#Modish Simplicity

[candylandphotos]

Beautiful fashion beauty model with simple makeup cosmetics

"Simplicity Redefined: A Stunning Fusion of Fashion and Beauty, Showcasing the Artistry of Simple Makeup and Chic Cosmetics 🌟👗 #EffortlessElegance #TimelessBeauty"

[shikha-breaking11]

Perfectly Imperfect

Gazing at the mirror, slippery surface and infatuating lustre; I meet a person who is a jack of trades- imperfect, flawed and nasty brat. With rolls of fat accompanying waist and tiny acnes decorating face, he muddled his true identity and uniqueness the World should praise! Unlike the world engulfed with possessions and dazzling perfections, people here forget the art of simplicity and self-acceptance, while residing behind the bars of social lights and modish vogue.

One needs to endure that - Beauty is not idealism; beauty is the alluring journey of discovering idealism in own scars and liberating it out of  bars! It is just a mere set of narrow features until one wipes off the worldly odd and recreates the beauty in his own shape, size and body-mould. Wed all your blemishes and flaws; craft your own perfectionism with clutter of those imperfections.

“Beauty is not just a pretty face, it’s the differences one should grace.”

In this realm of filters, the person yet standing in the mirror strives to uncover its perfect imperfections and embrace all his shattered pieces of strains and speckles. Thus, unveiling the soul behind makeovers and beauty toners.

     Accept your flaws and steer them to applause!

[scrollnshops-blogs]

Designer Shirts for Boys at ScrollnShops

ScrollandShops.com is a trendy multi-designer online store in India. It houses multiple designers under one roof who believe in curating exquisite and premium handcrafted styles by local artisans and designers. ScrollnShops offers an extensive array of Pret and couture, including Western clothing, Indian Wear, royal designs, and classic styles for women,men, and kids. At ScrollnShops, we have something for everyone that will complement your style and enhance your wardrobe. Everyone wants to appear and feel their best in today's fast-paced world. ScrollnShops offers everything you need to style yourself and your son. ScrollnShops showcases a wide range of elegant and luxurious outfits, including Western apparel and Indian wear, from regal designs to classic styles for women, men, and children. Style your son like a hero by gifting him a fantastic variety of shirts in various designs and colours. Designer shirts for boys have long been a favourite option among parents looking to style their children in attractive and fashionable attire, but their popularity has skyrocketed in recent years! These shirts are composed of high-quality materials and have modern designs that are suitable for both special occasions and everyday wear. Everything has a top-tier modish look. It will be an excellent addition to his collection!

An excellently constructed shirt is the foundation of every little gentleman's wardrobe, and designer shirts for boys at ScrollnShops will elevate this fundamental to new heights. Shirts for kids are generally minimalistic and made with luxurious fabric, ensuring comfort and ease of moving with breathable fabric-like cotton, linen satin, vegan silk, bamboo fabric, Handloom organic cotton, soft cotton, and much more, with perfect tailoring and meticulous attention to detail. Designer shirts in kid’s wear also feature some playful prints such as diamond print, circus print, jaal print, buttis print, bunny print, floral print, colour block details, and more, showcasing a playful vibe. A designer shirt collection will be incomplete without some embroidery or embellishments. They are an excellent choice for any celebration or festive occasion. ScrollnShops features a variety of collar styles, including the Chinese or Mandarin collar, Band, Spread, Double, Chinese, Cuban collar, classic shirt collar, and many more. Some kid’s shirts also come with a variety of buttons, including wooden buttons, bamboo buttons, mother-of-pearl buttons, single-loop buttons, and more. Note: The shirt's sleeve lengths can range from full sleeves to half or short sleeves, according to the style and styling preferences. The hem design might be straight or curled. 

Designer Mandarin collar shirts are also called Chinese collar shirts. Mandarin collar shirts are becoming increasingly popular due to their attractive look and sophisticated design. This shirt features a distinctive collar design that sticks out and complements its bodice and overall appearance. Traditionally, shirts were made of lightweight materials like cotton or silk. Mandarin collar short kurtas are gaining immense popularity and are great for any festive occasion or casual day out while being stylish.

Categories Related to Kids Wear

Kurta Sets For Boys

Shirts For Boys

Bottoms For Boys

Jackets For Boys

Suits For Boys

Siblings Sets

Co-ord Sets For Boys

Presenting Trendy Shirts for boys by Indian designers at ScrollnShops

Little Brats | Littleens | ViYa

Designer Classic Shirts for boys at ScrollnShops

A solid-coloured or plain shirt for boys is versatile, has a classic appearance, and is easy to wear. These have been the most popular selections for Kids' fashion due to their astounding simplicity; they are both classic and superior. A tinted-colour shirt can be dressed up for a formal function by pairing it with formal bottoms and shoes. For a sophisticated look, choose shades such as white, light blue, mint green, or yellow.

Designer Printed Shirts for boys at ScrollnShops

Designer printed shirts are masterfully created works of art that combine creativity, elegance, and brilliance. These shirts are handmade by creative fashion designers who understand the importance of expressing yourself via your outfit. These shirts will turn heads wherever you go due to their vivid and vibrant patterns and prints that express a playful, joyful vibe including prints such as diamond, circus, jaal, buttis, bunny, floral, ombre, colour block, tie dye, digital, floral, geometric, tropical, quirk, and many more. A printed shirt is great go-to attire for parties, travel, vacations, resorts, beaches, or casual get-togethers. Pair them with complementary sneakers or trousers for maximum comfort and movement for your young one.

Other Categories

Women Indian Wear

Women Western Wear

jewellery

accessories

men

kids

Designer Embroidered Shirts for boys at ScrollnShops

Embroidered shirts for your young boy are outstanding for showcasing his styling game. Embroidery involves precise handwork using thread and needle techniques. These shirts offer an exquisite and unique way to tailor the set. Embroidered shirts allow you to show your style preferences beautifully. ScrollnShops offers a variety of shirt embroidery styles, including hand embroidery on shirt pocket or collar, attached jacket with kardana, vertical, horizontal, or diagonal plain tuck, oil tucks on one panel, floral knots on the pocket, thread and geometric detailing, textured stripes, sequins, ties, leaves, French knot, Aari, Zardozi, Mirror, Thread, Gota patti, Lace, Piping, Kanthan, Dori, Ying-yang, and Patchwork, all created by exceptional artists and designers. Ideal for any extravagant event like a wedding ceremony or formal event.

