#bof 25

[howardhawkshollywood]

The back of this 1942 publicity still reads

BALL OF FIRE

SET STUFF - Director Howard Hawks takes four of his actors through their lines in preparation for a scene in Samuel Goldwyn's "Ball of Fire," released by RKO Radio.

Left to right: Director Hawks, Oscar Homolka, Gary Cooper, Henry Travers, and Leonid Kinsky talk it over. This is the story of a striptease girl and a group of erudite professors. The gal who takes the profs for a ride is Barbara Stanwyck,

BOF-PUB.-25 4A

1497 (See attached photo story).

(The original caption is in all caps).

[tindome-art]

Rana den Vittra

First to go over to the dark Lord Gholan almost a thousand years "ago", only person to ever tame a dragon, hell-bent on her own path to either make her people change their ways and stop diminishing and dying, or help them die quicker. Died once, was brought back to life 700 years later when Lord Gholan came back, not entirely happy with the requirements to stay alive this time around, and very unhappy with her race. Seven hundred years and still no change.

Elves have started to join her side instead - don't deny your true nature, let your drive to rule and be first among equals out! - and they are known as the True Elves (at least among themselves).

More info at my DeviantArt page, where there's a different photo. I think her by-name should be... "the Belletristic"? "The Well-read"? "The powerful, wise and yeah yeah call me evil if you like, wimps"?

The larp campaign of Thule was celebrating its 25-year anniversary, I believe, and we all dressed up as characters we'd played in it. Rana is written into the fiction, long before I was asked to play her, but oooh she is fun.

Most of the costume is "right, what do I have in my wardrobe", because lo, I turned out to have made a lot of clothes that suit her when put together! The skirt was bought, the scarf also, and the brooches. The rest is handmade. The long vest is only lined in the upper part, because I didn't have enough fabric to do more. The blue overmost coat was originally made for Elenaria, but what the hell was I thinking with that colour for that character... No. Just no.

For many costumes/outfits, you'll want to stay within a certain range of colours or colour-family.

(In Sweden, larping is A LOT LESS about boffing around with swords than it is in the USA. Just... thought I better add that, for people who are not familiar. Well, not just in Sweden, I guess. Europe.)

[swedesinstockholm]

2 novembre

rêve ultra tendre collée contre r. sur un canapé, on rigolait beaucoup, j'étais plus détendue que je l'ai jamais été dans la vraie vie. j'ai pas fait d'efforts pour m'en rappeler en me réveillant, c'était trop douloureux. hier soir je me suis lavé les dents à côté de j. dans la salle de bain et ça m'a rappelé sa visite à la maison. je voulais lui en parler mais je sais pas pourquoi j'ai rien dit. il me montrait des photos de garçons musclés dégueus et je disais ew ew ew en feuilletant son calendrier d'hommes musclés dans sa chambre sous le grand drapeau arc-en-ciel accroché au dessus de son lit. il m'a dit qu'il avait acheté le calendrier par pur plaisir de pouvoir le faire, pour faire plaisir à bb jonas dans le placard. j'ai dit i think 98% of men don't look good to me et il a dit who looks good then? et j'avais envie de dire r. mais j'ai dit i don't know. j'aurais pu dire girls aussi. je suis tellement dure à m'ouvrir. et pourtant je lui ai parlé de mon soupçon d'hypothétique abus sexuel refoulé. j'ai dit maybe something happened to me as a child. je sais pas ce que les gens s'imaginent quand je dis ça. je lui disais que si j'arrivais à savoir ce qui s'était passé, si j'arrivais à régler mon trauma, j'arriverais peut être enfin à lâcher prise, mais juste après l'avoir dit je me suis rendu compte que je me fourrais probablement le doigt dans l'oeil. peut être que j'ai juste inventé cette histoire de toutes pièces pour trouver une justification à ma peur panique de la vie. mais plein de gens ont une peur panique de la vie et ils ont pas tous été violés dans leur enfance. on parlait de drogues et j. m'a dit you know you could take drugs if you wanted parce que je fais que dire i can't take drugs comme si j'étais la personne la plus traumatisée de la terre et que prendre des drogues allait complètement me détruire/détruire l'ordre de l'univers, mais c'est moi qui ai décidé que je pouvais pas prendre de drogues.

j'entends des cloches qui sonnent midi, j'ai la fenêtre grande ouverte mais je vois pas le ciel. je crois que c'est très néfaste pour la santé mentale de pas voir le ciel. je crois que ça contribue en grande partie à mon désespoir d'être ici. j'entends les grues aussi. les oiseaux pas les machines. j'ai passé toute la semaine sans sortir sauf pour aller faire les courses mercredi. je suis aussi sortie me promener avec j. hier soir à dix heures parce que je me sentais mieux et que je commençais à me sentir trop enfermée. on a marché jusqu'au canal et on est revenus. en mangeant mon porridge je me disais que c'était la deuxième fois en cinq mois que je me brossais les dents à côté d'un garçon très grand après lui avoir dit qu'il m'était "peut être arrivé quelque chose" quand j'étais petite.

je suis sortie aujourd'hui. comme je fais pas les choses à moitié j'ai marché sept kilomètres. j'avais froid aux oreilles mais je voulais pas rentrer. j'ai traversé toutes les parties de kreuzberg que j'aime pas pour aller voir une église brutaliste mais on pouvait pas rentrer, y avait aussi un café de hipsters en béton et un lampadaire jaune fluo ondulé. j'essayais de voir de la beauté dans ma promenade moche, de me dire toute promenade est une promenade digne d'intérêt, mais bof. les amis suédois de j. sont en train de parler fort dans le couloir comme si j'existais pas ou qu'il était pas deux heures du matin.

m. m'a demandé si j'avais pas un petit pincement au coeur quand même de partir. ce qui me pince le coeur: partir avant d'avoir réussi à rentrer dans un bar lesbien (sauf la fois avec la téléréalité lesbienne mais c'était nul) , avant d'avoir réussi à oublier r., avant d'avoir fait un open mic, avant d'être allée dans une rave les seins à l'air les bras musclés, avant d'avoir réussi à lâcher lâcher lâcher ok j'entends le chien d'alex marcher dans le couloir et de la techno de merde ces gens ne dorment donc jamais? j'arrête pas de faire osciller ma date de départ entre le 19 et le 25 novembre, quand je discute avec j. et que je fais la liste de mes pincements au coeur ça penche vers le 25 mais la plupart du temps c'est le 19 qui gagne. comme quand un client des massages tantriques est en train de faire pipi dans la salle de bain alors que je dois moi aussi faire pipi et que je fais un thé dans la cuisine qui est à côté de la salle de massage avec le sentiment que je devrais pas être là. je me demande qui c'est qui va faire des massages tantriques.

cet appart est très imprégné par le sexe. par rapport à la maison où le sexe n'existe pas je veux dire. hier matin pendant que je préparais mon porridge j. me racontait qu'il avait couché avec un mec de grindr non stop pendant deux heures avant d'aller à une fête d'halloween, il m'a demandé si j'avais rien entendu mais dieu merci je l'ai juste entendu mettre le bordel dans la cuisine en rentrant de la fête, ça m'a bien énervée mais c'est moins traumatique. je lui ai demandé s'il avait pris des drogues avant et il a dit oui parce que le mec était bizarre, il avait de l'anxiété sociale et il parlait pas, he just wanted to fuck. parfois je me demande comment j'arrive si bien à vivre sans ce truc qui semble si vital pour les autres. je me demande si c'est lié à ma fondamentale anesthésie vitale (artaud). est-ce que j'ai anesthésié cette partie-là de moi aussi? ça m'arrive d'avoir envie de quelqu'un, mais je fais pas tout ce qui est en mon pouvoir pour que ça arrive. comme m'inscrire sur des applis de rencontre par exemple. j. m'a aussi parlé de son ami tony qui était déguisé en rat sexy à la fête d'halloween, avant tony travaillait dans une banque à lyon et puis il a déménagé à berlin pour devenir une star du porno. il m'a expliqué que son but était de devenir assez connu pour avoir assez de fans sur onlyfans et qu'il puisse ainsi se contenter de coucher avec son copain pour gagner de l'argent. il m'a dit qu'à un moment il avait considéré l'idée de devenir acteur porno lui aussi mais que d. l'en avait dissuadé.

bon à bruxelles je veux aller habiter dans un immeuble avec une moyenne d'âge de minimum 55 ans parce que c'est pas possible là le manque de respect c'est le milieu de la nuit putain pourquoi tout le monde se comporte comme si on était en plein jour? ??? je déteste le rire de d. il caquette. je l'entends caqueter. il caquette il claque les portes et il fait trainer ses claquettes en marchant dans le couloir. et en plus il renifle. j'ai pas envie de vivre avec d. mais ça arrive souvent de pas aimer ses colocs. et alors on fait des concessions, parce que c'est comme ça, pas le choix, il faut bien faire sa vie, c'est toujours mieux que de retourner chez ses parents. qu'est-ce qui tourne pas rond chez moi?

[laguera25]

Well, Till has disappointed me with many things in the last years so I tried to just block out his shit as much as possible as I'm aware that he's not obligated to not disappoint me. And I'm not talking about kinky stuff or partying or sth. But inviting women for parties so young that you barely can make sure they are over 18 is not kinky, it has a taste as we say in Germany and this taste really turns my stomach.

