up and ignores all of his. That will totally never come back to bite him. Never. It can't, he's MK, the monkie kid!

Can cook, but gets distracted. Often burns his meals. Though, when it's not burnt to a black chunk of coal, his food is amazing. ..For instant noodles, chicken nuggets and other easy foods, that is.

Monkeys are touchy. MK is a monkey. So, he's quite touchy. One of his love languages is definitely physical touch. Whether it be sitting close to a friend or holding his partner close and snuggling in bed, he enjoys it all.

Relationship!!

[Pre-Dating]

MK likes to draw, that much is obvious. It's just a hobby he enjoys. Hm? Noo, he doesn't still have that sketchbook with only RedSon.. There's another. Whether he knew it or not, he adored drawing RedSon. Secretly snapping a quick photo to use as a reference, drawing and stashing his second sketchbook of RedSon under his bed with the first.

RedSon, whenever he would visit MK, would almost always use the bathroom, as one does. Seeing MK's... Atrocious lack of any good shampoos or soaps made him cringe and grimace. So, whenever he visited, he replaced MK's products, one by one. Switching out cheap for fancy and expensive.

Neither realized they had begun to court one another, MK through buying RedSon food and little gifts often, and RedSon through switching out MK's things for newer, better stuff. His shampoo, his ragged old pillow.. He even went through the trouble of getting MK a whole new fridge. He used to just have a mini fridge, but now his kitchen has a full fridge. Don't ask how RedSon got it in. Or about the scuffs on MK's windowsill.

[Beginnings]

MK had been the one to shoot the awkward text, asking RedSon out on a date. 'heyyy, red!'

'just wanted to know if you wanted to go out for lunch' 'totally not a date haha' 'unless a date is okay'

He was worried for the reply, curled up in the blankets as he drew, waiting. '...' 'Sure, noodlebrain. I'm paying though. You're dirt poor.' was the reply that he got.

The date was awkward and silent at first, until MK sneakily stole one of RedSon's fries, and RedSon stole a sip of MK's drink in return. More food snatching, then a walk around Megapolis.

A few dates later, and as it gets less and less awkward, both of their courtings gets more and more bold. Fancy jewlery from RedSon, a short, stolen kiss on the cheek before a retreat into his apartment from MK.. It was truly adorable.

-A/N-

Thanks for reading this hc list! I'll be writing a story on ao3 sometime so i'll link that when the first chapter is out :3 i am in highschool, so updates mayy be a tad slow but i will not abandon a story i begin! i will try not to make you guys wait for chapters for too long, trust me i know how annoying it is

i take a lott of inspo, and will prob continue to, from PittedPeaches on ao3! i recommend you read their stuff! their spicynoodles stuff is soo cute. i will take requests! any lmk chars is okay! oneshots or hcs!

#lego monkie kid redson #lego monkie kid #lmk spicynoodles #spicynoodleshipping #lmk mk

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seat-safety-switch · 2 years ago

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Although retirement is out of reach for many of us, there’s one thing that we can all still get. Shitty old 90s Mustangs. As long as we do it right now, before the investors get over here and start driving up the price to as many as two thousand dollars, we can all have a little bit of anemic grand-touring hardtop in our lives. Unless we want a stick shift, a V8, or a convertible. Or a running car. You know what? Forget this whole thing, I just saw a Craigslist post for a wrecked ‘94 V6. Seller wants nineteen grand for it, abandon market.

There’s a lot of cross-class appeal to the Mustang, whose reputation has in a few short decades broadened from “attractive successful businessperson’s car” to the stick-axled understeer demon that menaces car meets and trailer parks alike. Unfortunately for all of us dirtbags, the price has continued to rise along with its demand. Nowadays, you can’t get one of Vanilla Ice’s prized 5.0s for less than one of those aforementioned trailer homes.