Designer wear for all your special occasions: Valentine's Day | Party | Holi | Republic Day | Independence Day | Ganesh Chaturthi | Raksha Bandhan | Navratri | Diwali | Christmas | New Year | Wedding | Mehendi | Sangeet | Cocktail | Roka | Reception | Haldi | Festival | Birthday Party | Casual & Daily | Women’s Day | Eid | Travel | Holiday | Vacation | Beach | Work | College and more!

Related Reports:

https://www.tadalive.com/blog/405854/elevate-your-style-discover-the-best-online-clothing-for-women/https://www.tadalive.com/blog/405855/fashion-forward-dive-into-the-best-online-stores-for-womens-clothing/https://www.tadalive.com/blog/405856/designer-dreams-your-ultimate-destination-for-womens-fashion-online/https://www.tadalive.com/blog/405858/discount-designer-delights-unveiling-the-best-online-shopping-for-women/https://www.tadalive.com/blog/405860/unveiling-the-best-online-shopping-for-women/https://www.tadalive.com/blog/405869/designer-dreams-your-ultimate-destination-for-womens-fashion-online/https://www.tadalive.com/blog/405862/elevate-your-style-discover-the-best-online-clothing-for-women/https://www.tadalive.com/blog/405863/designer-dreams-your-ultimate-destination-for-womens-fashion-online/https://www.tadalive.com/blog/405867/unveiling-the-best-online-shopping-for-women/https://www.tadalive.com/blog/405883/indulge-in-elegance-explore-designer-clothes-online/https://www.tadalive.com/blog/405884/elevate-your-style-discover-the-best-online-clothing-for-women/https://www.tadalive.com/blog/405885/fashion-forward-dive-into-the-best-online-stores-for-womens-clothing/https://www.tadalive.com/blog/405886/unveiling-the-best-online-shopping-for-women/https://www.tadalive.com/blog/405887/discount-designer-delights-unveiling-the-best-online-shopping-for-women/https://www.tadalive.com/blog/405890/fashion-forward-dive-into-the-best-online-stores-for-womens-clothing/https://www.tadalive.com/blog/405889/elevate-your-style-discover-the-best-online-clothing-for-women/https://www.tadalive.com/blog/405893/fashion-forward-dive-into-the-best-online-stores-for-womens-clothing/https://www.tadalive.com/blog/405897/unveiling-the-best-online-shopping-for-women/https://www.tadalive.com/blog/405899/fashion-forward-dive-into-the-best-online-stores-for-womens-clothing/https://www.tadalive.com/blog/405914/indulge-in-elegance-explore-designer-clothes-online/

[threadsoftraditionblog]

The Evolution of Indian Fashion Through the Decades

 1950s: The Era of Elegance

 Key Elements:

- Influence of Royalty: Post-independence, Indian fashion reflected a blend of traditional and Western styles.

- Saree Silhouettes: Regal sarees with rich fabrics, intricate embroideries, and classic draping styles were prominent.

- Menswear: Nehru jackets gained popularity among men, inspired by Jawaharlal Nehru’s signature style.

 1960s: The Rise of Bollywood Glamour

 Key Elements:

- Bollywood Influence: Hindi cinema set trends with actresses like Sharmila Tagore and Asha Parekh popularizing simple yet elegant looks.

- Modish Vibes: Introduction of mod-style influences like shift dresses, geometric prints, and bold colors.

 1970s: Cultural Renaissance

 Key Elements:

- Hippie and Boho Influence: Western influences merged with traditional aesthetics, leading to flared pants, kaftans, and tie-dye prints.

- Zeenat Aman's Iconic Style: Zeenat Aman’s free-spirited style, showcasing crop tops, bell-bottoms, and headbands, set trends.

 1980s: Fashion Fusion and Experimentation

 Key Elements:

- Influence of Pop Culture: MTV and globalization influenced fashion choices, leading to bold, vibrant colors and experimental styles.

- Indo-Western Fusion: Introduction of Indo-Western fusion wear, blending elements of Indian and Western clothing.

 1990s: The Era of Minimalism and Globalization

 Key Elements:

- Minimalistic Trends: Simplicity in fashion with clean lines, solid colors, and understated elegance.

- Global Influences: Exposure to global fashion trends due to economic liberalization led to the adoption of Western styles.

 2000s: The Digital Revolution

 Key Elements:

- Internet and Digital Influences: Online platforms and social media influenced fashion choices, making trends more accessible.

- Designer Revolution: Emergence of renowned Indian designers who showcased their collections globally.

 2010s: Diversity and Sustainable Fashion

 Key Elements:

- Celebration of Diversity: Embracing diversity in body types, styles, and cultural influences in fashion.

- Sustainable Fashion Movement: Increased emphasis on eco-friendly and ethical fashion practices.

 2020s: Technology-Infused Fashion and Conscious Consumerism

 Key Elements:

- Tech-Driven Innovations: Integration of technology in fashion with smart fabrics, digital fashion shows, and virtual shopping experiences.

- Rise of Conscious Consumers: Increased awareness and demand for sustainable, ethical fashion choices.

 Conclusion

The evolution of Indian fashion across decades reflects a fascinating journey, mirroring the socio-cultural shifts, technological advancements, and global influences. From the elegance of the 1950s to the digital revolution of the 2000s and the current era's emphasis on sustainability and diversity, each decade has contributed to shaping the vibrant landscape of Indian fashion.

The future of Indian fashion is poised to embrace innovation, sustainability, and inclusivity, catering to the ever-evolving tastes and values of a diverse, global audience.

[votivecandleholder]

The 15 Best Wall Candle Decoration Ideas (2023 Updated)

New Post has been published on https://wallcandleholders.com/best-wall-candle-decoration-ideas

The 15 Best Wall Candle Decoration Ideas (2023 Updated)

Elevate your wall decor with trendy wall-mounted candle decoration ideas and designs! When it comes to adorning your indoor or outdoor walls with decorative accessories, there is nothing better than candle wall sconces.

Whether you’re trying to add a unique touch to your candle decoration or you want to create a warm and cozy ambiance or you’re looking for creative accent lighting solutions to stylishly highlight your wall art, using decorative wall candle holders is definitely a safe bet!

Creative Candle Decor Designs & Ideas

An intricately designed and well-placed wall mounted candle holder can make all the difference.

Hence, we have gathered some of the best decoration ideas using wall candles and holders that will help you meet the trendy design standards. Just keep on scrolling and take a look to up your candle wall decor game!