I said way back in the beginning of this fiasco that while I don't think Till sexually assaulted anyone, he has clearly become--or just allowed the facade to drop--an entitled, obnoxious, pampered dude who has grown accustomed to having his every whim catered to. And long before this, he's dropped chauvinist bunkum about men being unable to form friendships with women because they not so secretly think about fucking them. I rather think this is a Till problem as much as a universality of manhood. I suspect he doesn't like to be challenged by women of his age or intelligence when it comes to the bedroom, so that leaves the very old, which no man ever chooses, or young women. Which is why Row 0 was reportedly packed with 18-25-year-olds.

I absolutely buy the story from the supposed Universal Music executive who claimed they saw Till grab and slap a waitress' ass and laugh it off. He stopped thinking his shit stank a long time ago.

Fans don't want to admit their faves might not be so hot, but I never expected to see so.many people insisting there is nothing gross about a middle-aged man possibly boning a teenager. If this had been some pot-bellied bricklayer boffing a girl on the JV cheer squad, this whole conversation would be very different.

[charlotteswebbbbb]

What’s the vibe? #57

News:

Matchesfashion has gone into administration and they’ve also cut their workforce by half. So Farfetch sold, Net-A-Porter looking for a buyer, MyTheresa and SSense doing okay I assume?

What are the jobs of the future? Where is truly safe from risk? No where but here are some suggestions for jobs always needed: health/care, food, agriculture, public transportation, engineering, artists, craftspeople. Will expand upon this later on with more research but this is something to chew on.

Miu Miu is in my eyes, now, a brand for women of all ages, a brand that plays with the idea of youth and intellect and I guess customers really like it. From BOF this weekend….

“Prada Group released [its annual report] yesterday, with an eye-popping 82 percent uptick in Q4 sales at Miu Miu, the main driver of growth is ready-to-wear, up 24 percent year over year, and up 64 percent versus 2021, compared to 3 percent and 25 percent growth in leather goods, respectively.”

What was also great was the ideal Miu Miu customer walking the runway….Meet Dr Qin Huilan

The post continues on: "Therefore, I also want to encourage everyone who is confused at a certain point, never give up on your dreams! Before the age of 70, I only cared about my patients as a doctor. Who would have thought that at the age of 70, I would be standing here on the runway today? Come on! Look! This is Paris! Look! This is miumiu’s runway! Look! This is 70-year-old Qin. #miumiu"

Living the "brand values" as they say.

Thread of thought: Kate Middleton conspiracy theories > lack of trust in British society > interpersonal relationships - "do we even believe each other?" > I'll see it to believe it culture > low hope? during an election year. Feels like the slog but I also feel like this is why people are latching onto these theories so quickly. But the photoshop was terrible and honestly, the news agencies killing the photo does not bode well for the family regardless of outcome.

In the theatre:

Bluets @ Royal Theatre (Fri 17 May - Sat 29 Jun 2024)

Slave Play (29 June - 21 September 2024) - sort of controversial but will be hyped and seen.

Person of the Week:

Fromm Studio - 3D artists, Vince Ibay and Jessica Miller, located in London (Barcelona also). They also just had an exhibition at Mother (@downstairsatmother) which finished 3rd March.

Reading List:

Really interesting as the guy who ran it said he wanted to quit because of the "enshittification" of the internet?

from the ft article!!!

"But in case you want to be more precise, let’s examine how enshittification works. It’s a three-stage process: first, platforms are good to their users. Then they abuse their users to make things better for their business customers. Finally, they abuse those business customers to claw back all the value for themselves. Then, there is a fourth stage: they die."

also

[cleverhottubmiracle]

Within a few years of its 2017 launch, New York-based ready-to-wear brand Markarian became a red carpet regular, its sparkling dresses were routinely seen on A-listers like Laura Dern, Kerry Washington and Blake Lively. At the time, red carpet was the cornerstone of the brand’s publicity strategy. But as bid-budget luxury labels have doubled down on the red carpet, it’s become more of an afterthought. “It’s impossible for us to keep up,” said Markarian founder Alexandra O’Neill. “I’ve started thinking about who I’m designing for in a different way and being realistic about the opportunities that are available to us.” Since the pandemic, LVMH and Kering’s stables of brands, plus the likes of Armani, Chanel, Prada and Versace, have funneled more money than ever into the red carpet — creating splashy custom dresses, digging into the archives and inking exclusive (and expensive) celebrity contracts. On the big red carpets — including the Oscars, Screen Actors Guild Awards, Grammys and Emmys — a pattern has emerged. “It’s going to be Louis Vuitton, it’s going to be Dior, it’s going to be one or two Schiaparelli,” said Robert Wun, the designer behind his namesake, London-based couture line, whose dramatic designs have been worn by musicians Cardi B, Lady Gaga and recently Kehlani at the 2025 Grammy Awards. “You already know the game.” To be sure, bigger labels have long dominated the space, but their growing reach has made red carpet dressing seem like a less viable marketing tool for emerging designers. Reaping the benefits of a red carpet placement — and simply getting on the carpet in the first place — is increasingly challenging. There are also economic factors at play: a slow-growth luxury market and widespread wholesale upheaval have tested independent brands in particular. Red carpet dressing is a costly — and tenuous — endeavour. Bending over backwards for the chance at a celebrity spot is a luxury many can no longer afford. It’s still hard to find a better awareness boost than being worn by a celebrity on a big stage, but emerging brands have had to shift their tactics. Many are prioritising long-term and more strategic relationships with celebrities and stylists, lesser carpets and other events. Plus, they’re leaning into their uniqueness and being more discerning about what opportunities will benefit them most. “As an emerging brand, everyone wants to put you on the rack just to fill it. We cannot afford that dynamic and we don’t perpetuate it,” said Gregory Mitola, founder of Etagere PR, which handles press and VIP strategy for Colleen Allen, a New York-based label that launched in 2024. “There’s value to this brand and this product. We have to create ‘main character’ energy.” The Red Carpet Boom Getting a look on the right celebrity on the red carpet can be huge for a young brand. For example, Lady Gaga generated more media impact for Australian-Taiwanese designer Samuel Lewis by simply wearing one of his dresses at this year’s Grammys than 80 percent of New York Fashion Week shows in February, said Alison Bringé, chief marketing officer of Launchmetrics. But it’s increasingly competitive to snag those placements, and many feel they are fighting harder for a shrinking piece of the pie. (BoF Team) (BoF Team) Nowadays, big names are increasingly opting for younger, up-and-coming stars, who previously were mostly dressed by emerging brands. Mikey Madison, the 25-year-old actress nominated for an Oscar for her role in “Anora,” has worn Loewe, Louis Vuitton and Bottega Veneta this awards season. Where stylists used to tap unexpected designers to drive excitement; now they have other (perhaps more effective) options, like digging into a storied house’s archive, said Jessica Morgan, co-founder of the red carpet blog Go Fug Yourself. According to Savannah Engel, founder of the fashion PR firm Savi, which counts Markarian as a client, having something in the works, then watching a big name swoop in with a sweeter deal is now standard. As jewellery designer Bernard James describes it: “Its a sigh of relief when a [custom piece] is finished and handed over. But then a wave of depression when the person walks out [without it].” The trend is a natural evolution, Engel said, and one positive outcome is stylists getting paid more regularly. But it has resulted in what she calls a “monopoly over red carpets.” All these factors have more brands feeling that red carpets may not be the best way to spend their limited marketing budget in an already perilous market. Like Markarian, designer Bach Mai (which had been worn by Megan Thee Stallion and Kate Beckinsale) is re-centring design and marketing efforts on top clients — the people who actually buy the clothes. “[Red carpet] is not something we’re putting time and energy and resources toward because it seems, much like fashion shows, [you need to be] a big machine,” said Mai, who also opted not to show at New York Fashion Week this past season. However, he’s not opposed to taking opportunities that come his way: Model Ashley Graham wore one of the brand’s gowns to this year’s Golden Globes. Standing Out in a CrowdWhile there are new challenges, the red carpet is not quite a lost cause for emerging labels. This year, a number had big moments: At the Grammys, there was Gaga in Samuel Lewis and Jaden Smith in an eye-catching headpiece by clothing brand Abodi Transylvania. This week, British independent label Emilia Wickstead made headlines for dressing Emma Stone (usually in Louis Vuitton) at the Independent Spirit Awards. Thanks to Hollywood’s increasingly long promotional tours and social media’s broad reach, there are more carpets — and non-carpet celebrity moments — that matter. Emerging designers had a presence at Saturday Night Live’s 50-year anniversary celebration in February, for example. Comedian Heidi Gardner wore Markarian on the carpet and Sandy Liang to the afterparty, while ascendant style-star Ayo Edibiri, styled by Danielle Goldberg, wore a gown by Colleen Allen. New York-based womenswear brand LaQuan Smith prioritises afterparties: not only are stars more willing to experiment, it fits with the brand’s fun vibe, said Jacqueline Cooper, designer LaQuan Smith’s business partner. “We pay attention to what our audience is paying attention to … blogs, Instagram and TikTok accounts will pick it up,” said Cooper. “Its not just the red carpet but everything around it.” For established brands red carpet is just another marketing lever, while for emerging brands it builds credibility, said Bringé, so their approaches differ. Emerging brands aren’t playing the same game as big labels — the era of inflated budgets has laid that bare — but they also shouldn’t be.“This is not our battle. We are not going to go into this marketing warfare, which we don’t have the capacity or capital to do,” said couture designer Wun. “If you get to only dress one or two [people] in a year, if they’re great, it doesn’t matter if others are dressing 40.” Wun charges for looks; but people still come to him because he offers something different, he said. Wearing an independent designer implies something extra: “They wear us because they love us, not based on a paycheck,” said Cooper. Plus, there may be a limit to how much big brands can show up without reaching the point of diminishing return on attention, said Morgan: “It’s boring.” Source link