Some of you out in the audience are probably throwing things at your monitor, lashing out at the very idea of me claiming that the Mustang’s increase in price is proportionate to its increase in demand. It is true that Ford Motor Company has, since the fateful year of 1964.5, produced more total Mustangs than there are currently alive human beings on Earth.

We could all have one, if the economy were better managed and the means of production seized. Karl Marx himself did not write extensively about Mustangs, mentioning them only briefly (Engels was more of a Firebird guy,) but his intentions were clear. However, this analysis fails to comprehend the fact that virtually 95% of all Mustangs have been destroyed in low-speed single-vehicle accidents with stationary objects. Some scientists now believe there are as few as eight four-eyed Capris left in the world, and some guy from Topeka somehow ended up with all of them.

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blindmagdalena · 1 year ago

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Hi, Amy! How are you?

You know, I've been having a lot of thoughts about Homelander's relationship with both Ashley and the rest of the Seven, and wanted to share them, if that's okay :)

Although at first glance it really seems that Homelander just hates his team, I think that it's a bit more complicated than that.

Sure he likes to bully them, intimidate them and generally just play mind games with the team. He's a sadist for sure. However, I also think that he rationalizes his mistreatment of them as "toughening them up".

I've had a lot of teachers (and one terrible boss) who had this mentallity. They use the people bellow them as pounching bags, an outlet for their own frustrations because they know they won't face any repercussions, but they don't see it as an abuse of power. They think that this mistreatment helps to build character and it's necessary.

In a way, they think "they are doing us a favor", and in my mind that's exactly how Homelander sees his relationship with the Seven. "Oh, they re weak and pathetic and so bellow me, but it's okay, I'll make them better" basically.

It's also a form of revenge, because Homelander went through abuse as well while he was in the lab. So, now he believes that pain and humiliation is something everyone should go through because it will make them stronger. This helps him justify his own suffering too. Because if pain isn't necessary to become better, why did he have to go through that?

I think (weirdly enough) that this is particularly true when it comes to his relationship with women.

In his mind, Alex's death was not just a way to intimidate Starlight. It was a loss she needed to experience to "understand the situation she was in". That's why during the interview he held her hand and even said that he missed her, acting like everything was fine between them. Because what he did was for Starlight's benefit so she doesn't have a right to hate him for it.

His issues distinguishing reality from fiction (as in marketing and PR stunts, branding, etc) also played a role in that, but that's beside the point.

AND ASHLEY!!?? I have so many thoughts about how he actually is, deep down, VERY fond of Ashley but feels the need to terrorize her bc she won't be a useful paw if he goes soft on her. Even if she's just using her, you don't hang over the most sucessful company of the world to someone you hate.

Yes, everything he does is horrible and ill-intended, but he doesn't realize it!

He thinks he can hurt people and still have an emotional connection to them, because abuse is just an intrinsical part of any relationship. That's what Jonah Vogelbaum and Vought taught him, and that's why he's always so dumbfounded when people turn on him.

(Poor thing, he really needs to be commited at this point 😩).

aahh wow, so many good points! i agree that Homelander absolutely ascribes to 'tough love,' like pushing Ryan off the roof. that is undoubtedly exactly how he was taught to fly, too. you've nailed his warped perspective on how he goes about teaching people lessons.

though a good deal of his bullying, especially in regards to A-Train and Deep, seems like him lashing out against them for not being his dream team. he's at his worst with them when he feels small and insecure. he treats them as extensions of himself and his image, and when they fail to live up to that, it infuriates him.

i don't know if i entirely agree with the latent fondness beneath his bullying of Ashley: if he is fond of her, i don't think he's aware of it at all. to me, it seems much more like she's his designated adult. a frazzled babysitter. someone he has terrified into being loyal and responsible for all the company related nuances he doesn't understand. it makes so much sense to me when you take into account what Starr said about Homelander having the emotional intelligence of a 14-year-old. she's his stand-in for Stan Edgar.