1. Festive Tree Candle Wall Sconce Decor

A striking candle display is the perfect way to accentuate your holiday decorations. Cast a radiant glow onto your walls with a brass tree candle wall sconce featuring a simple white pillar candle to imbue an elegant yet festive allure all around.

2. Add A Romantic Glow With Frosted Glass & Metal Candle Sconce

There is something about the soft flicker of candlelight that invokes romance and passion. Mount a chic metal wall sconce and pop a votive candle inside the frosted glass candle holder cup to emanate a subtle glow enhancing the ambiance tenfold.

You can also adorn the metal stem with cascading floral vines to usher an idyllic charm into your candle decoration.

3. Add Texture With Mosaic Candle Holders

A stone or brick wall makes the perfect base for an enticing wall candle arrangement.

Install metal stands or use blocks to arrange lovely mosaic votive candle holders adding another layer of textural appeal into your space.

4. Enchanting Outdoor Wall Candle Decoration

Mounting a single candle lantern can liven up a dull and boring wall space, but why stop at just one when you can use several. Hang multiple metal candle lantern wall sconces with LED tealight or votive candles on your outdoor wall to elevate your exterior decor to the next level.

5. Bring In A Contemporary Charm With Chic Sconce Designs

The modish silver candle sconce featuring a unique spiral design paired with a bright yellow pillar candle adds a peppy charm to the decor. Mount it low on the wall and complement it with an intricately designed wall mirror to add a charming visual kick to your interior decoration.

the perfect way to accentuate your holiday decorations.

6. Fireplace Wall Lantern Decor

Fireplaces are often the focal point of the living space. If you have a country-style interior with brick walls, flanking a pair of candle lantern wall sconces with simple pillar candles over your mantelshelf will not only elevate the decor but will also emanate a subtle glow even when the fireplace is not in use.

7. Add Flamboyance With A Candle Lantern Gallery Wall

It is no secret that candle wall sconces are the ideal accents for gallery walls. But when given the chance they can outshine even the rarest of art pieces. Mount a variety of colored wall hanging candle lanterns over a whitewashed brick wall creating a stunning wall candle display that is bound to draw attention.

8. Modern Industrial Design Meets Minimalism

A wall candle display featuring clean lines and sleek minimalistic designs channels aesthetic simplicity and modern elegance.

Here the no-fuss design of the wall sconce with a simple taper candle adds a super contemporary feel with a slight hint of vintage allure creating a stunning visual interest without taking over the scene completely.

9. Pair Up Metal Sconces With Glass Candle Holders

A simple metal sconce paired with a glowing glass votive candle holder is the perfect recipe to up the elegance factor. Install a brass candle wall sconce on the wall and perch a glass votive holder with a colored candle inset on top to imbue a touch of whimsy into your space.

10. Create Drama With A Flaming Candle

For a dramatic wall candle arrangement, use tall and thick pillar candles in bright hues to draw attention to your wall decor. Opt for candle sconces with wax drip plates to prevent wax from dripping down onto the floor or use LED pillar candles instead to create the same visual impact without the mess.

11. Cue In The Nature With A Tree Candle Wall Sconce

This timeless tree wall candle sconce design captures nature’s handiwork. Perch a slender pillar candle on top to elevate the whimsical appeal of your wall candle decoration or embellish it with vines or florals for an enticing flair.

12. Get Ready For Christmas With A Holiday-Inspired Candle Wall Decor

Christmas is the time to break out all the candles to warm up your space. Incorporate the classic Christmas colors and decor accessories in your candle decoration to bring in a festive vibe.

Give a holiday makeover to your wall hanging candle lanterns using red paint and opt for tealight candle insets to exude a soft flickering radiance. Hang the lantern over the fireplace and throw in decorated baubles and greenery sprigs below on the mantelshelf to set the scene for holiday celebrations!

13. Gothic Wall Hanging Candle Holders

Gothic and medieval-inspired candle holders lend an interesting mystical touch to your space. Hang a black and gold candle lantern on a wall mounted hook to elevate your wall decor to a whole new level of whimsy.

14. Line Up Candles On The Wall

Simple yet modish, this wall candle arrangement uses a couple of sleek wall brass shelf brackets that seamlessly blend with the brick wall. While the votive candles lined up on the shelves bring a chic and minimalistic appeal to the decor that feels undeniably contemporary.

Pair Gold Wall Brass Sconces Hollywood Regency Ornate, 1970s Mid Century Wall Decor, Hanging Candlestick Holders, Home Decor https://t.co/RvabE0UNDs via @Etsy

— sharethelovevintage (@apotofbasil1) September 1, 2021

However, if you want to add a touch of nature to your interior design, you can also edge the brackets with lush greenery vines and nestle candles on top for a refreshing wall candle display..

15. Shabby Chic Wall Lantern Decor

Imbue a shabby chic flair into your interior design with this gorgeous candle display. Give a distressed appeal to a wooden candle lantern and inset woodsy accents and greenery springs with the candle for a lovely twist.

Conclusion

Keep up with the new design trends by decorating your empty and boring wall space with a candle sconce or two. So, which of these wall candle decor ideas are you going to use to illume your space? Let us know in the comments box below!

[anantradingpvtltd]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Product Description Orrda Stainless Steel Digital Electronic Kitchen Scale Weighing Machine for Food, Baking, Cooking for Home Use, Health and Fitness, Weight This scale features a handy tare function to easily measure ingredients in a dish, allowing you to cut down on prep time. Designed with a smooth stainless steel platform for easy cleaning and maintenance, this scale's slim design makes it easy to store while maintaining the durability to withstand up to 5 kg of weight. Whether you're a beginner or a seasoned chef, this digital scale has the simplicity and practicality to create the perfect kitchen creations.The LCD digital food scale adopts a high-precision four-point sensor with high sensitivity and more accurate and stable measurement data. The measuring range is 3g-5Kg, and the division value is 1g. You can easily and accurately measure most foods.There are only 2 buttons on the scale, one is used to turn on and off and tare, and the other is used to change the weight unit. The electronic scale can set the current weight to zero, or accumulate additional calculations, and easily solve various food weighing problems. Specification Package Contents 1 x Digital Kitchen Scale 1 x User's manualDimensions: 18 x 14 x 1.8 cmWeight Capacity: 176 oz / 5 kg / 11 lbsUnits: g / ml / oz / lb'ozMeasurement Increments: 0.035 oz / 1 g Auto-Off: 2 Minutes Power: 2 x AAA 1.5 V Clear LCD Easily read all of your measurements on a crystal clear LCD display. Durable and Elegant Design The stainless steel design makes this kitchen scale durable and very easy to clean. It has a chic and modish design which looks great in any kitchen. Easy-to-clean With food-grade 304 stainless-steel platform for easy cleaning and maintenance Multiple Unit Conversion