[norajworld]

Within a few years of its 2017 launch, New York-based ready-to-wear brand Markarian became a red carpet regular, its sparkling dresses were routinely seen on A-listers like Laura Dern, Kerry Washington and Blake Lively. At the time, red carpet was the cornerstone of the brand’s publicity strategy. But as bid-budget luxury labels have doubled down on the red carpet, it’s become more of an afterthought. “It’s impossible for us to keep up,” said Markarian founder Alexandra O’Neill. “I’ve started thinking about who I’m designing for in a different way and being realistic about the opportunities that are available to us.” Since the pandemic, LVMH and Kering’s stables of brands, plus the likes of Armani, Chanel, Prada and Versace, have funneled more money than ever into the red carpet — creating splashy custom dresses, digging into the archives and inking exclusive (and expensive) celebrity contracts. On the big red carpets — including the Oscars, Screen Actors Guild Awards, Grammys and Emmys — a pattern has emerged. “It’s going to be Louis Vuitton, it’s going to be Dior, it’s going to be one or two Schiaparelli,” said Robert Wun, the designer behind his namesake, London-based couture line, whose dramatic designs have been worn by musicians Cardi B, Lady Gaga and recently Kehlani at the 2025 Grammy Awards. “You already know the game.” To be sure, bigger labels have long dominated the space, but their growing reach has made red carpet dressing seem like a less viable marketing tool for emerging designers. Reaping the benefits of a red carpet placement — and simply getting on the carpet in the first place — is increasingly challenging. There are also economic factors at play: a slow-growth luxury market and widespread wholesale upheaval have tested independent brands in particular. Red carpet dressing is a costly — and tenuous — endeavour. Bending over backwards for the chance at a celebrity spot is a luxury many can no longer afford. It’s still hard to find a better awareness boost than being worn by a celebrity on a big stage, but emerging brands have had to shift their tactics. Many are prioritising long-term and more strategic relationships with celebrities and stylists, lesser carpets and other events. Plus, they’re leaning into their uniqueness and being more discerning about what opportunities will benefit them most. “As an emerging brand, everyone wants to put you on the rack just to fill it. We cannot afford that dynamic and we don’t perpetuate it,” said Gregory Mitola, founder of Etagere PR, which handles press and VIP strategy for Colleen Allen, a New York-based label that launched in 2024. “There’s value to this brand and this product. We have to create ‘main character’ energy.” The Red Carpet Boom Getting a look on the right celebrity on the red carpet can be huge for a young brand. For example, Lady Gaga generated more media impact for Australian-Taiwanese designer Samuel Lewis by simply wearing one of his dresses at this year’s Grammys than 80 percent of New York Fashion Week shows in February, said Alison Bringé, chief marketing officer of Launchmetrics. But it’s increasingly competitive to snag those placements, and many feel they are fighting harder for a shrinking piece of the pie. (BoF Team) (BoF Team) Nowadays, big names are increasingly opting for younger, up-and-coming stars, who previously were mostly dressed by emerging brands. Mikey Madison, the 25-year-old actress nominated for an Oscar for her role in “Anora,” has worn Loewe, Louis Vuitton and Bottega Veneta this awards season. Where stylists used to tap unexpected designers to drive excitement; now they have other (perhaps more effective) options, like digging into a storied house’s archive, said Jessica Morgan, co-founder of the red carpet blog Go Fug Yourself. According to Savannah Engel, founder of the fashion PR firm Savi, which counts Markarian as a client, having something in the works, then watching a big name swoop in with a sweeter deal is now standard. As jewellery designer Bernard James describes it: “Its a sigh of relief when a [custom piece] is finished and handed over. But then a wave of depression when the person walks out [without it].” The trend is a natural evolution, Engel said, and one positive outcome is stylists getting paid more regularly. But it has resulted in what she calls a “monopoly over red carpets.” All these factors have more brands feeling that red carpets may not be the best way to spend their limited marketing budget in an already perilous market. Like Markarian, designer Bach Mai (which had been worn by Megan Thee Stallion and Kate Beckinsale) is re-centring design and marketing efforts on top clients — the people who actually buy the clothes. “[Red carpet] is not something we’re putting time and energy and resources toward because it seems, much like fashion shows, [you need to be] a big machine,” said Mai, who also opted not to show at New York Fashion Week this past season. However, he’s not opposed to taking opportunities that come his way: Model Ashley Graham wore one of the brand’s gowns to this year’s Golden Globes. Standing Out in a CrowdWhile there are new challenges, the red carpet is not quite a lost cause for emerging labels. This year, a number had big moments: At the Grammys, there was Gaga in Samuel Lewis and Jaden Smith in an eye-catching headpiece by clothing brand Abodi Transylvania. This week, British independent label Emilia Wickstead made headlines for dressing Emma Stone (usually in Louis Vuitton) at the Independent Spirit Awards. Thanks to Hollywood’s increasingly long promotional tours and social media’s broad reach, there are more carpets — and non-carpet celebrity moments — that matter. Emerging designers had a presence at Saturday Night Live’s 50-year anniversary celebration in February, for example. Comedian Heidi Gardner wore Markarian on the carpet and Sandy Liang to the afterparty, while ascendant style-star Ayo Edibiri, styled by Danielle Goldberg, wore a gown by Colleen Allen. New York-based womenswear brand LaQuan Smith prioritises afterparties: not only are stars more willing to experiment, it fits with the brand’s fun vibe, said Jacqueline Cooper, designer LaQuan Smith’s business partner. “We pay attention to what our audience is paying attention to … blogs, Instagram and TikTok accounts will pick it up,” said Cooper. “Its not just the red carpet but everything around it.” For established brands red carpet is just another marketing lever, while for emerging brands it builds credibility, said Bringé, so their approaches differ. Emerging brands aren’t playing the same game as big labels — the era of inflated budgets has laid that bare — but they also shouldn’t be.“This is not our battle. We are not going to go into this marketing warfare, which we don’t have the capacity or capital to do,” said couture designer Wun. “If you get to only dress one or two [people] in a year, if they’re great, it doesn’t matter if others are dressing 40.” Wun charges for looks; but people still come to him because he offers something different, he said. Wearing an independent designer implies something extra: “They wear us because they love us, not based on a paycheck,” said Cooper. Plus, there may be a limit to how much big brands can show up without reaching the point of diminishing return on attention, said Morgan: “It’s boring.” Source link

[ellajme0]

