#but the combination of costumes is certainly a choice

[gremlinshatephilosophers]

“We want a Dan and Phil podcast” “we want more of Phil’s northern anecdotes”

Wrong!

What I need is a podcast from the person who was working their shift at spirit Halloween and had to find an adult baby costume, a cow onesie, and a human crayon in size extra tall for two British weirdos and their emotional support neon skeleton

[itashiro-hitsuchiha]

She couldn’t believe she’d agreed to come. Leave it to Starfire to be such an enthusiastic sunbeam of a person to convince even Raven to tag along to the Halloween party. Even now, she could see the girl dancing like crazy in the middle of the room—dressed up like a 70s disco queen…for some reason.

Raven sighed and tugged a bit at her own “costume”. The tight leather leotard, boots, and gloves were certainly an eye-catching combination, as were the set of bunny ears perched on her head. She had no idea why Starfire thought this was an appropriate choice for her, but her friend had refused to let her go out in anything else.

Sighing, she leaned on the back wall of the party, just hoping no one would bother her.

Ranzu had heard about this Halloween party going on and he figured it would be fun to go to. He wasn't a big fan of the music they played but at least the view was great. All the costumes were interesting to see. The disco queen was getting a majority of the attention but there was one who stood out to him. A goth bunny girl sitting alone in the corner. Now why would anyone neglect such a beauty?

His costume was more simplistic as he went as a basically wizard. Though with his hair and facial tattoos he looked more like a dark goth wizard or a sorcerer. Either way he had no problems. He got himself a drink and walked over to the bunny girl. "Hey. Noticed you sitting off from the others. More of an observer?" He asks her sitting next to her but keeping a respectful distance. His icy blue eyes standing out from all the dark markings and clothing looked her over briefly before going back to her eyes to await a response.

@ofdarkestdesires

[maliciousalice]

Hii Do you have a fave Janeway out-of-uniform look?

Ohh this is such a hard choice! There are so many reasons I like her out of uniform-- A lot of the time it's because we get to see who she is behind the veil. That couldn't be more apparent than in Resolutions, she flirts, explores and relaxes while she struggles to maintain her identity. She has like, 5 costume changes in that episode, albeit modest in design, they are quite revealing in a sub-textual way. Funnily enough, I actually would like to catalogue each time she is out of uniform and break down how it relates to the narrative etc. I sometimes ponder about the choices that have been made with hair and costume. We don't actually know much besides a few articles and scattered pieces of media--Most behind the scene information is about set design, which in it's own right is cool, but sometimes feels like it’s highlighted due to the male audience and as a result the other artists aren't valued enough. In theory, I'd like to uplift them because their efforts transform the lack frontal, narrative-body of some characters- we consequently learn things such as the fashion of the era, character’s states of mind, setting, etc, simply through what they are wearing– Do I dislike that? No. Because I understand the format of Star Trek is limited by the nature of being a 24 episode per season show. Sometimes things appear rushed or incomplete but if you look in the right direction, the work that was produced is just as rich as most shows, if not more. For the most part don’t think audiences appreciate the conditions that this show was made under.

The whole show has certainly been more impactful on the cultural zeitgeist than others and I think the reason for that success goes beyond the surface level- It’s not just a simple miracle that it works as well as it does, talented teams of actors, writers and people in costume all combined their skills together to forge it. They did the best they could with what they were given, and I appreciate the costume designers and writers for attempting to provide some semblance of substance in the background. (On another note I wish Paramount had archived their costumes better. Evil that we only get high resolution photography when they're selling them to someone's private collection)

However, to answer your actual question, my favourite out of uniform stint is when Captain Janeway is modified to look like a Klingon in the Killing Game! The disguise worked so well for me that I didn't recognise her on my first watch through.

Interestingly in the brief scene with brainwashed Janeway, we see an acting side of Kate's that is pretty rare. She delivered a unique and entertaining performance. While she has had to get physical on a few occasions as Janeway, and even other roles, she has never had to go full feral mode and I love seeing her in a way that is untethered from all of herself, she yells, bares her teeth, barrels into others, and does somersaults without hesitation. It's delightful choreography, and It immediately makes us question what is going on. Who is this? Can’t possibly be our well-adjusted hero, because whoever this is, is brazenly-fierce and in Klingon attire! But yes we find out it is indeed her, arguably a repressed version of her mind but regardless Janeway is completely transformed both physically and mentally, and that’s shockingly fun. 

Lending to that idea of fun, is the juxtaposingly detailed presentation of the Klingon costume versus the Starfleet uniform. I love the overall shapes, matte qualities contrasting with the metal details, the decorative line-work that leads the eye around, and materials such as swinging chains and fur, that make it look good in motion. From what I’ve seen there is a difference in the female and male armour, with the breast plating and bodice design. The armour’s bulky top half with its shoulder pads deliver a signature look, and it looks great against the simplified bottom. Considering Klingon’s do a lot of close combat, my guess is that it’s design is more about manoeuvrability, and boasting intimidation, rather than heavy defence. Ironically after all that ducking and dodging, ho ho Janeway gets stabbed for leaving her guard down. If I looked, I am sure I could find something to back that up, since Klingons have extremely dedicated lore. 