The unit can be converted manually in grams, oz, pounds, and milliliters. Milk volume and water volume can also be measured. Protective Film Kindly tear off the protective film before use Perfect Meal Prep Tool This digital kitchen scale is a great tool for preparing healthy meals. It is useful for measuring calories for your dietary needs. Orrda Electric LCD Scale Weighing Machine - Kitchen Nutrition Measurement Tool Scale up to 5 Kg This Digital scale has endless uses for personal or commercial environments - great for homes, kitchens, offices, mail rooms, and more.The scale has an easy-to-read LCD display with a beautiful purple backlight With a capacity of 11 lb (5 kg), you can weigh a variety of items with ease.You will be surprised at all the uses you will have for this product.Weighing functions You can easily choose among measurements in oz,lb/oz,g,ml.This digital scale measures in precise increments of 0.035 oz (1 g) to accurately weigh your items.Power is provided by one 2 AAA batteries (not included), making the scale portable and ensuring that you can easily acquire replacement batteries.Tare Function The tare function allows the user to deduct the weight of a container from the total weight in order to determine the net weight of the contents excluding the weight of the container which holds them.Auto-zero and auto-off The scale can be reset to zero for accurate measurement, or adjusted to weigh items in bowls or measuring containers, which is particularly useful for cooking.To save energy, the scale also features an auto-off function, allowing the scale to turn off after 2 minutes inactivity to save energy. MULTIFUNCTIONAL SCALE :-This digital kitchen scale has 5 measurement unit to meet all the food weight that you need: g, kg, lb, oz, ml. Big bright LCD display easy to read. EASY TARE :-Convenient tare button for tare calculation allows you to subtract the weight of plate or container, making it easy to achieve accurate readouts of ingredients. COMPACT SLEEK :-Stainless-steel digital scale is designed with food-grade 304 stainless-steel platform for easy cleaning and maintenance, the digital kitchen scale’s convenient size makes it easy to store in your kitchen. USEFUL TO KITCHEN:-Become a master in the kitchen with the help of this high precision balance. Sensitive sensors offer the most correct readings in a few seconds. Useful for weighing needs in your kitchen, as well as jewelry, herbs, vitamins, spices, crafts and more food items. [ad_2]

[malanijewelers6]

Women Gold Bracelets - Malani Jewelers

We offer spectacular Gold bracelets for women in a sophisticated and elegant range of never-ending styles and designs. Traditional to Contemporary Bracelet Designs. Bracelet is one of the fine jewels which should never be missing from the jewelry case of a woman. A bracelet is an elegant, versatile and timeless piece of jewelry that symbolizes class and elegance in the most superior manners. Malani Jewelers a broad array of bracelet designs can easily be accessed online and we aid our customers to buy gold bracelets online using our highly secure and simple to use online shopping portal. Our gold bracelets are the perfect evening and day jewelry pieces that adapt as simply as a formal elegant evening attire as they do to the regular outfits. With their simplicity along with their highly sophisticated craftsmanship, our every piece of gold bracelet for women is an undisputed champion of modishness, grace and charm.

So hurry up, and visit us today at https://www.malanijewelers.com/

or visit 739 DeKalb Industrial Way, Suite #2100,Decatur, GA 30033

[mcrmenswhiteshirtsonline]

Enjoy the magic of Festival with MCR white shirts Online!

A garment as innocuous as the classic men’s white shirt has inspired designers for generations. A selection of designers gives this wardrobe a modish makeover every season, but it's only the chosen few who subvert plackets, accentuate collars and cuffs, add exaggerated volumes, and use handloom fabrics. They have either embraced its quotidian nature or toyed with its rather rudimentary construction to create sheer magic over the years.

And it is the most famous and never goes out of style outfit.  

White is flawless and pure. And its sheer simplicity merits a spot in your wardrobe and is always on trend, fits well, and doesn’t make you look like a driver. A pure cotton white shirt by MCR is a symbol of comfort, ease, quality, fashion, and fit of any other cloth. We at MCR understand that men prefer the way their white shirts feel and look, especially when it comes to the importance of cotton white shirts in the culture. It is always a classic outfit to wear neat clean white shirts and dhotis for festivals. It is of paramount importance to have quality clothes for this reason. MCR is a well-known brand of men’s clothing and has gained the trust of people for its 100% pure cotton shirts and dhotis serving for decades.

MCR passionately tailored white shirts for men that fit your size perfectly. MCR is the best in what they do. The fashion of the generation we live in has undergone a radical change in recent decades. It went from being highly serious and less colorful to fluid, powerful, comfortable, exuberant, colorful, unbound, inspiring, and free.

In India, white dresses are more than just an outer appeal. In addition to expressing our cultural diversity, it embodies deep cultural values. Exactly that was What MCR offers in its pure cotton white shirts and designs. By visiting their online collection of pure cotton shirts, you will discover for yourself that they will always provide us with a variety of white shirts, and we will live with them every day. Buy white shirts for men online here at MCR for the best price available online and 3 shirts for just Rs.999 only. Hurry up! Shop white shirts for men at MCR men’s online shopping store and enjoy this Diwali with more colorful offers.

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Late Victorian-Early Edwardian Hair (Ladies’ Edition, Part 1)

These are a collection of hairs that I think would suit Sims stories (or other creative works) set between 1885 and 1915. Technically, the Edwardian period ended in 1910, but I extended it to 1915 for symmetry’s sake. Forgive me!

These are not hard definitions for hairstyles, or even terribly historically accurate in some cases. (So many out-of-period bangs! Alas.) However, they capture the “feeling” of the era, in some way or another. Whether it’s the simplicity of 1880s hair, the gradually growing pompadour of the 1890s, the full flower of Gibson Girl hair in the 1900s, or the horizontal emphasis of the 1910s, I think there’s a hair here for any period piece in the era! 

I’ve also tried to find Afro-textured, dreaded, or otherwise non-straight textures for the hairs presented. Everyone deserves to have fun dressing their Sims up in old-fashioned clothing!