Within a few years of its 2017 launch, New York-based ready-to-wear brand Markarian became a red carpet regular, its sparkling dresses were routinely seen on A-listers like Laura Dern, Kerry Washington and Blake Lively. At the time, red carpet was the cornerstone of the brand’s publicity strategy. But as bid-budget luxury labels have doubled down on the red carpet, it’s become more of an afterthought. “It’s impossible for us to keep up,” said Markarian founder Alexandra O’Neill. “I’ve started thinking about who I’m designing for in a different way and being realistic about the opportunities that are available to us.” Since the pandemic, LVMH and Kering’s stables of brands, plus the likes of Armani, Chanel, Prada and Versace, have funneled more money than ever into the red carpet — creating splashy custom dresses, digging into the archives and inking exclusive (and expensive) celebrity contracts. On the big red carpets — including the Oscars, Screen Actors Guild Awards, Grammys and Emmys — a pattern has emerged. “It’s going to be Louis Vuitton, it’s going to be Dior, it’s going to be one or two Schiaparelli,” said Robert Wun, the designer behind his namesake, London-based couture line, whose dramatic designs have been worn by musicians Cardi B, Lady Gaga and recently Kehlani at the 2025 Grammy Awards. “You already know the game.” To be sure, bigger labels have long dominated the space, but their growing reach has made red carpet dressing seem like a less viable marketing tool for emerging designers. Reaping the benefits of a red carpet placement — and simply getting on the carpet in the first place — is increasingly challenging. There are also economic factors at play: a slow-growth luxury market and widespread wholesale upheaval have tested independent brands in particular. Red carpet dressing is a costly — and tenuous — endeavour. Bending over backwards for the chance at a celebrity spot is a luxury many can no longer afford. It’s still hard to find a better awareness boost than being worn by a celebrity on a big stage, but emerging brands have had to shift their tactics. Many are prioritising long-term and more strategic relationships with celebrities and stylists, lesser carpets and other events. Plus, they’re leaning into their uniqueness and being more discerning about what opportunities will benefit them most. “As an emerging brand, everyone wants to put you on the rack just to fill it. We cannot afford that dynamic and we don’t perpetuate it,” said Gregory Mitola, founder of Etagere PR, which handles press and VIP strategy for Colleen Allen, a New York-based label that launched in 2024. “There’s value to this brand and this product. We have to create ‘main character’ energy.” The Red Carpet Boom Getting a look on the right celebrity on the red carpet can be huge for a young brand. For example, Lady Gaga generated more media impact for Australian-Taiwanese designer Samuel Lewis by simply wearing one of his dresses at this year’s Grammys than 80 percent of New York Fashion Week shows in February, said Alison Bringé, chief marketing officer of Launchmetrics. But it’s increasingly competitive to snag those placements, and many feel they are fighting harder for a shrinking piece of the pie. (BoF Team) (BoF Team) Nowadays, big names are increasingly opting for younger, up-and-coming stars, who previously were mostly dressed by emerging brands. Mikey Madison, the 25-year-old actress nominated for an Oscar for her role in “Anora,” has worn Loewe, Louis Vuitton and Bottega Veneta this awards season. Where stylists used to tap unexpected designers to drive excitement; now they have other (perhaps more effective) options, like digging into a storied house’s archive, said Jessica Morgan, co-founder of the red carpet blog Go Fug Yourself. According to Savannah Engel, founder of the fashion PR firm Savi, which counts Markarian as a client, having something in the works, then watching a big name swoop in with a sweeter deal is now standard. As jewellery designer Bernard James describes it: “Its a sigh of relief when a [custom piece] is finished and handed over. But then a wave of depression when the person walks out [without it].” The trend is a natural evolution, Engel said, and one positive outcome is stylists getting paid more regularly. But it has resulted in what she calls a “monopoly over red carpets.” All these factors have more brands feeling that red carpets may not be the best way to spend their limited marketing budget in an already perilous market. Like Markarian, designer Bach Mai (which had been worn by Megan Thee Stallion and Kate Beckinsale) is re-centring design and marketing efforts on top clients — the people who actually buy the clothes. “[Red carpet] is not something we’re putting time and energy and resources toward because it seems, much like fashion shows, [you need to be] a big machine,” said Mai, who also opted not to show at New York Fashion Week this past season. However, he’s not opposed to taking opportunities that come his way: Model Ashley Graham wore one of the brand’s gowns to this year’s Golden Globes. Standing Out in a CrowdWhile there are new challenges, the red carpet is not quite a lost cause for emerging labels. This year, a number had big moments: At the Grammys, there was Gaga in Samuel Lewis and Jaden Smith in an eye-catching headpiece by clothing brand Abodi Transylvania. This week, British independent label Emilia Wickstead made headlines for dressing Emma Stone (usually in Louis Vuitton) at the Independent Spirit Awards. Thanks to Hollywood’s increasingly long promotional tours and social media’s broad reach, there are more carpets — and non-carpet celebrity moments — that matter. Emerging designers had a presence at Saturday Night Live’s 50-year anniversary celebration in February, for example. Comedian Heidi Gardner wore Markarian on the carpet and Sandy Liang to the afterparty, while ascendant style-star Ayo Edibiri, styled by Danielle Goldberg, wore a gown by Colleen Allen. New York-based womenswear brand LaQuan Smith prioritises afterparties: not only are stars more willing to experiment, it fits with the brand’s fun vibe, said Jacqueline Cooper, designer LaQuan Smith’s business partner. “We pay attention to what our audience is paying attention to … blogs, Instagram and TikTok accounts will pick it up,” said Cooper. “Its not just the red carpet but everything around it.” For established brands red carpet is just another marketing lever, while for emerging brands it builds credibility, said Bringé, so their approaches differ. Emerging brands aren’t playing the same game as big labels — the era of inflated budgets has laid that bare — but they also shouldn’t be.“This is not our battle. We are not going to go into this marketing warfare, which we don’t have the capacity or capital to do,” said couture designer Wun. “If you get to only dress one or two [people] in a year, if they’re great, it doesn’t matter if others are dressing 40.” Wun charges for looks; but people still come to him because he offers something different, he said. Wearing an independent designer implies something extra: “They wear us because they love us, not based on a paycheck,” said Cooper. Plus, there may be a limit to how much big brands can show up without reaching the point of diminishing return on attention, said Morgan: “It’s boring.” Source link

[chilimili212]

Within a few years of its 2017 launch, New York-based ready-to-wear brand Markarian became a red carpet regular, its sparkling dresses were routinely seen on A-listers like Laura Dern, Kerry Washington and Blake Lively. At the time, red carpet was the cornerstone of the brand’s publicity strategy. But as bid-budget luxury labels have doubled down on the red carpet, it’s become more of an afterthought. “It’s impossible for us to keep up,” said Markarian founder Alexandra O’Neill. “I’ve started thinking about who I’m designing for in a different way and being realistic about the opportunities that are available to us.” Since the pandemic, LVMH and Kering’s stables of brands, plus the likes of Armani, Chanel, Prada and Versace, have funneled more money than ever into the red carpet — creating splashy custom dresses, digging into the archives and inking exclusive (and expensive) celebrity contracts. On the big red carpets — including the Oscars, Screen Actors Guild Awards, Grammys and Emmys — a pattern has emerged. “It’s going to be Louis Vuitton, it’s going to be Dior, it’s going to be one or two Schiaparelli,” said Robert Wun, the designer behind his namesake, London-based couture line, whose dramatic designs have been worn by musicians Cardi B, Lady Gaga and recently Kehlani at the 2025 Grammy Awards. “You already know the game.” To be sure, bigger labels have long dominated the space, but their growing reach has made red carpet dressing seem like a less viable marketing tool for emerging designers. Reaping the benefits of a red carpet placement — and simply getting on the carpet in the first place — is increasingly challenging. There are also economic factors at play: a slow-growth luxury market and widespread wholesale upheaval have tested independent brands in particular. Red carpet dressing is a costly — and tenuous — endeavour. Bending over backwards for the chance at a celebrity spot is a luxury many can no longer afford. It’s still hard to find a better awareness boost than being worn by a celebrity on a big stage, but emerging brands have had to shift their tactics. Many are prioritising long-term and more strategic relationships with celebrities and stylists, lesser carpets and other events. Plus, they’re leaning into their uniqueness and being more discerning about what opportunities will benefit them most. “As an emerging brand, everyone wants to put you on the rack just to fill it. We cannot afford that dynamic and we don’t perpetuate it,” said Gregory Mitola, founder of Etagere PR, which handles press and VIP strategy for Colleen Allen, a New York-based label that launched in 2024. “There’s value to this brand and this product. We have to create ‘main character’ energy.” The Red Carpet Boom Getting a look on the right celebrity on the red carpet can be huge for a young brand. For example, Lady Gaga generated more media impact for Australian-Taiwanese designer Samuel Lewis by simply wearing one of his dresses at this year’s Grammys than 80 percent of New York Fashion Week shows in February, said Alison Bringé, chief marketing officer of Launchmetrics. But it’s increasingly competitive to snag those placements, and many feel they are fighting harder for a shrinking piece of the pie. (BoF Team) (BoF Team) Nowadays, big names are increasingly opting for younger, up-and-coming stars, who previously were mostly dressed by emerging brands. Mikey Madison, the 25-year-old actress nominated for an Oscar for her role in “Anora,” has worn Loewe, Louis Vuitton and Bottega Veneta this awards season. Where stylists used to tap unexpected designers to drive excitement; now they have other (perhaps more effective) options, like digging into a storied house’s archive, said Jessica Morgan, co-founder of the red carpet blog Go Fug Yourself. According to Savannah Engel, founder of the fashion PR firm Savi, which counts Markarian as a client, having something in the works, then watching a big name swoop in with a sweeter deal is now standard. As jewellery designer Bernard James describes it: “Its a sigh of relief when a [custom piece] is finished and handed over. But then a wave of depression when the person walks out [without it].” The trend is a natural evolution, Engel said, and one positive outcome is stylists getting paid more regularly. But it has resulted in what she calls a “monopoly over red carpets.” All these factors have more brands feeling that red carpets may not be the best way to spend their limited marketing budget in an already perilous market. Like Markarian, designer Bach Mai (which had been worn by Megan Thee Stallion and Kate Beckinsale) is re-centring design and marketing efforts on top clients — the people who actually buy the clothes. “[Red carpet] is not something we’re putting time and energy and resources toward because it seems, much like fashion shows, [you need to be] a big machine,” said Mai, who also opted not to show at New York Fashion Week this past season. However, he’s not opposed to taking opportunities that come his way: Model Ashley Graham wore one of the brand’s gowns to this year’s Golden Globes. Standing Out in a CrowdWhile there are new challenges, the red carpet is not quite a lost cause for emerging labels. This year, a number had big moments: At the Grammys, there was Gaga in Samuel Lewis and Jaden Smith in an eye-catching headpiece by clothing brand Abodi Transylvania. This week, British independent label Emilia Wickstead made headlines for dressing Emma Stone (usually in Louis Vuitton) at the Independent Spirit Awards. Thanks to Hollywood’s increasingly long promotional tours and social media’s broad reach, there are more carpets — and non-carpet celebrity moments — that matter. Emerging designers had a presence at Saturday Night Live’s 50-year anniversary celebration in February, for example. Comedian Heidi Gardner wore Markarian on the carpet and Sandy Liang to the afterparty, while ascendant style-star Ayo Edibiri, styled by Danielle Goldberg, wore a gown by Colleen Allen. New York-based womenswear brand LaQuan Smith prioritises afterparties: not only are stars more willing to experiment, it fits with the brand’s fun vibe, said Jacqueline Cooper, designer LaQuan Smith’s business partner. “We pay attention to what our audience is paying attention to … blogs, Instagram and TikTok accounts will pick it up,” said Cooper. “Its not just the red carpet but everything around it.” For established brands red carpet is just another marketing lever, while for emerging brands it builds credibility, said Bringé, so their approaches differ. Emerging brands aren’t playing the same game as big labels — the era of inflated budgets has laid that bare — but they also shouldn’t be.“This is not our battle. We are not going to go into this marketing warfare, which we don’t have the capacity or capital to do,” said couture designer Wun. “If you get to only dress one or two [people] in a year, if they’re great, it doesn’t matter if others are dressing 40.” Wun charges for looks; but people still come to him because he offers something different, he said. Wearing an independent designer implies something extra: “They wear us because they love us, not based on a paycheck,” said Cooper. Plus, there may be a limit to how much big brands can show up without reaching the point of diminishing return on attention, said Morgan: “It’s boring.” Source link