The makeup on Janeway is really neat too, the orange tones they used on her face make her crystalline eye colour dramatically pop. There is also a delicious parallel to her styling and B'Elanna's mother from Barge of the Dead in the episode that I quietly indulge in BUT I DIGRESS.

Despite the unusual circumstances, I wish we had more photography done of Kate in the unique costumes she wore beyond a few on set pictures, because I want to ogle at a more editorial/detailed press presentation of each one and I believe that everyone should treasure all versions of Janeway.

Blah Blah Blahhhh haha

I feel a little vulnerable spreading my thoughts around but I really appreciate you asking me about them and getting me out of my shell <333.

[autumnsup]

Riding on the heels of my Mandy Slade appreciation post from yesterday, I had to drop in a few quotes from another blog I discovered recently that goes into depth about Toni Collette's performance. I don't know if I agree with every point the blogger made, but they certainly provided some interesting parallels and contrasts with previous analysis on the characters of Velvet Goldmine.

"[A]ll the praise in the world for Collette’s performance shouldn’t overlook how rare so many of the integral features to Mandy Slade are within her filmography. How many characters can you think of where her beauty and sexuality were this central? How often has she traipsed around bathed in so many riches and ornaments? When has she highlighted so many angles and colors to a person without quite revealing their core, the same way one might try to look through a jewel that’s too bright and multifaceted for anyone to comfortably say they’ve seen the center of it? I think my favorite sequence of hers, purely for how Haynes films her, is Jack Fairy’s 1969 New Year’s Party, where she talks about meeting Brian for the first time. She looks fantastic, yet she's so absorbed into Brian when she sees him that it becomes almost impossible to tell them apart for the rest of the party. Even for most of their sex scene, their bodies combine in a transfixing whorl of light and flesh that only occasionally clarifies whose body is whose. Toni Collette is fucking hot, and to see her beauty be so central to her character and so magnificently showcased should be more common than it is."

"Mandy goes through some of the most overt shifts in her appearance of anyone in Brian’s entourage, yet we never really get the sort of dominating style or private interiority that would suggest some core version of herself. Compared to Curt Wild’s feral, wounded, livewire attitudes or Brian Slade’s alien glam and aching wants, it’s not clear what Mandy really desires. She seems perfectly content with being a prized bauble in her husband’s collection of personalities, as she slips oh so comfortably in and out of her poses and costumes. Even in her unvarnished present, as Mandy candidly sifts through her memories, it’d be doing a disservice to Velvet Goldmine’s theories on presentation and self to ascribe this version of her as an ultimately truer, deeper woman. Rather than over-elucidating a hidden depth or thru-line of personality, Collette digs into each scene while working with the heightened cinematic grammars Haynes is using to meet her halfway. Sometimes Collette evokes a fiercely specific sense of who Mandy is, while in other moments she simply drains her face and lets the image of Mandy standing in a black void speak for itself."

"Toni Collette is the kind of actress with a dozen performances anyone could confidently pick as the very best in her career and feel absolutley justified in their choice. I still imagine her harrowing, wretched Annie in Hereditary will be my go-to for a while. But the absolute rarity of the sort of character work she does in Velvet Goldmine - blessedly freed from doing rescue work or needing to fully flesh out a character, and instead asked to preserve mystery, beauty, and wit across multiple timelines - makes it stand out in the best of ways. For my money, this is still the best film she's ever been in, and ranks among the most creative uses of her talents. Mandy Slade is an absolute gem, and I hope Collette will get another chance to play in this kind of sandbox again."

Source: https://href.li/?http://thefilmexperience.net/blog/2021/7/2/1998-toni-collette-in-velvet-goldmine.html

@25yearsofvelvetgoldmine

[acaplaya-musings]

Voiceplay-adjacent Visuals - Song Of Durin

Geoff Castellucci's cover of Song Of Durin was released on the 22nd of September, 2024 (or the 21st depending on your timezone). It's the third (but not necessarily final) cover of a song from the Tolkien franchise/Middle-earth universe, "featuring" the dwarven characters of Fili, Kili, Thorin, and Bofur.

I did a 2-in-1 Voiceplay-adjacent Visuals for Far Over The Misty Mountains Cold and I See Fire earlier this year, (LINK), though honestly if I could go back and redo that post, I would, as tbh there's some stuff that I could've talked about but didn't, or at least I could've elaborated some more. And also I kinda sorta said that only two of the characters in Misty Mountains are the same as in I See Fire, which is wrong - they're all the same - but in my defense, I wasn't a Patron of Geoff's back then, so I didn't have as much "insider knowledge" as I do now, and also Bofur had a complete outfit change between those two videos, and Kili looked a little different as well (if you want a side-by-side character appearance comparison for those two videos plus this one, go find the post I made for it HERE.)

Anyway, I may not know much Tolkien lore, but I certainly have things to say for this video, so lets get into this!

(Post below the cut!)