1880s

Ade Darma Nicole

BEO Skysims 4546 Mashup

Leah Lillith Endorphine

Leah Lillith Zendaya

Modish Kitten Rosie

Newsea Agnes 

Newsea Agnes, Afro 

Newsea Agnes, Dreaded

Newsea Ultra Lover

Nightcrawler Kelly

Nightcrawler Lush

Skysims 130

1890s

Ade Darma Emma

Anto Carmin

CURBS Hair 186

EA’s Bewitching Bun

EA’s Braided Bun

EA’s Floral Bun 

EA’s High Bun

Leah Lillith All Night

Newsea Magnokura

Newsea Sakura 

Newsea Sakura Twisted

Credits are below the jump.

Credits

Self-Sim by me (of course) | Christy Adeyemi by @ice-creamforbreakfast | Rosie Jones by @ninjaofthepurplethings | Meredith Pibsley by @sweetdevil-sims | Lisa Yeun by @pancakebobs 

Clothes: All About Style, recolored in various Sorbet shades

Shoes: @greenplumbboblover

Poses:  @studiok2sims (March Madness and On Display)

ASliceOfSimplicity, Buckley, ChazyBazzy, Marla Zakorah, PocketFullofDownloads, Plumblobs, and Reckless-Sims, for their hair retextures.

Part 2 arrives on Friday! I apologize for the endless delays; I got very frustrated and needed a break.

[thinkingimages]

Joan Bennett in the film Secret Behind the Door

Sexuality and Space edited by Beatriz Colomina

Elizabeth Wilson

In the early 1990s the addition of “sexuality” seemed to take the vibrant debate on space into new territory. The very title of Sexuality and Space reflects this, and as Beatriz Colomina remarks in her brief introduction to the collection of articles it comprises, to insist on “sexuality” as a component of space can be, at one level, to insert feminist concerns into a masculine discourse—although it is dispiriting if sexuality is still perceived as women’s domain, somehow suggesting that anatomy still is destiny and/or that women are still equated with the bodily in a way that men are not. As Colomina makes clear, however, the volume, like the symposium at which the papers it contains were initially presented, aims to do more than simply “include women.” Nor does it aim simply to explore “how sexuality acts itself out in space,” although this would have been an interesting subject in its own right: how actually existing urban, architectural spaces are used intentionally or illicitly for sexual purposes. We could have had papers on the role of the “cottage” (public lavatory) in gay sex, on museums as pick-up grounds for intellectual singles, on the voyeurism of peep shows, and so on. But this would presumably have been too literal a project for the theorists gathered. Instead we are invited to treat architecture as a “system of representation” on a par with film and TV, and to ask how space is “already inscribed in the question of sexuality.” Gender is inscribed in space and space is never designed in a gender-neutral way.

Accordingly, the articles range across the visual arts in a fashion that at first glance seems not so much interdisciplinary as wildly eclectic—Atget photographs of Paris, Alberti’s writings, an Australian advertisement for real estate. The approaches taken by the authors are also widely divergent.

Jennifer Bloomer has missed an opportunity to explore the purported “effeminacy” of Louis Henri Sullivan’s architectural work. She raises the interesting issue of the assumed relationship between gender identity (and/or sexual orientation) and allegedly “feminine” architectural forms and decoration, but instead of developing this theme she flirts with it, creating a theoretical bricolage that fails to achieve intellectual coherence, her discussion of the function and symbolic importance of ornament not fully meshing with the problematic figure of Sullivan. A similar collagist approach is used by Catherine Ingraham, and I can see that it may be a kind of postmodern criticism; but while it permits the introduction of a variety of interesting, if only tenuously related, points and theories, it has a modish feel, especially when the usual theoretical suspects are rounded up for an airing, Lacan’s lavatory doors making repeat appearances. By contrast, Alessandra Ponte’s essay on the 18th-century antiquarian Richard Payne Knight is very focused (as is Molly Nesbit’s meditation on the absence of “la Parisienne” from Atget’s photographs of empty corners of his city), a piece of historiographical excavation revealing the phallocentrism of 18th-century theories of architecture.

Yet most of the articles, despite their apparent divergence of subject, are united by theoretical protocols as well as by the central concern of the book as a whole, which is not eroticism but gender, and not architecture but space in a variety of manifestations, many of them historical. The main uniting factor is psychoanalytic theory.

The material throughout is rich and detailed. Beatriz Colomina contributes an analysis of representations of house designs, particularly interiors, by Adolf Loos and Le Corbusier. She explores the way in which these houses are photographed, and some of the ideas informing them, drawing out the way in which these utopian, perfect rooms are—paradoxically—theatrical sets for dramas of domestic life. There is an implied contradiction between the architect’s dream of perfect space and the actually existing mess of daily life; but either way the woman is always positioned as hidden and within, object of the male gaze. Surprising similarities (or perhaps they are not so surprising) are revealed between these modernist architects and the Renaissance architect and philosopher Leon Battista Alberti. Mark Wigley shows how Alberti, both in his treatise on the family and in his architectural writings, describes the ideal house as a building that encloses, conceals, and ultimately fetishizes heterosexual intercourse; the separate rooms of husband and wife may be entered by a private intercommunicating door, so that other members of the household need never know when the partners engage in sexual relations. More generally the domestic interior becomes, in Alberti’s propositions, a prison house for women, although Wigley suggests that this architectural manifestation of patriarchy only fully came into its own with the 19th-century bourgeoisie.

Patricia White’s paper is concerned with the filmic representation of a house, “Hill House,” as explored in Robert Wise’s 1963 horror classic, The Haunting. As she points out, this film is truly terrifying, but achieves its effects without any special effects or any actual representation of anything horrific. White identifies the underlying horror as arising from the film’s exploration of lesbian sexuality, demonstrating convincingly how the film’s central character, Eleanor, played by Julie Harris, although destroyed by Hill House, whose “gaze” she cannot escape, yet manages to “exceed” the narrative, speaking finally in voice-over from beyond the grave. White’s deployment of psychoanalytic film theory seems particularly apt and nonreductive; she uses it to bring out the ambiguity of the film, in which lesbian desire is apparently defeated and yet remains disruptive, “exceeding the drive of cinema to closure.”