[swedesinstockholm]

25 septembre

ce matin je me suis réveillée à l'aube, je suis allée acheter du pain à la boulangerie dans ma chemise de nuit ancestrale et j'ai mangé mon croissant assise dans les dunes en regardant la mer, on voyait bien les pyrénées. puis je suis rentrée mettre mon maillot et je suis repartie à la plage, y avait personne, puis seul au monde m'a rejoint et on est restés assis sur nos serviettes en silence, séparés mais ensemble. quand c. est arrivée il sortait de l'eau et ils ont brièvement discuté, ce qui m'a permis de le voir de près de nouveau. il est très maigre mais musclé, il a l'air vieux, et il a l'accent. je suis retournée à la bouée couvée par son regard et celui de marie, probablement en train de délibérer si j'avais les aptitudes nécessaires pour intégrer leur club des amants de la mer. ça m'a donné du courage, j'avançais comme une fusée. elle nage le crawl elle aussi avec son double bonnet, son masque et son tuba. quand elle sort de l'eau elle le porte sur l'épaule comme un sac à main. quand je suis arrivée à la bouée y avait une mouette perchée dessus, je lui ai dit coucou et je suis repartie aussi sec, j'aime pas trop traîner autour, j'ai peur de la chaîne qui descend dans les profondeurs. en revenant je me suis laissée flotter en chantonnant ma chanson de saturne en pensant à r. qui m'a dit qu'il voulait essayer une instru dessus et je souriais toute seule face à l'horizon pailleté.

hier on a de nouveau eu un de nos échanges où on part d'une image et chacun renchérit dessus avec des mots très imagés très vite et ça pourrait déjà être une performance en soi. ça part toujours tout seul et c'est toujours très drôle. je lui ai parlé de ma passion pour le palais de justice à bruxelles et il m'a demandé si j'y étais déjà rentrée et maintenant j'ai un nouveau fantasme: m'introduire dans le palais de justice avec r. la nuit et explorer tous les étages à la lampe torche du téléphone comme dans une comédie romantiques pour adolescents.

27 septembre

j'ai rêvé de seul au monde, c'était un peu bof, je nageais dans la mer sans regarder où j'allais et je lui suis rentrée dedans, c'était confus et agité et je me suis pas excusée parce que j'y voyais rien, et puis j'étais sur la plage bondée comme jamais et sa serviette était collée à la mienne derrière moi et je me suis retournée pour lui dire je suis désolée de vous être rentrée dedans dans la mer. hier j'ai dit à marie qu'elle avait un très joli chapeau et elle a commencé à me parler de son chapeau mexicain mais j'étais trop occupée à contempler le fait que j'étais en train de lui parler pour écouter ce qu'elle me disait. j'ai appris qu'elle avait 70 ans et que c'est elle qui avait entrainé seul au monde à aller se baigner toute l'année, même en plein hiver. seul au monde a la soixantaine et aux dernières nouvelles il sort toujours avec sophie, mais d'après c. ça va pas durer parce qu'elle a dit qu'elle le trouvait pas très drôle. dans le sens: il a de la place pour qu'une seule passion dans sa vie et c'est la mer, voilà mon avis, mais je sais pas si c'est ce qu'elle a voulu dire.

toujours à narbonne, la vie y est douce. ce matin j'ai fait un sondage sur instagram pour demander aux gens où je devrais déménager et de suite la fille qui était venue me parler à l'entracte de la soirée à la bellone m'a dit de venir à bruxelles avec un coeur et la vie avec instagram c'est bien aussi quand même. bruxelles est en tête mais c'est serré avec sète, suivi de marseille, puis berlin. je sais pas si cette histoire va m'aider à enfin sauter le pas. hier maman m'a appelée pour me dire qu'elle avait regardé les offres d'emploi à sète pour moi. j'ai enfin écrit à c. t. la dramaturge aussi, elle avait bien pensé à moi pour un projet mais depuis il est tombé à l'eau mais elle était trop occupée pour me prévenir. bon, au moins elle a pensé à moi.

28 septembre

de retour sur la plage, je viens de faire coucou à seul au monde en murmurant un petit au revoir imprégné de révérence comme si je m'adressais au grand maître de la mer. en attendant le bus à la gare d'agde une fille avec un sac à dos m'a demandé si le bus pour l'aéroport partait bien à 15h40, elle allait à edimbourg et elle ressemblait un peu à roberta colindrez. j'ai dit j'espère pour vous qu'il aura pas trop de retard et elle a dit oh c'est pas très grave si je rate mon vol, la vie est beaucoup plus belle ici qu'à edimbourg! et je me demande où elle était ces quatre dernières semaines. pourquoi elle était pas sur la plage avec moi? pourquoi y a que des retraités ++ sur la plage quand moi j'y suis? dans le bus tout le monde disait bonjour et au revoir et merci au chauffeur en rentrant et en sortant et il répondait avec plaisir quand on lui disait merci. j'étais toute contente de rentrer chez moi, chez moi à la mer, en sortant du bus. j'ai croisé l'homme hirsute qui habite dans la maison bric à brac avec le vieux bateau dans le jardin et il m'a fait un signe de tête discret et je lui ai fait un sourire discret et puis j'ai levé les bras en l'air de joie, je sais pas trop pourquoi.

[oliviajoyice21]