he's pretty openly doting when he has fondness for someone. Black Noir is a very good example of this.

that said, fondness is different from attachment. i do think he's both attached to and reliant on every member of his team. a teenager who lashes out at their friends and family is still very much reliant on those same people.

i like what you said about him viewing abuse as an intrinsic part of relationships, and something that shouldn't cause people to turn on him. it's fucked up and tragic, and his perspective definitely IS very skewed, but he shows us several times that he's actually pretty soft when it comes to his loved ones.

when Ryan has a panic attack, he doesn't scold him or tell him to get over it. he removes him from the situation, gives him space, and then empathizes with him. obviously he's much softer with his son bc he's actively looking to change the way he was raised through his son.

ultimately to me, Homelander's sadism doesn't come across as quite as meticulous or well thought out as he'd like people to believe. he's a wounded, frustrated child taking out his pain on those around him. he uses fear and torment to get his way because that's what was done to him, and yet he expects them to have the same weird reverence for him that he had for Vogelbaum.

#i hope this makes sense i'm feelin off my game today #but i LOVE your analysis here it's so good #thank you for sharing!#homelander meta #homelander #ask and you shall receive

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marzipanandminutiae · 2 years ago

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I just wanted to say while I adore you posts about dolls especiallyearly fashion dolls that existed way before barbie! Please, be mindful of how you describe Bratz, like I get they're not everyone's cup of tea and some may have negative feelings for em, yet they were the closest thing many black and Latina girls had for our fashion and were designed looking more like "US"

And I fully understand you have no control over ppl and their posts! But a few are definitely trying to bait with the whole "Mean girl Bratz VS Sweet vintage fashion dolls" on your Cissy post!

Oh dear. I assure you, insensitivity was never my intent in any of these posts.

I appreciate hearing a different perspective on Bratz. I never liked them growing up because they felt like an extension of early 2000s hypersexualization being forced on me (I had trouble finding non-low-rise jeans in the kids' section at age 11, and that's not even the worst of it- but you probably remember all that if you're around my age). I didn't like straight-up Modern FashionTM Barbies either, for the record, or ones that looked like they had heavy modern makeup on. My Scene was not, indeed, MY scene. My favorite dolls were fantasy/historical Barbies, porcelain dolls, and American Girl. A lot of things about kids' fashion and things marketed at little girls and tweens made me feel trapped, pressured, and uncomfortable, so I lashed out at Bratz as the face of all that.

BUT. I'm white. I don't have any of the context around the Bratz dolls of color that you do, or other girls/women in similar positions. I'm glad they were meaningful to you, and I'll definitely take that angle into consideration when talking about them in the future. I'm sorry people are being assholes on my post, too- Cissy and Bratz exist in wildly different contexts and can't be directly compared like that. And tbh, the earliest vintage Barbies look far more Bratz-like, for their era, than baby-faced Cissy or Miss Revlon.

Thank you so much for sharing your thoughts!

#ask #anon #dolls #bratz #barbie #cissy

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coochiequeens · 2 years ago

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Happy Pride month to the……Non-men, Gays and Bi-sexuals. 🤦🏻‍♀️ But of course gay men are still men. 🤦🏻‍♀️

Outrage has been expressed online at Johns Hopkins University over its non-binary-inclusive definition of "lesbian" in its glossary of LGBTQ+ terms.

The Baltimore-based university, a major hub of medical research in the U.S., maintains an extensive glossary of definitions for terms relevant to the broad LGBTQ+ community, which is updated as the subject of gender and sexual identity changes.

On Monday, the glossary's new definition of "lesbian" came under attack as the university defined the term as "a non-man attracted to non-men." The update is meant to be inclusive of non-binary individuals who might still identify as lesbians.

Social media users accused Johns Hopkins of attempting to "erase" women. They also pointed to the glossary's listing for "gay man," which does not use similarly non-binary-inclusive language.