Patricia White inevitably refers in the course of her argument to Laura Mulvey’s well-known article “Visual Pleasure and Narrative Cinema.”1 I have never entirely understood why this article became so hugely influential, given its negative and pessimistic reading (especially from a feminist point of view) of cinematic pleasure. But perhaps that was the point: as this volume itself demonstrates, psychoanalytic theory (especially its Lacanian variant) has been the basis for a “criticism of suspicion,” by which I mean a criticism that not only deconstructs the way in which effects are achieved and exposes meanings that might otherwise be hidden from an “innocent” audience, but invests all aspects of any aesthetic work with doubt and dubiousness. The excavation of cultural products must always, it seems, uncover skeletons. In this regard, architecture and cinema are two forms of cultural production particularly vulnerable to what Martin Jay has termed a 20th-century “denigration of vision” that has supplanted its earlier (Enlightenment) celebration.2 Viewing and the gaze, the totalizing vision and the nobility of sight, have been comprehensively delegitimated as (white, Western) masculine methods of control and domination.

In Laura Mulvey’s original article there was no place for the female spectator to lay claim to the gaze other than by becoming masculinized. Mulvey has since sought to modify this view, while never renouncing the underlying assumptions on which it was based, and she contributes to the present volume a meditation that considers Pandora and her box (“the box can … stand as a representation of the enigma and threat generated by the concept of female sexuality in patriarchal culture”), the Hitchcock film Notorious, and the idea of female curiosity as a transgressive exploration of forbidden spaces. For her, psychoanalytic theory as used in feminist criticism is transgressive, for “curiosity describes the desire to know something that is concealed so strongly that it is experienced like a drive, leading to the transgression of a prohibition,” and feminist curiosity then constitutes an unmasking of the patriarchal structures of popular, or indeed any, culture.

Yet, as Victor Burgin argues in his essay on the photography of Helmut Newton, Mulvey’s original article has itself been fetishized; its influence has neither diminished nor evolved. Having made this statement, however, Burgin himself makes little further attempt to develop it, confining himself instead to an analysis of a Newton image, interesting enough, but much narrower in focus than his opening sentence had led this reader, at least, to expect. Burgin is rightly dismissive of the way in which psychoanalytic theory has been “sociologized” and collapsed into a vulgar-Marxist version of woman-as-commodity. He might feel that Lynn Spigel’s essay on television and the postwar American suburban home is too “sociological,” but this is one of the clearest articles in the collection, a model of structural simplicity and accessibility, in which the ambiguity between public and private, outside and inside, created by the plate glass doors and picture windows of the suburban home, is shown to be reproduced by the advent of television with its concomitant notions of the living room as theater and the TV space as a safe, sanitized public space introduced into the home. (Indeed, although television created fears of a new generation of what we now would call “couch potatoes,” the screen community of the sitcom often seemed preferable to the real-life communities of the new suburbs.)

With Elizabeth Grosz’s article on bodies and cities we return to a more euphoric postmodern take on the relationship between sexuality and space. Grosz moves the discussion beyond traditional metaphors of the “body politic” or the humanist idea that at one time people unproblematically built cities; instead she explores the way in which “the city is one of the crucial factors in the social production of (sexed) corporeal bodies: the built environment provides the context … for most contemporary … forms of the body.” But disappointingly she does not develop this idea, falling back instead on a familiar and arguably exaggerated vision of a cyborg future: “the city and body will interface with the computer, forming part of an information machine in which the body’s limbs and organs will become interchangeable parts with the computer.”

Meaghan Morris’s contribution, too dense and theoretically “over-egged” (i.e., incorporating too many ingredients) to summarize, rewards several readings, and is a serious attempt both at a critique of theories and at an analysis of two specific cultural events concerning property speculation in downtown Sydney. It is insightful and thought provoking; nevertheless it illustrates both the virtues and the flaws not just of the book as a whole, but of the general state of cultural studies. Simultaneously populist and obscure, such studies can become both incoherent and philistine (although the latter is certainly not an adjective I would apply to her essay or any of these contributions).

Indeed, this is a (probably rash) generalization, not a comment on any particular article in Sexuality and Space, but if I have seemed to single out some authors for negative criticism, it is less on account of their specific contributions than because they are the heirs of what for me are ambiguous, indeed dubious, tendencies in contemporary cultural criticism, in which the debunking of Marx and all Enlightenment thought is married (or at least engaged) to a fundamentally uncritical appropriation of Freud (or at least Lacan). I have gone terminally off Lacan since I discovered that, when Antonin Artaud was his patient during World War II, Lacan showed little interest in the deranged playwright3; an illegitimate ad hominem argument, I know—but the grip of his theory on academic critics has always been mysterious to me. Even worse is a practice, which I fear may have been on occasion my own, whereby a critic distances herself ironically or cynically from an assortment of postmodern theorists (Baudrillard, Deleuze and Guattari, even Derrida and Foucault) while simultaneously appropriating their thought, not infrequently in the form of spurious generalizations—a feature, Meaghan Morris suggests, of the work of Deleuze and Guattari themselves in relation to Freud. The whole is then likely to be couched in dauntingly arcane and grammatically tortuous language. Faced with this bricolage, I am totally with Edward Gibbon—who identified one aspect of the decline of the Roman Empire as the decadence of its later literary tradition, when, he complained, “a cloud of critics … darkened the face of learning, and the decline of genius was soon followed by the corruption of taste”4—and I cannot but feel that this kind of postmodern criticism is indeed an index of decay.

But I suppose that postmodernism in general and contemporary psychoanalysis in particular is the theory our epoch in history deserves. Psycho-analysis has certainly been reconstructed to fit; in contrast to the highly moralistic and adjustive Freudianism of the 1950s, which was in any case a therapeutic and sociological rather than a critical tool, we have today psychoanalysis as an ideologically empty vessel, a theory without consequences. A fractured body of thought pleasingly open to endless reinterpretations and deconstructions, a detheorized (or perhaps etherealized) theory, it holds up a (splintered, it is true) mirror to assist in the contemplation of ourselves, one which can be thrillingly seen as “transgressive” while remaining devoid of any calls to action or any social or moral imperatives. Truly a theory for our postpolitical times.

1. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16, no. 3 (Autumn 1975): 6–18.

2. Martin Jay, “In the Empire of the Gaze: Foucault and the Denigration of Vision in Twentieth Century French Thought,” in David Couzens Hoy, editor, Foucault: A Critical Reader (Oxford: Basil Blackwell, 1986), 178.

3. See Stephen Barber, Antonin Artaud: Blows and Bombs (London: Faber and Faber, 1993).

4. Edward Gibbon, The Decline and Fall of the Roman Empire (Harmondsworth: Penguin, 1985), 83.

Elizabeth Wilson is on the faculty of the School of Information and Communication Studies at the University of North London; her recent books include The Sphinx in the City and Chic Thrills: A Fashion Reader.