Within a few years of its 2017 launch, New York-based ready-to-wear brand Markarian became a red carpet regular, its sparkling dresses were routinely seen on A-listers like Laura Dern, Kerry Washington and Blake Lively. At the time, red carpet was the cornerstone of the brand’s publicity strategy. But as bid-budget luxury labels have doubled down on the red carpet, it’s become more of an afterthought. “It’s impossible for us to keep up,” said Markarian founder Alexandra O’Neill. “I’ve started thinking about who I’m designing for in a different way and being realistic about the opportunities that are available to us.” Since the pandemic, LVMH and Kering’s stables of brands, plus the likes of Armani, Chanel, Prada and Versace, have funneled more money than ever into the red carpet — creating splashy custom dresses, digging into the archives and inking exclusive (and expensive) celebrity contracts. On the big red carpets — including the Oscars, Screen Actors Guild Awards, Grammys and Emmys — a pattern has emerged. “It’s going to be Louis Vuitton, it’s going to be Dior, it’s going to be one or two Schiaparelli,” said Robert Wun, the designer behind his namesake, London-based couture line, whose dramatic designs have been worn by musicians Cardi B, Lady Gaga and recently Kehlani at the 2025 Grammy Awards. “You already know the game.” To be sure, bigger labels have long dominated the space, but their growing reach has made red carpet dressing seem like a less viable marketing tool for emerging designers. Reaping the benefits of a red carpet placement — and simply getting on the carpet in the first place — is increasingly challenging. There are also economic factors at play: a slow-growth luxury market and widespread wholesale upheaval have tested independent brands in particular. Red carpet dressing is a costly — and tenuous — endeavour. Bending over backwards for the chance at a celebrity spot is a luxury many can no longer afford. It’s still hard to find a better awareness boost than being worn by a celebrity on a big stage, but emerging brands have had to shift their tactics. Many are prioritising long-term and more strategic relationships with celebrities and stylists, lesser carpets and other events. Plus, they’re leaning into their uniqueness and being more discerning about what opportunities will benefit them most. “As an emerging brand, everyone wants to put you on the rack just to fill it. We cannot afford that dynamic and we don’t perpetuate it,” said Gregory Mitola, founder of Etagere PR, which handles press and VIP strategy for Colleen Allen, a New York-based label that launched in 2024. “There’s value to this brand and this product. We have to create ‘main character’ energy.” The Red Carpet Boom Getting a look on the right celebrity on the red carpet can be huge for a young brand. For example, Lady Gaga generated more media impact for Australian-Taiwanese designer Samuel Lewis by simply wearing one of his dresses at this year’s Grammys than 80 percent of New York Fashion Week shows in February, said Alison Bringé, chief marketing officer of Launchmetrics. But it’s increasingly competitive to snag those placements, and many feel they are fighting harder for a shrinking piece of the pie. (BoF Team) (BoF Team) Nowadays, big names are increasingly opting for younger, up-and-coming stars, who previously were mostly dressed by emerging brands. Mikey Madison, the 25-year-old actress nominated for an Oscar for her role in “Anora,” has worn Loewe, Louis Vuitton and Bottega Veneta this awards season. Where stylists used to tap unexpected designers to drive excitement; now they have other (perhaps more effective) options, like digging into a storied house’s archive, said Jessica Morgan, co-founder of the red carpet blog Go Fug Yourself. According to Savannah Engel, founder of the fashion PR firm Savi, which counts Markarian as a client, having something in the works, then watching a big name swoop in with a sweeter deal is now standard. As jewellery designer Bernard James describes it: “Its a sigh of relief when a [custom piece] is finished and handed over. But then a wave of depression when the person walks out [without it].” The trend is a natural evolution, Engel said, and one positive outcome is stylists getting paid more regularly. But it has resulted in what she calls a “monopoly over red carpets.” All these factors have more brands feeling that red carpets may not be the best way to spend their limited marketing budget in an already perilous market. Like Markarian, designer Bach Mai (which had been worn by Megan Thee Stallion and Kate Beckinsale) is re-centring design and marketing efforts on top clients — the people who actually buy the clothes. “[Red carpet] is not something we’re putting time and energy and resources toward because it seems, much like fashion shows, [you need to be] a big machine,” said Mai, who also opted not to show at New York Fashion Week this past season. However, he’s not opposed to taking opportunities that come his way: Model Ashley Graham wore one of the brand’s gowns to this year’s Golden Globes. Standing Out in a CrowdWhile there are new challenges, the red carpet is not quite a lost cause for emerging labels. This year, a number had big moments: At the Grammys, there was Gaga in Samuel Lewis and Jaden Smith in an eye-catching headpiece by clothing brand Abodi Transylvania. This week, British independent label Emilia Wickstead made headlines for dressing Emma Stone (usually in Louis Vuitton) at the Independent Spirit Awards. Thanks to Hollywood’s increasingly long promotional tours and social media’s broad reach, there are more carpets — and non-carpet celebrity moments — that matter. Emerging designers had a presence at Saturday Night Live’s 50-year anniversary celebration in February, for example. Comedian Heidi Gardner wore Markarian on the carpet and Sandy Liang to the afterparty, while ascendant style-star Ayo Edibiri, styled by Danielle Goldberg, wore a gown by Colleen Allen. New York-based womenswear brand LaQuan Smith prioritises afterparties: not only are stars more willing to experiment, it fits with the brand’s fun vibe, said Jacqueline Cooper, designer LaQuan Smith’s business partner. “We pay attention to what our audience is paying attention to … blogs, Instagram and TikTok accounts will pick it up,” said Cooper. “Its not just the red carpet but everything around it.” For established brands red carpet is just another marketing lever, while for emerging brands it builds credibility, said Bringé, so their approaches differ. Emerging brands aren’t playing the same game as big labels — the era of inflated budgets has laid that bare — but they also shouldn’t be.“This is not our battle. We are not going to go into this marketing warfare, which we don’t have the capacity or capital to do,” said couture designer Wun. “If you get to only dress one or two [people] in a year, if they’re great, it doesn’t matter if others are dressing 40.” Wun charges for looks; but people still come to him because he offers something different, he said. Wearing an independent designer implies something extra: “They wear us because they love us, not based on a paycheck,” said Cooper. Plus, there may be a limit to how much big brands can show up without reaching the point of diminishing return on attention, said Morgan: “It’s boring.” Source link

[denmark-street]

Je suis abonné à 2-3 comptes littéraires sur instagram qui disent qu'elles trouvent que la littérature contemporaine c'est globalement pas terrible et qu'elles préfèrent les classiques.

Comment je suis en panneau de lecture (en gros depuis que j'ai terminé l'université il y a un certain temps maintenant je ne lis pratiquement que de la fantasy (mon genre favori je pense) et c'est un peu devenu been there done that dès que je tente une nouvelle série). Bon, je tente autre chose pour me changer les idées et j'enchaîne avec roman récent et court. J'ai commencé Le Rire du grand blessé et je trouve ça un peu creux, très en surface. Je suis à 25% (donc 20 pages) et bof bof.

Je me dis que les instagram-euses ont peut être raison.

[aangelinakii]

WHAT MUSIC THEY WOULD LISTEN TO.

characters written about in this piece : bruce wayne, dick grayson, jason todd, tim drake, damian wayne, barbara gordon, duke thomas, stephanie brown, cassandra cain

not proofread !

note : if you actually went and read through all of this i will actually smooch you

BRUCE WAYNE

bruce isn't an average music enjoyer, so he doesn't really have many preferences to what he listens to. all i know is that he doesn't like music that is too upbeat, like many pop songs.

perhaps in his angsty emo the batman 2022 phase, he would listen to metal, heavy guitars and drums, similar to jason. but as he develops as a philanthropist and vigilante, he would sway towards classical music without words. it helps him concentrate in many situations, and different artists or albums can convey so many different emotions in their music.

this music often plays within his office at wayne enterprises, the batcave whilst he's researching on the computer, or even just throughout the manor whilst he's doing bruce wayne shit.

songs i think he would like :

jazz suite no. 2: vi. waltz 2, dmitri shostakovich

12 études op.25: no. 11 in a minor "winter wind", frédéric chopin

vi. lacrimosa dies illa, slovak philharmonic

tango - bof "kuduz", goran bregović

le cygne (arr. for harp and cello), camille saint-saëns

le nozze di figaro k.492: overture, wolfgang amadeus mozart

DICK GRAYSON

i can see dick as someone who incorporates music a lot into his every day life; playing something on his alexa as he cooks dinner, listening to something in airpods as he walks around gotham during the day, hums or whistles a tune as he surveys the streets of blüdhaven at night. i don't think he would have taken up learning any instruments, but he's a very musical person, knows how to hold a rhythm as well.

he's into more modern music, very much frank ocean. he likes chill music with a good beat and maybe some good vocals. as long as the song overall sounds good, he doesn't really pay attention to lyrics. if a song he likes has weird lyrics, he'll only notice it one random day as he's singing along, and begin to overthink them in the shower and wonder why they were written in the first place.

songs i think he would like :

swim good, frank ocean

she, tyler the creator & frank ocean

novacane, frank ocean

dance now, joey valence & brae

wet dreamz, j cole

mysëlf, yeat

JASON TODD

i actually have a jason playlist here !

i think jason enjoys darker sounding music, but it can go one of two ways; either loud guitar, or absolutely gut wrenching vocals. i'm talking lyrics mixed with the perfect pleading voice to make you feel just numb inside.

jason has experienced a lot of loss and trauma in his life, so sometimes he may feel numb and just need to amp it up with a loud deftones song, or he is feeling too much, and needs a mellow, yet depressing mitski song to bring him back down. granted, neither are the happiest options, but it's what works for him.

songs i think he would like :

xerces, deftones

danger, south arcade

i don't smoke, mitski

come home to god, amaarae

smoke sprite, so!yoon!

dagger, slowdive

TIM DRAKE

LMAO i think this guy would be such a closeted theatre kid. he's watched all the heathers slime videos and watched hamilton and newsies on disney plus. he loves it, it just evokes an entirely different feeling. he would never tell anybody about this side though, which is why these playlists are kept privateee on his spotify.

so when he's with other people he shows that he listens to more mainstream artists, but likes an experimental sound, so maybe some tyler here and some carti there, but they aren't his go-to artists.

songs i think he would like :

boyfriend, tyler the creator

flex, playboi carti

non-stop, broadway cast of hamilton

once upon a december, broadway cast of anastasia

meet the plastics, broadway cast of mean girls

miso, edv & bigbabygucci

DAMIAN WAYNE

this little shit only exclusively listens to either classical music (aww look at him taking after his own papa) or the heaviest, scariest rock metal you've ever heard. bonus points if it's metal with classical undertones !!! he loves that shit, not that he would show it.

when he does his homework or falls asleep, he listens to heavyyy heavy metal. when he's eating a sandwich in the kitchen, or training in the batcave he'll be listening to classical music. see? it's not exactly linear.

songs i think he would like :

carnival of the animals: aquarium, camille saint-saëns

romeo and juliet op.64 - act 1: balcony scene - romeo's variation - love dance, sergei prokofiev

the isle of the dead op.29, sergei rachmaninoff

immortal rites, morbid angel

them bones, alice in chains

BARBARA GORDON

barbara is a woman on the quieter side, despite herself. i feel towards others she is more outgoing and reliable, but when she's with herself, she likes to wind down and just sit with her thoughts. she likes jazz, slow and soft, and the type of music you would find in movies from the 50s and 60s. there's something wistful about it that she just loves.

this type of music can help her concentrate. she listens to music whilst reading, or whilst sitting behind the computer as oracle during less high-tension moments.