The flare-up comes amid a broader backlash to LGBTQ+ rights and the embrace of queer communities by society. Numerous state legislatures across the U.S. have begun passing laws that target transgender communities, taking particular aim at the ability to get gender-affirming care for trans children. There has also been a vocal, if not definitively widespread, lashing out against companies and brands that market to LGBTQ+ communities or hold Pride Month events.

Newsweek has reached out to Johns Hopkins via email for comment.

The definition prompted a backlash on social media. LGBTQ+ influencer and lesbian vlogger Arielle Scarcella tweeted: "Why is a lesbian a non-man but a gay person isn't a non-woman? Progressive misogyny."

Twitter user Amy Curtis added: "What is this absolute nonsense... We are women."

Oli London, who is a critic of "gender ideology," also waded in, as did British TV talk show presenter Julia Hartley-Brewer, who tweeted: "What the actual f....? So now we're not just reduced to being body parts or bleeders or a mere subset of women, we're now 'non-men'."

Gay rights activist Fred Sargeant added: "Inarguably, modern times are now the stupidest time and universities are leading the way.."

The definition provided by Johns Hopkins is notably distinct from those in similar LGBTQ+ glossaries maintained by the Anti-Defamation League (ADL) and the Human Rights Campaign (HRC).

The HRC's first sentence in its definition of lesbian reads: "A woman who is emotionally, romantically or sexually attracted to other women." There is a second sentence adding that non-binary people may use the term to describe themselves.

The ADL's glossary defines lesbian as a "woman who is emotionally, physically and/or romantically attracted to some other women."

#John Hopkins University #Drop the TQ+#Lesbians are Adult Human Females who like other Adult Human Females #Gay men are still called men #Progressive misogyny #Just say Woman

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justforbooks · 3 months ago

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Gillian Riley

Historian who mastered the complexities of Italian food culture for the mammoth Oxford Companion to Italian Food

In his review of The Oxford Companion to Italian Food for the Guardian in 2007, John Dickie advised that the author needed to be “brave, brilliant, learned and almost certainly a little unhinged”. The food historian and typographer Gillian Riley, who has died aged 90, fulfilled all these requirements when composing that very book. That a single person was able to master the labyrinthine complexities of Italian food culture, embracing history, literature, the visual arts, politics and an infinite quantity of processes, ingredients and recipes is remarkable. That it was done with humour, humanity and lashings of erudition was the needful icing to make it digestible.

Gillian’s career in food history occupied the second half of her life, although she was always a “greedy” girl, her family asserts, and ever a fine cook, but at the outset she was a book designer and typographer. It was through art history, more specifically the depiction of food and foodstuffs in paintings, that she first made her mark, by seeing the food on the canvas and then pursuing it back to the kitchen, market stall or botanic garden.

She made culinary sense of those 18th-century Spanish still-lifes, by Luis Meléndez for example, being more than random jumbles of store cupboard items; she chased with determination the appearance of New World foods in Renaissance European narrative paintings. These perceptions she then filled out with admirable commentary and recipes drawn from contemporary sources.

The translation and discussion of these sources, principally Italian, was another string to her bow. Her first published book, in 1989, was a translation of Giacomo Castelvetro’s Brief Account of the Fruit, Herbs and Vegetables of Italy (a work which existed only in manuscript), which Castelvetro, an Italian Protestant living in exile in England, dedicated to Lucy Countess of Bedford in about 1614, doubtless hoping for a secure berth after a lifetime of pillar to post.

Gillian went on to translate, and comment upon, the critical 15th-century Italian recipe book by Maestro Martino of Como. (It is a pity that this was available only on a CD-rom published by Octavo in the US in 2005.) Martino’s instructions were relied upon by Bartolomeo Platina, the humanist author of Europe’s first book on gastronomy, Of Virtuous Pleasure and Good Health, printed in 1474.