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On Photography by Susan Sontag

In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads—as an anthology of images. 

What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

There is an aggression implicit in every use of the camera.

As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure. Thus, photography develops in tandem with one of the most characteristic of modern activities: tourism.

A photograph is not just the result of an encounter between an event and a photographer; picture-taking is an event in itself, and one with ever more peremptory rights—to interfere with, to invade, or to ignore whatever is going on.

Even if incompatible with intervention in a physical sense, using a camera is still a form of participation. Although the camera is an observation station, the act of photographing is more than passive observing. Like sexual voyeurism, it is a way of at least tacitly, often explicitly, encouraging whatever is going on to keep on happening. To take a picture is to have an interest in things as they are, in the status quo remaining unchanged (at least for as long as it takes to get a “good” picture), to be in complicity with whatever makes a subject interesting, worth photographing —including, when that is the interest, another person’s pain or misfortune.

Still, there is something predatory in the act of taking a picture. To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them they can never have; it turns people into objects that can be symbolically possessed.

(...) all such talismanic uses of photographs express a feeling both sentimental and implicitly magical: they are attempts to contact or lay claim to another reality.

Photographs shock insofar as they show something novel. Unfortunately, the ante keeps getting raised—partly through the very proliferation of such images of horror.

To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more—and more. Images transfix. Images anesthetize. An event known through photographs certainly becomes more real than it would have been if one had never seen the photographs—think of the Vietnam War. (For a counter-example, think of the Gulag Archipelago, of which we have no photographs.) But after repeated exposure to images it also becomes less real.

The photograph is a thin slice of space as well as time.

The ultimate wisdom of the photographic image is to say: “There is the surface. Now think—or rather feel, intuit —what is beyond it, what the reality must be like if it looks this way.” Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy.

Photography implies that we know about the world if we accept it as the camera records it. But this is the opposite of understanding, which starts from not accepting the world as it looks. All possibility of understanding is rooted in the ability to say no.

That most logical of nineteenth-century aesthetes, Mallarmé, said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.

In recent decades, photography has succeeded in somewhat revising, for everybody, the definitions of what is beautiful and ugly—along the lines that Whitman had proposed. If (in Whitman’s words) “each precise object or condition or combination or process exhibits a beauty,” it becomes superficial to single out some things as beautiful and others as not. If “all that a person does or thinks is of consequence,” it becomes arbitrary to treat some moments in life as important and most as trivial.

But essentially the camera makes everyone a tourist in other people’s reality, and eventually in one’s own.

Sander’s complicity with everybody also means a distance from everybody.

The photographer both loots and preserves, denounces and consecrates.

Bleak factory buildings and billboard-cluttered avenues look as beautiful, through the camera’s eye, as churches and pastoral landscapes. More beautiful, by modern taste. Recall that it was Breton and other Surrealists who invented the secondhand store as a temple of vanguard taste and upgraded visits to flea markets into a mode of aesthetic pilgrimage. The Surrealist ragpicker’s acuity was directed to finding beautiful what other people found ugly or without interest and relevance—bric-a-brac, naïve or pop objects, urban debris.

Reality is summed up in an array of casual fragments—an endlessly alluring, poignantly reductive way of dealing with the world.

The photographer was thought to be an acute but non-interfering observer—a scribe, not a poet. But as people quickly discovered that nobody takes the same picture of the same thing, the supposition that cameras furnish an impersonal, objective image yielded to the fact that photographs are evidence not only of what’s there but of what an individual sees, not just a record but an evaluation of the world.

Everyday life apotheosized, (...)

Increased familiarity does not entirely explain why certain conventions of beauty get used up while others remain.

Traditionally associated with exemplary models (the representative art of the classical Greeks showed only youth, the body in its perfection), beauty has been revealed by photographs as existing everywhere. Along with people who pretty themselves for the camera, the unattractive and the disaffected have been assigned their beauty.

The camera can be lenient; it is also expert at being cruel. But its cruelty only produces another kind of beauty, according to the surrealist preferences which rule photographic taste.

(“Beauty will be convulsive,” Breton wrote, “or it will not be at all.”)

Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: (...)

As Walter Benjamin observed in 1934, in an address delivered in Paris at the Institute for the Study of Fascism, the camera is now incapable of photographing a tenement or a rubbish-heap without transfiguring it. Not to mention a river dam or an electric cable factory: in front of these, photography can only say, ‘How beautiful.’ … It has succeeded in turning abject poverty itself, by handling it in a modish, technically perfect way, into an object of enjoyment.

“This photograph, like any photograph,” Godard and Gorin point out, “is physically mute. It talks through the mouth of the text written beneath it.” In fact, words do speak louder than pictures. Captions do tend to override the evidence of our eyes; but no caption can permanently restrict or secure a picture’s meaning.

“A photograph is a secret about a secret,” as Arbus observed. “The more it tells you the less you know.” Despite the illusion of giving understanding, what seeing through photographs really invites is an acquisitive relation to the world that nourishes aesthetic awareness and promotes emotional detachment.

Cartier-Bresson has likened himself to a Zen archer, who must become the target so as to be able to hit it; “thinking should be done beforehand and afterwards,” he says, “never while actually taking a photograph.”

“A photograph is not an accident—it is a concept,” Ansel Adams insists. “The ‘machine-gun’ approach to photography—by which many negatives are made with the hope that one will be good—is fatal to serious results.”

For Ansel Adams “a great photograph” has to be “a full expression of what one feels about what is being photographed in the deepest sense and is, thereby, a true expression of what one feels about life in its entirety.”

Just to show something, anything, in the photographic view is to show that it is hidden. But it is not necessary for photographers to point up the mystery with exotic or exceptionally striking subjects.

Robert Frank’s credo: “There is one thing the photograph must contain, the humanity of the moment.”

But while photographers are perpetually urging each other to be bolder, a doubt persists about the value of realism which keeps them oscillating between simplicity and irony, between insisting on control and cultivating the unexpected, between the eagerness to take advantage of the complex evolution of the medium and the wish to reinvent photography from scratch. Photographers seem to need periodically to resist their own knowingness and to remystify what they do.

It is not altogether wrong to say that there is no such thing as a bad photograph—only less interesting, less relevant, less mysterious ones.

Our irrepressible feeling that the photographic process is something magical has a genuine basis. No one takes an easel painting to be in any sense co-substantial with its subject; it only represents or refers. But a photograph is not only like its subject, a homage to the subject. It is part of, an extension of that subject; and a potent means of acquiring it, of gaining control over it.