songs i think she would like :

the shadows of paris, elsie bianchi trio

piano and strings, henry mancini

a night to remember, beabadoobee & laufey

la javanaise, serge gainsbourg

jane b, jane birkin

my favourite game, the cardigans

DUKE THOMAS

we can all agree that duke is one of the more positive members in the family, trying his best to keep his optimistic outlook despite the rest of the world, and the rest of gotham especially. he likes songs with meaning, although hidden behind a happy instrumental and youthful vocals, but he also enjoys just plain old happy-go-lucky sounding songs.

i also think he's a very musical person, always got headphones on. he probably gets that one notification at least once a week telling him his volume is too high in his ears.

he loves to dance, so songs that he can get lost in and have a little jam sesh in his bedroom are a must!!!

songs i think he would like :

useless, omar apollo

the magic number, de la soul

batshit, dominic fike

breadwinner, floyd fuji & topaz jones

the violence, childish gambino

smokin out the window, silk sonic

STEPHANIE BROWN

as for stephanie, this girl listens to EVERYTHING. she listens to kpop, shoegaze, indie, rnb, 2010s pop, jazz likeeeee she will literally listen to anything. she doesn't have playlists she just fr adds every song she likes to "liked songs" and listens to it on shuffle, and whatever comes up she listens to without an issue. almost never skips songs because she's so open to anything and everything.

like one minute she could be listening to her fav red velvet album, and then the next min she's on the verge of tears listening to phillipa soo sing burn on the hamilton soundtrack.

songs i think she would like :

so good, red velvet

cola head, willow kayne

if you want to, beabadoobee

call me maybe, carly rae jepsen

xxl, young posse

unchained memory, cafuné

CASSANDRA CAIN

following her quieter nature, i can't see cass listening to anything too upbeat or loud. she'll like a softer instrumental but with an emotional vocal line, almost as if getting to express the things she may not be fully able to towards her family and friends.

may enjoy a good old shoegaze or indie song here and there, especially if she's feeling more emotional, as she feels the sound of the song encapsulates her emotions.

songs i think she would like :

only, lee hi

chocolate and mint, duster

slow burn, infinity song

gaia, lexie liu

emo song, beabadoobee

chaos angel, maya hawke

[nightsidewrestling]

D.U.D.E Bios: Oxana Volkov (2021)

Pelageya’s Youngest Sister Oxana Volkov

The sister of Pelageya and sister-in-law of Byron, Oxana.

“Ne ponimayu. Povtorite pozhaluysta.”

Name

Full Legal Name: Oxana Lyubov Volkov

First Name: Oxana

Meaning: Variation of ;Oksana’, the Ukrainian form of ‘Xenia’, which means 'Hospitality’ in Greek, a derivative of 'Xenos’ meaning 'Foreigner, Guest’.

Pronunciation: uk-SA-na

Origin: Ukrainian, Russian

Middle Name: Lyubov

Meaning: Derived from the Slavic element 'Lyuby’ meaning 'Love’.

Pronunciation: lyuw-BOF

Origin: Russian, Ukrainian, Bulgarian

Surname: Volkov

Meaning: Patronymic derived from Russian 'Volk’ meaning 'Wolf’.

Pronunciation: vul-KOF

Origin: Russian

Alias: N/A

Reason: N/A

Nicknames: Lioubov, Liubov, Lubov

Titles: Miss

Characteristics

Age: 16

Gender: Female. She/Her Pronouns

Race: Human

Nationality: Russian

Ethnicity: White

Birth Date: March 12th 2005

Symbols: N/A

Sexuality: N/A

Religion: Russian Orthodox

Relationship Status: N/A

Astrological Sign: Pisces

Theme Song (Ringtone on Geia’s Phone): 'Almaz’ - Alisa Mon

Voice Actor: N/A

Geographical Characteristics

Birthplace: Bolgar, Spassky District, Republic of Tatarstan, Russia

Current Location: Bolgar, Spassky District, Republic of Tatarstan, Russia

Hometown: Bolgar, Spassky District, Republic of Tatarstan, Russia

Appearance

Height: N/A

Weight: N/A

Eye Colour: Brown

Hair Colour: Brown

Hair Dye: None

Body Hair: N/A

Facial Hair: N/A

Tattoos: (As of Jan 2020) None

Piercings: Ear Lobes (Both)

Scars: None

Health and Fitness

Allergies: None

Alcoholic, Smoker, Drug User: N/A

Illnesses/Disorders: None

Medications: None

Any Specific Diet: None

Relationships

Allies: N/A

Enemies: N/A

Friends: N/A

Colleagues: N/A

Rivals: N/A

Closest Confidant: Diana Volkov

Mentor: Rudolf Volkov

Significant Other: N/A

Previous Partners: N/A

Parents: Rudolf Volkov (54, Father), Diana Volkov (55, Mother, Née Shvets)

Parents-In-Law: None

Siblings: Pelageya Winter (34, Sister, Née Volkov), Ardalion Volkov (31, Brother), Matrona Marino(28, Sister, Née Volkov), Yaroslav Volkov (25, Brother), Klavdia Volkov (22, Sister), Wassily Volkov (19, Brother)

Siblings-In-Law: Byron Winter (54, Pelageya’s Husband), Sabina Volkov (32, Ardalion’s Wife, Née Melnik), Quirino Marino (29, Matrona's Husband)

Nieces & Nephews: Feliks Volkov (11, Nephew), Nathan Winter (34, Nephew), Genesis Winter (35, Nathan’s Wife, Née Rivers), Zinnia Turner (31, Niece, Née Winter), Patrick Turner (32, Zinnia’s Husband), Laurence Winter (28, Nephew), Xanthia Winter (25, Niece), Joseph Winter (22, Nephew), Venetia Winter (19, Niece), Isaiah Winter (16, Nephew), Uliana Winter (13, Niece), Emil Winter (10, Nephew)

Children: None

hildren-In-Law: None

Grandkids: None

Great Grandkids: None

Wrestling

Billed From: N/A

Trainer: N/A

Managers: N/A

Wrestlers Managed: N/A

Debut: N/A

Debut Match: N/A

Retired: N/A

Retirement Match: N/A

Wrestling Style: N/A

Stables: N/A

Teams: N/A

Regular Moves: N/A

Finishers: N/A

Refers To Fans As: N/A

Extras

Trivia: Nothing of Note

[nimphontheshore]

Remembrance.

Some texts (with date) I sent to my friends. Some you saw, perhaps some you didn’t. Nothing crazy; just thoughts about you.

10/04/23 : “Je Hyperbeam avec Rei”

02/03/23 : “Je suis amoureux d’elle”

02/12/23 : “Y'a genre quelques semaines elle m'a dit qu'elle adorait le surréalisme et que ça l'aidait beaucoup de regarder des animations assez edgy le soir avec des histoires/visuals très spéciaux. J'ai sué pendant 10ans à trouver ces trucs et dis toi que je les ai regardé un par un pour être certain que c'est pas de la merde et qu'elle va pouvoir aimer.

Mais ce que j'hésite a faire c'est carrément un compte letterbox entier avec plusieurs listes et pas seulement une seule liste? T'en penses quoi?”

02/23/23 : “Je suis amoureux c’est pas possible.”

03/02/23 : Quand elle est jalouse je suis trop amoureux.”

02/28/23 : “Je devais lui demander officiellement d’être ma copine.”

03/01/23 : “Je lui ai demandé d’être ma copine.”

03/03/23 : “Je suis trop amoureux quoi.”

03/24/23 : “Avec gf on va faire une liste 30jours challenge sur letterboxd.”

04/06/23 : “Mais je veux profiter de Rei parce que c’est les derniers jours.”

04/13/23 : “Dès le 26 j’étais déjà dans les dms de Ashara en mode : Oui j’ai regardé ce trailer avec Rei. Oui j’ai parlé de ce film avec Rei.”

04/25/23 : “J’attends que Rei passe les contrôles et je vais jouer.” (Literally me making sure everything goes smooth for you before chilling).

04/25/23 : “Tu sais j'ai retrouvé notre toute première conversation avec Rei. Ça fait peur hein. Direct on tapait des pavés dès le third message.”

04/27/23 : “Mmmm my plans. Squatter chez Gf et faire le petit parisien.”

05/13/23 : “Mais d'ailleurs. Ton rpg c'était quel mois déjà? Juillet? Car j'ai rencontré Rei sur un rpg et je me demande si c'était pas le tien justement.”

05/19/23 : “Surprise pour Rei.”

05/17/23 : “Bof, t’en fais pas, juste la fatigue et j’attendais Rei. Donc bored sans elle.”

05/23/23 : “Je l’aime trop ma copine.”

05/27/23 : “JE PENSE TROP À MA REI”

06/28/23 : “Des fois c'est compliqué d'avoir du temps pour tout le monde. Moi je pense tout le temps à vous mais des fois je privilégie mon temps et mes efforts pour ma copine et alors t'sais.”