Building on this foundation of art studies and extensive reading of early Italian material – allied to fluency in the language and many years of travel and consumption in the country of her choice – Gillian embarked on the mammoth project of an Oxford Companion, largely written by herself.

The venture might also be called intrepid, for the intellectual elephant traps are as common as potholes on an English minor road, and any error liable to be excoriated by a battalion of scholars and suchlike. How could she misidentify pampetato for panpetato when describing the Ferrarese panforte? they asked. But the result is arresting: infused by a down-to-earth realism; eager to chase down the precise, yet impossibly confusing, topographies of Italian foods and recipes; anxious to involve her beloved painters and artists in the long history of cookery. It has much to satisfy every sort of reader – chef, cook, amateur and academic.

Gillian was the elder child of Major Riley and his wife Millicent (nee Lees). Her father was an artist turned teacher, the founding principal of Selby College of Art and Crafts in North Yorkshire and later an inspector of art and technical schools, while her mother was a textile artist. After Selby girls’ high school and Cheadle Hulme school in Manchester, Gillian went on to Girton College, Cambridge to study history.

While at Cambridge she got involved in the historicising Water Lane Press created by the bibliographer Pip Gaskell in an undercroft of King’s College using original Caslon type and an early iron press. There she met her lifelong partner James Mosley, who was to direct the typographical and printing library at St Bride’s, Fleet Street, for more than 40 years. They eventually married in 2000.

Gillian first worked as a designer and typographer at the publisher Thames & Hudson before taking on freelance design work, which kept her occupied until well into the 1980s. Her first book, the Castelvetro translation, was followed in quick succession by four short monographs on art and food published by Pomegranate Artbooks in California, and then a larger survey, A Feast for the Eyes, mixing masterpieces and recipes for the National Gallery, which appeared in 1997. Her work in this field was compressed into a single volume called Food in Art which came out in 2015.

Although Gillian was a welcome attendee and contributor to various conferences and symposia, her work in journalism was restricted to a highly entertaining cookery column in her local community newspaper, the Hackney Citizen, near her home in London. However, she managed, more than many, to bridge two worlds.

She is survived by her husband, and by her sister, Joanna.

🔔 Gillian Riley, food historian, born 20 November 1933; died 11 November 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Gillian Riley #in memoriam

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jadcnlapointe · 2 years ago

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event 001 : face painting booth, summer market !

"they're lucky i'm even letting them touch my face in the first place. do you know how much this thing is worth? it's at least a few hundred, maybe more." and that was her makeup bag alone, without considering the lash extensions, brow threading, and a few lip injections on the down-low. "are there any designs that are actually cute? i want something pretty. i'm not going to walk away with my face bright red like spiderman or whatever." and the only reason she even knew spiderman's name was the fact that andrew garfield—certified eye candy—had been cast as the superhero. ender was way too pretty to hold that sort of stuff as general knowledge. @decaycd + juniper !

#interactions ── ender baptista & juniper lapointe .#events ── 001: summer market .

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sknindustries · 2 days ago

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fmp10blaire · 4 days ago

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Research Pt2

And of course, it would be next to impossible to discuss iconic vintage toys without discussing Barbie.

This requires its own post purely because of the extensive amount of research and knowledge I have of this.

Barbie started out as a fashionista doll that was created by Ruth Handler, inspired by her daughter Barbara Handler, in 1959.

Noting that Barbara was always playing with paper dolls, she observed that her daughter had always imagined adult stories and lives for her dolls, which was a huge margin to the marketed baby dolls towards girls (see Research Pt1).

So, she had pitched the idea of an adult doll to her husband, the then co-founder of Mattel, Isadore Elliot Handler, who wasn't too keen to the idea.

While on a trip to Switzerland in 1956, Ruth had came across a doll that was being marketed known as 'Bild Lilli', which was exactly what Ruth had imagined her own creation to look like, so she had purchased three of the dolls, gifting one to Barbara.