One can’t possess reality, one can possess (and be possessed by) images— (...)

To possess the world in the form of images is, precisely, to reexperience the unreality and remoteness of the real.

The point of the standard portraits in the bourgeois household of the eighteenth and nineteenth centuries was to confirm an ideal of the sitter (proclaiming social standing, embellishing personal appearance); given this purpose, it is clear why their owners did not feel the need to have more than one. What the photograph-record confirms is, more modestly, simply that the subject exists; therefore, one can never have too many.

We have a modern notion of embellishment—beauty is not inherent in anything; it is to be found, by another way of seeing—as well as a wider notion of meaning, which photography’s many uses illustrate and powerfully reinforce. The more numerous the variations of something, the richer its possibilities of meaning: (...)

The world is “one” not because it is united but because a tour of its diverse contents does not reveal conflict but only an even more astounding diversity. This spurious unity of the world is effected by translating its contents into images. Images are always compatible, or can be made compatible, even when the realities they depict are not.

Two attitudes underlie this presumption that anything in the world is material for the camera. One finds that there is beauty or at least interest in everything, seen with an acute enough eye. (And the aestheticizing of reality that makes everything, anything, available to the camera is what also permits the co-opting of any photograph, even one of an utterly practical sort, as art.) The other treats everything as the object of some present or future use, as matter for estimates, decisions, and predictions. According to one attitude, there is nothing that should not be seen; according to the other, there is nothing that should not be recorded.

Cameras are the antidote and the disease, a means of appropriating reality and a means of making it obsolete.

Your photography is a record of your living, for anyone who really sees. You may see and be affected by other people’s ways, you may even use them to find your own, but you will have eventually to free yourself of them. That is what Nietzsche meant when he said, “I have just read Schopenhauer, now I have to get rid of him.” He knew how insidious other people’s ways could be, particularly those which have the forcefulness of profound experience, if you let them get between you and your own vision. —Paul Strand

If I could tell the story in words, I wouldn’t need to lug a camera. —Lewis Hine

The creative photographer sets free the human contents of objects; and imparts humanity to the inhuman world around him. —Clarence John Laughlin

New forms in art are created by the canonization of peripheral forms. —Viktor Shklovsky

Life itself is not the reality. We are the ones who put life into stones and pebbles. —Frederick Sommer

It is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer. —Dorothea Lange

Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite. —John Szarkowski

As I progressed further with my project, it became obvious that it was really unimportant where I chose to photograph. The particular place simply provided an excuse to produce work … . you can only see what you are ready to see—what mirrors your mind at that particular time. —George Tice

The camera is a fluid way of encountering that other reality. —Jerry N. Uelsmann

I’m always mentally photographing everything as practice. —Minor White

The weight of words. The shock of photos. —Paris-Match, advertisement

It was photography that first put into circulation the idea of an art that is produced not by pregnancy and childbirth but by a blind date (Duchamp’s theory of “rendez-vous”).

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Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Product Description BSBDA Stainless Steel Digital Electronic Kitchen Scale Weighing Machine for Food, Baking, Cooking for Home Use, Health and Fitness, Weight This scale features a handy tare function to easily measure ingredients in a dish, allowing you to cut down on prep time.Designed with a smooth stainless steel platform for easy cleaning and maintenance, this scale's slim design makes it easy to store while maintaining the durability to withstand up to 5 kg of weight.Whether you're a beginner or a seasoned chef, this digital scale has the simplicity and practicality to create the perfect kitchen creations.The LCD digital food scale adopts a high-precision four-point sensor with high sensitivity and more accurate and stable measurement data.The measuring range is 3g-5Kg, and the division value is 1g. You can easily and accurately measure most foods.There are only 2 buttons on the scale, one is used to turn on and off and tare, and the other is used to change the weight unit.The electronic scale can set the current weight to zero, or accumulate additional calculations, and easily solve various food weighing problems. Easy-to-clean With food-grade 304 stainless-steel platform for easy cleaning and maintenance Protective Film Kindly tear off the protective film before use Durable and Elegant Design The stainless steel design makes this kitchen scale durable and very easy to clean.It has a chic and modish design which looks great in any kitchen. Package Contents 1 x Digital Kitchen Scale 1 x User's manualDimensions: 18 x 14 x 1.8 cmWeight Capacity: 176 oz / 5 kg / 11 lbsUnits: g / ml / oz / lb'ozMeasurement Increments: 0.035 oz / 1 g Auto-Off: 2 Minutes Power: 2 x AAA 1.5 V BSBDA Electric LCD Scale Weighing Machine - Kitchen Nutrition Measurement Tool Scale up to 5 Kg This Digital scale has endless uses for personal or commercial environments - great for homes, kitchens, offices, mail rooms, and more.The scale has an easy-to-read LCD display with a beautiful purple backlight With a capacity of 11 lb (5 kg), you can weigh a variety of items with ease.You will be surprised at all the uses you will have for this product.

Weighing functions You can easily choose among measurements in oz,lb/oz,g,ml.This digital scale measures in precise increments of 0.035 oz (1 g) to accurately weigh your items.Power is provided by one 2 AAA batteries (not included), making the scale portable and ensuring that you can easily acquire replacement batteries.Tare Function The tare function allows the user to deduct the weight of a container from the total weight in order to determine the net weight of the contents excluding the weight of the container which holds them.Auto-zero and auto-off The scale can be reset to zero for accurate measurement, or adjusted to weigh items in bowls or measuring containers, which is particularly useful for cooking.To save energy, the scale also features an auto-off function, allowing the scale to turn off after 2 minutes inactivity to save energy. ✔[TRUSTED BY PROS]: Our food scale is used and endorsed by celebrity chefs around the world. This means you get the same amazing service and quality assurance that we dedicate to them. If they trust it, so can you. Measures max 5 Kg and Minimum - 1g. ✔[ACCURATE WEIGHT]: Made with 4 Japanese-precision sensors, this digital kitchen scale will give you accurate weight every single time. Don’t settle for other scales with low-quality materials. We use food grade 304 stainless steel, while others are made from plastic. ✔[SHOP WITH CONFIDENCE]: You can have peace of mind that this product has great quality & it’s warranted for 2 year. Batteries are included for your convenience. ✔[SLEEK, UPGRADED DESIGN]: Our new thinner version is a breeze to clean and looks beautiful sitting on your kitchen counter. The sleek petite build eliminates the clutter and gives you easy storage. It is made with lightweight materials, so you can carry it around. [ad_2]