[swedesinstockholm]

25 juillet

je viens de terminer la dernière saison de the marvelous mrs maisel recroquevillée sur le canapé avec les larmes aux yeux tellement je vivais le triomphe de midge avec elle, sa révélation sur le plateau du gordon ford show, son rêve de gloire, quand elle dit qu’elle fait ça because i love it, when you’re up there and people are listening to you, et puis l’histoire d'amour entre susie et hedy, quand elle raconte à midge que c’est la seule fois qu'elle a aimé quelqu’un, il y a vingt ans, ou je sais pas combien, et que ça s’est mal terminé, et midge lui dit qu’un jour elle aimera à nouveau, et susie la regarde avec les yeux mouillés et suppliants, je me suis dit OUI, la fiction est d’une nécessité absolue dans le monde, la fiction aide à vivre, la fiction sauve des vies, et en écrivant je peux avoir ce pouvoir-là. être là pour les gens comme susie myerson et midge maisel étaient là pour moi ce soir, avec leurs rêves de gloire et leur coeur brisé. oui oui oui oui oui oui. vive les histoires vive les personnages vive la fiction et vive les artistes.

à part ça j’ai regardé the souvenir (bof) et bergman island (mieux). dans une scène de bergman island, mia wasikowska attend l’acteur norvégien qui joue dans les films de joachim trier jusqu’au l’aube dans sa chambre, et quand elle comprend qu’il viendra pas, la voix narratrice de vicky krieps dit: her restlessness gave way to a heavy sadness, ou un truc comme ça, et je l’ai senti jusque dans mes os. ils m'ont rappelé le dimanche de la mort dans l’appartement de m., quand j’ai compris que ça servait à rien d’attendre et que mon corps est devenu lourd comme si je portais une montagne. juste avant qu’elle passe la nuit à l’attendre, elle dansait sur the winner takes it all avec ses amies dans un bar tout en se sachant regardée par lui, ça lui donne confiance en elle, elle commence à se lâcher, elle devient un peu séductrice, et puis à la seconde où elle se rend compte qu’il est plus là, sa joie s’écroule d’un coup et elle sort du bar en courant pour partir à sa recherche, complètement paniquée. et de nouveau, mes os l’ont senti.

27 juillet

ce mois de juillet est une fraude. je suis allée voir barbie au cinéma avec m. et f. j’avais mis une robe bustier rose et mes converses à paillettes alors qu'elles étaient habillées normalement mais j’ai été un peu déçue par le film. j’ai rien raconté à f. de mes histoires, je savais pas comment commencer, alors j’ai rien dit. maintenant elle est repartie et parfois je me dis que j’aimerais lui faire lire mon tumblr, pour qu’elle sache ce qui se passe dans ma vie un peu. mais je peux pas, évidemment, personne que je connais ne peut lire ce journal. elle a mentionné son adhs add adhd je sais jamais lequel c’est ni l’ordre des lettres, j’oublie tout le temps qu’elle a ça maintenant. je me suis dit que ç'avait peut être un lien avec le fait qu’elle me pose jamais aucune question et qu’elle rapporte toujours tout à elle. peut être que c’est juste son dysfonctionnement neurologique, comme moi le mien c’est de plonger dans l’abysse. elle arrive pas à s’intéresser aux autres et moi je me mure dans le silence, comment on est sensées avoir une relation fonctionnelle? j’aurais bien aimé lui raconter mes mésaventures dans le royaume de la bisexualité et mes embrouilles avec r. pour que ça sorte des confins de mon journal un peu. mais c’est tellement plus simple d’en parler à internet. elle me montrait son vernis aux couleurs du drapeau bi et ça aurait été une occasion d’évoquer le sujet, mais après c’est parti sur une discussion sur le vernis et ses avantages et ses inconvénients et je savais plus comment introduire r. là dedans.

en lisant le livre orange fluo d’émilie notéris j’ai appris que même monique wittig avait eu des relations amoureuses avec des hommes. j’ai du relire la page pour vérifier que j’avais bien compris, oui elle est bien sortie avec un homme dont elle était follement amoureuse. ils se sont rencontrés quand elle avait 32 ans et lui 29 et mon incorrigible cerveau a noté: comme moi et r. début janvier. il disait qu’il devait admirer une femme pour pouvoir tomber amoureux d’elle, mais qu’il avait d’abord été séduit par monique en tant que personne, avant de découvrir monique l’écrivaine, et c’est là que nos chemins divergent. r. m’a dit que mon texte sur monique wittig lui avait donné envie de lire donna haraway, il m’a demandé des recommendations de livres pour prendre à sa retraite dans un monastère, je lui ai conseillé vinciane despret, plus facile à lire, et il est parti à la librairie acheter habiter en oiseau dans la seconde.

29 juillet

au centre commercial ce matin une femme un peu paumée s’est approchée de moi en tendant la main pour me demander si je pensais que c’était mieux qu’elle porte sa bague au pouce ou à l’index. je lui ai dit au pouce c’est bien mais son doute persistait et elle m’a reposé quinze fois la question avant de s’en aller. est-ce que, à force de solitude, je vais me retrouver à hanter les centres commerciaux pour demander des conseils vestimentaires aux gens moi aussi, rongée par le doute?

parfois je me dis que je suis tout près, vraiment tout près d’arriver à me détacher de mes sentiments pour les gens, tout près de voir sous le voile humain qui recouvre les choses, tout près d’être détachée de l’importance donnée aux choses, de l’importance donnée à r., de l’importance donnée à c. qui a passé tout le concert de francis of delirium à embrasser sa copine à côté de moi hier soir. j’ai accompagné m. aux rotondes avec ses ami.es mannequins pour me sortir de la maison et en même temps me sortir de r. et voilà que ma crush numéro deux vient me briser le coeur juste sous mon nez. partout où je vais quelqu’un me brise le coeur, je ne suis à l’abri nulle part. je comprends pas pourquoi l’univers s’acharne sur moi comme ça. j’ai passé la soirée à regarder les filles dans la foule pour me comparer à elles et essayer de déterminer si j’étais vraiment le dernier des laiderons, si c’était vraiment ça le problème. jusqu’à maintenant j’étais toujours partie du principe que j’avais, malgré tout, un charme un peu singulier. que j’étais un peu mignonne. pas super hot, mais charmante. mais depuis r. je commence à me dire que peut être que ça aussi c’était une illusion, j’ai jamais été mignonne, je suis un laideron depuis le début. un laideron difforme, bougonne et sans tenue. molle et repoussante. et pourtant hier soir en regardant les filles autour de moi, y en avait que je trouvais plus moches que moi. je regardais les mecs aussi, pour voir si j’arrivais à attirer leur regard, mais quand ils me regardaient j’arrivais pas à déterminer s'ils me regardaient parce que je les regardais aussi, parce qu’ils étaient intrigués par mon oeil, ou parce qu’ils se disaient que j’étais mal coiffée. j’étais à deux doigts d’aller leur demander s’ils me trouvaient jolie. DO YOU THINK I’M HOT? QUELQU’UN ICI VEUT BIEN SORTIR AVEC MOI? heureusement que francis of delirium est un groupe de rock emo et que donc je pouvais me complaire dans mon chagrin bien accompagnée et de manière esthétiquement satisfaisante. c’était triste et beau.

j’attendais que le concert soit fini pour dire bonjour à c., pour qu’on puisse discuter et qu’elle me présente à sa copine, mais elle a disparu à mi-concert. j’avais oublié qu’elle était la personne la plus occupée du monde. c. le coup de vent. j’ai passé le reste de la soirée à la chercher des yeux mais elle avait disparu, il restait que sa copine, moins hot que ce que je m’étais imaginé. zéro frisson d’action lesbienne se produisant sous mes yeux de nouveau, juste du chagrin ainsi qu'une grosse envie de crever les yeux de tout le monde puis les miens. de colère. colère que tout le monde ait décidé de me briser le coeur au même moment, fille ou garçon, c’est la même chose, je vais arrêter de me casser la tête là-dessus une bonne fois pour toutes, c’est tous et toutes les mêmes, des briseurs et des briseuses de coeur. mon coeur en particulier. c’est comme avec les moustiques, je le attire. je sais pas si c'est mon sang. j’ai raconté mes histoires à m. mais je sais pas si c’est la bonne personne à qui en parler parce qu’elle faisait que me dire ehh je sais pas je relate pas je sais pas quoi te dire, mais je m’en fous que tu relates pas m. je te RACONTE c’est tout. voilà pourquoi je raconte jamais rien à personne, parce que personne n’en a rien à foutre. je suis la seule à trouver mes histoires passionnantes.

mais pour en revenir à cette histoire de détachement, ce que je voulais dire c’est que, dans un élan de lucidité, je les ai vus tous les deux, r. et c., comme arbitraires, ou plutôt, j’ai vu l’arbitraire de mes sentiments pour eux. c’est tombé sur eux, mais ça peut tomber sur n’importe qui. r. peut bien faire la grasse matinée au lit avec une fille fine et longue aux longs cheveux bruns et bien coiffés qui n'existe que dans ma tête et c. peut bien embrasser à pleine bouche sa copine prof d’allemand critique musicale motarde et dj ultra sportive avec un collier de lesbienne en chaîne autour du cou, who cares! who cares! quelqu’un d’autre de tout aussi arbitraire va très probablement bientôt me tomber dessus de nouveau, et peut être bien qu’il ou elle me brisera le coeur à son tour, mais, peut être pas! au diable la destinée et les âmes soeurs et le coup de foudre et toutes ces absurdités. a., c., r., aucune importance. arbitraire arbitraire arbitraire.