Returning to the U.S, Ruth would get to work on creating her own design for the doll along with inventor and designer Jack Ryan, and she had given it a brand new name.

Barbie.

Barbie had debuted at the American International Toy Fair in New York City on March 9th 1959.

The first ever Barbie model was dressed in a dark, zebra-striped swimsuit with a blonde (alternatively brunette) topknot ponytail, and she was marketed as the 'Teenage Fashion Model", with clothes designed by Charlotte Johnson.

Although, the doll was met with expectations of poor performance and controversy from consumers, as it was regarded as being a sexualised or promiscuous looking doll which was made to appeal to perverts (for lack of a better word).

However, far succeeding expectations, Barbie had sold over 350,000 Units within her first year of being on the market.

Barbie has long been a timeless piece of history, with her appearance significantly changing over the decades with different facial and body sculpts, allowing for more possibility and variety.

The most notable change would be in 1971 for the Malibu Barbie sculpt, as up until then Barbie has always had a passive side-glance for her eyes, but Malibu Barbie was facing straight-front.

This was attributed to being inspired by the Women's Lib Movement, as her front-facing glance was made to resemble how Barbie's eyes were set forward to her goals, and as a woman, she would be able to inspire and achieve.

However, this would be the last adjustment made specifically by Ruth, as she and Elliot were evicted from the company after being found out for having committed financial fraud.

Along with that, Barbie is like a sort of mirror to culture and society at the time, with a lot of her outfits and appearances being inspired by the fashion of the times, and it being attributed that the designers and concept artists for Barbie would attend international fashion shows so they could design outfits before the trends would arrive at America.

Another notable fact was that Barbie was one of the first creations marketed towards children to have its own Television Commercial, especially having it played between Children's Cartoons.

Barbie has had over 6 Decades of Cultural Significance, so here is a few notable creations through the years.

In 1965, Astronaut Barbie was introduced.

In 1967, the first ever Celebrity Inspired Barbie was released, based off of the mod icon, Twiggy, highlighting especially her heavy eyeliner and lashes.

In 1968 the Christie doll was introduced, being the first African-American Doll of the series, created near the end of the Civil Rights Movement.

In 1980, the first ever Black Barbie was released, which was significant for the fact that it wasn't marketed as one of Barbie's friends or companions, but it was the Barbie.

It was also created by Black designer, Kitty Black Perkins.

In 1985, CEO Barbie (alternatively known as Day To Night Barbie) was released, marketed with the slogan "We Girls Can Do Anything" as women were entering the workplace.

This came with the gimmick of Barbie's outfit being interchangeable, as her suit would be able to fold out into a dress.

Totally Hair Barbie was released in 1992 and was inspired by the hair craze of the 1990s, with Barbie having thick hair that spanned 11.5 inches long, making her hold the record for the Barbie with the longest hair, and it was for children to invest in hair-styling and playing.

And in more recent years, there have been a lot more inclusive renditions of Barbie, including ones with disabilities, such as blindness, mobility issues or down-syndrome, so she can be all-inclusive for children to invent their own stories and relate to.

Or Brave Barbie (marketed as part of the CureSearch for Children's Cancer), who is a Barbie with cancer. (Though, unfortunately I couldn't find a lot documented about her).

'Blind Barbie' and 'Black Barbie with Down Syndrome'.

And of course, I really can't discuss Barbie without discussing Barbie.

Barbie (2023).

Also known as The Barbie Movie, Barbie 23 is significant as being the first live-action film in the franchise, preceding many animated films, and it stars Margot Robbie and Ryan Gosling, directed by Greta Gerwig.

The movie follows our titular character as she goes on a journey of self-discovery, finding out that the human piloting her is going through a sort of depression, which is then inflicted onto herself.

As a result, Barbie and Ken would travel from Barbie Land to the real world to find Barbie's human, and here is when Ken discovers and seeks to exploit patriarchy.

Throughout her journey, Barbie discovers that she actually has human emotions, in spite of her humans influence, and after having taken down the patriarchal system installed in Barbieland by Ken by reminding the Barbies that they have control, she has a discussion with Ruth Handler, her creator, and discovers that she finally wants to become human.

The movie ends with Barbie visiting her gynecologist.

So, Barbie has had a massive history in pop culture and even despite all of her controversies and discontinued dolls, she is a cultural icon, and she likely isn't going to be going anywhere anytime soon.

She's been an influential and inspirational figure, adapting to the trends and movements as they happen and holding a mirror to society.

She is timeless.

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chilimili212 · 4 days ago

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A decade ago, blue-chip beauty brands owned the New York runways, with makeup brands like MAC, Nars, Maybelline and Covergirl sponsoring the lion’s share of shows, using them to tease products or raise the profiles of their contracted artists. This season, however, it’s indie beauty brands that are getting the bulk of the attention. The most memorable looks of the current season, from Collina Strada’s leopard spots and jewel-toned accents (care of clean-girl staple Ilia Beauty) or Thom Browne’s freakish feathered eyes (from the DIY lash extension label Lashify) came from brands rarely, if ever, seen before on the runway. The practice of “skincare sponsors,” which emerged in the late 2010s, also continued apace. Runway makeup artists, like Pat McGrath or Charlotte Tilbury, were once lauded for creating gorgeous skin on the runway; now, brands like Peach & Lily, Facile and 111Skin have set up shop backstage, hoping to link modelesque skin with their acids and masks. A model receives a Facile facial backstage at Sandy Liang. (Facile) For all of them, fashion week is still a marketing exercise — a way to elevate their products and gift them to models, influencers and other tastemakers. But the changing atmosphere has inspired optimism among some longtime artists that fashion week beauty could return to its once-experimental roots. Joseph DiMaggio, a hairstylist and founder of hair collective Shokunin Clik, counted this as his 33rd New York Fashion Week backstage, and his first working with Italian haircare brand Duomo, which made its runway debut this season in New York. “It’s evolving and changing,” he said, after approving the jasmine buds that were to be woven into braids at Bibhu Mohapatra. “In the past, it got really boring. Fashion Week is about going for it. I feel like we’re getting back to that.” The Beauty Bell CurveBackstage was a simpler place back in the 1990s, when Tilbury and McGrath were cutting their teeth. Fashion and beauty media’s proliferation — in magazines, then in blogs — helped draw the attention of beauty advertisers, creating the 2000s and 2010s backstage ecosystem that resembled something between a trade show and a factory floor churning out gorgeously made-up human beings. But those returns have diminished, as evidenced by big brands' divestment from the runway. While some labels, like Clinique and Covergirl, have ceased to sponsor shows entirely, others have greatly reduced their exposure on the New York runways. MAC, which once officially sponsored the various international fashion weeks (and supplied over 850 shows worldwide every year) has lately sponsored just a handful of individual shows, including Kim Shui, Luar and Christopher John Rodgers. Nars, a former backstage mainstay, worked exclusively on Khaite this season. Tresemmé was the only beauty brand to serve as an official NYFW sponsor, while Maybelline, which served as a sponsor last September, not only abandoned that role but didn’t appear at a single show so far in 2025. Bobbi Brown made her return to NYFW after an eight year hiatus with her new brand, Jones Road, at Lingua Franca. (Jones Road) Sponsorship can cost as little as $10,000 and as much as $50,000-plus based on a variety of factors (size of brand, gift bag inclusion) not including supply of labor or product. This economy is crucial for fashion designers seeking to offset the six-figure costs of their productions. But as the relevance of runway beauty is ceded to TikTok creators and rapid microtrends, big brands are less confident the investment is worth it. As one communications professional put it, “our marketing spend can go a lot farther elsewhere.” For indie brands, however, an NYFW sponsorship can elevate a brand toward high fashion, one of the reasons false eyelash brand Lashify started getting involved in 2024. Working with designers and makeup artists allows the brand to experiment with “crazy editorial stuff that isn’t necessarily going to take off in the market,” said Sahara Lotti backstage at Thom Browne. Working with emerging designers also provides a more natural fit for a burgeoning beauty label. Kallmeyer, a New York label increasingly known for its elevated basic clothing, staged its second show this season sponsored by Saie, a New York label increasingly known for its elevated basic makeup.“I’m a younger designer, so it’s a little bit more difficult getting those bigger sponsors,” Nigerian designer Tia Adeola said backstage at her show in Brooklyn, where a plentiful display of chartreuse gift bags from Serena Williams’ Wyn Beauty held court in the middle of the dressing area. “Which is why I’m grateful for Wyn.” Wyn Beauty's sponsorship of Tia Adeola emphasized the beauty brand's new lip liners and glosses. (Mary Kang) The show’s look emphasized the lip liners and glosses new to Wyn’s collection, which were gifted at the show and after-party. “We were looking for an organic partnership,” said Derin Masha, Wyn’s head of brand. The LA-based skincare brand Facile also made its runway debut this season, at Sandy Liang, staffing estheticians to give models facials with their Destress or Brighten serums. The opportunity to partner with the designer, and expose their product to her fashion-forward cohort, was an “invaluable” tool for building their brand awareness, said co-founder Danielle Nadick Levy.Art PartnersThough not so much a destination for boldfaced brands, New York Fashion Week remains a hive for boldfaced artists — and provides an opportunity for indie labels to access them.For years, the makeup artist Dick Page served as Shiseido’s artistic director, and often worked on behalf of the label. This season, the artist was contracted by Ilia Beauty for the Collina Strada show, where he created leopard spots with the brand’s Eye Stylus eyeshadow sticks, which are set to launch on Feb. 17 and were promoted using backstage footage on the brand’s Instagram and TikTok channels. Key artist Dick Page applies leopard spots with Ilia Beauty's new eyeshadow stick, promoted in conjunction with Collina Strada's Fall 2025 show. (Ilia Beauty) The Collina Strada show brought indie brand Ilia Beauty together with makeup artistry legend Dick Page. (Ilia Beauty) But one of the most surprising match-ups occurred at the tail end of NYFW, courtesy of the experimental makeup artist Isamaya Ffrench and Lashify. The show’s themes, which combined birdlike textures with academic fabrics and textures, were reflected in spindly feathered eyelashes colored black, yellow or green. Some models received a necktie painted across their lips. “Thom loves to do different characters,” Ffrench said backstage. “One of the issues with Fashion Week in general is, we only have about three hours to do a makeup look,” Ffrench said. “We get a whole day with Thom’s show, so we get to do something really extraordinary. I think there are some real key shows that do stand out and still are relevant. Thom is one of them.”Isamaya Ffrench's avian-academic makeup for Thom Browne Fall 2025 show. (BoF Team) While Bobbi Brown the brand took care of makeup at Altuzarra, Bobbi Brown the artist made her return to NYFW with her new label, Jones Road, as a first-time sponsor. At cashmere line Lingua Franca’s show, held at the Bowery Hotel, Brown and her team painted a cast of models that included Jenna Lyons, Pat Cleveland and Molly Ringwald. Instead of one show-wide look, Brown asked the models what kind of makeup they usually wore, and did her best to replicate it for the show. It was Brown’s first time backstage after nearly a decade. Was it also, perhaps, a signal that runway beauty had returned? “I haven’t really looked at Fashion Week in all the years I’d been not doing it,” Brown said, rubbing a tawny shade of Miracle Balm into Lyons’ cheeks. “All I could say is, I would hope so!” Sign up to The Business of Beauty newsletter, your complimentary, must-read source for the day’s most important beauty and wellness news and analysis. Source link

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cherry-cheeks1 · 10 days ago

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