Of course I have to start this post with some commentary on set design, because damn Geoff really spared no effort for this (or Kathy!).

As Geoff says in the description, this is meant to depict Balin's Tomb, located in the ruins of Moria. In the movie franchise, it looks like this:

What you might not realise is that the tomb in Geoff's video is actually specially hand-made by Geoff and Kathy themselves! (They used large foam boards (the kind from hardware stores), plus hot glue and paint and stuff).

Some of the bones and pieces of broken armour on the floor were also obtained specifically for the video, and spray-painted to fit in with the overall visual aesthetic.

Okay, now time to address the elephant in the room: Gimli!

Firstly, obligatory kudos to the incredible Rick Underwood for hair and makeup, and also for Gimli's prosthetic nose! I picked up on it almost as soon as Gimli started walking on screen during my first watch, yes, really, and I was rather proud of myself when it got confirmed in the BTS video

But also, credit to a woman named Melissa Feyereisen who created that massive red beard, and apparently some of the other hairpieces as well!

Honestly this is probably the least recognizable Geoff has been since the Hide And Seek/Ding Dong video, and definitely his most unrecognizable getup for a video on his own channel. Like seriously my brain cannot see this as Geoff, like at all, not even a tiny bit.

There's an explanation for that though! Or a few reasons, anyway, and perhaps they're obvious, but I shall say them regardless. For one thing, that helmet does a lot of the disguising work - it covers his forehead and partially blocks his eyebrows (which themselves got coloured ginger!), and the sides of it partially cover his cheeks and obscure his facial structure. And then of course there's the massive beard which covers his entire jawline, and the prosthetic nose. Combine that with the multi-layered character costume which fully covers him from the shoulders down, and you end up with a getup that could really confuse any potential first-time reactors who happen to stumble upon this video 😄

But anyway, time for more pictures!

Thorin! :D

Having the four "main dwarves" appear as ghostly figures was a clever choice, as it gives a way to incorporate them into a scene they don't originally appear in, per the book (because Gimli is from The Lord Of The Rings, and the others are from The Hobbit, which is a prequel). But also it's a neat way of rounding out the narrative that was built for them through Misty Mountains and I See Fire!

Here comes Fili! (And now notice the light shining from the top-left part of the frame, akin to the beam of light in the original movie scene!)

Also this is more of an audiovisual thing but I didn't mention it in my musical thoughts/commentary post (LINK) so I'm saying it here: the vocal parts of the four "ghost dwarves" are the same as they were in I See Fire! (And probably Misty Mountains too, but not all of them get solo lines in that one so it's harder to tell). So from lowest to highest in vocal range, it goes Thorin, Kili, Fili, and then Bofur. (Kathy helped a lot with making sure Geoff knew which vocal lines were sung by who; a million shoutouts to Kathy!)

Oh and also the return of Thorin and Fili means the return of the fur-trimmed coat with the embroidered shoulder-cuff, and the leather shirt thing with the metal rings on it! The shirt was worn by Layne in My Mother Told Me and Valhalla Calling, as was the coat, but the coat was also worn by Eli in Mountain King and Classical Chaos.

Love a good dramatic lighting flash! Makes me think back to Hoist The Colours (or the VP video I can't talk about yet)

No prizes for guessing who did the lighting design! The one and only Eli Jacobson! (But also Geoff definitely had a hand in the ideas process and establishing the sort of lighting he wanted for different sections, so big shoutouts to them both!)

Kili! <3 <3

Geoff really knows how to work the "scruffy"/light facial hair look sometimes ngl 👀 (And as always I can't help but very much love his white-grey streak of hair getting to be on display)

And finally we have Bofur!

Also I gotta wonder exactly how many various fur pieces and fur-lined clothing stuff Pattycake studios owns at this point, because between the viking videos, the Grundel videos, and the dwarf videos, there seem to be a lot of people/characters wearing fur, and I'm genuinely not sure how many are unique and how many items are actually used more than once!

Another dramatic lighting flash!

And now the lighting has switched from a blue colour to a warm gold, because now the song is talking about how the world was "in Durin's day". It's talking about times of happiness and prosperity, and so the lighting shifts to match it!

(Also if you're wondering how Geoff knows when to turn to "look at" another dwarf character and in what direction, Kathy helped with that too! She was literally behind the camera giving arm signals (working off a script thing) during filming. She is a queen and we are all very lucky to have her (including Geoff!).

*hopelessly-in-love sigh*

Look, I really wasn't expecting to have heart eyes for Thorin!Geoff in this video, but then again, I also wasn't expecting to actually kinda be attracted to Jeoph in Unshaken AND YET-

It's that dang smile, it melts me almost every time I see it!

(I also still love Kili!Geoff though, for obvious reasons)

Lighting change! Now we're talking (singing) about making weapons and armour and stuff, and so the lighting is red, because like war and fighting and stuff, y'know (that's my own speculation on the lighting change anyway - it's not actually confirmed, so you can take it with a grain of salt)

And now the song "calms down" (slows down) a bit and takes a bit of a more sombre tone, and so the lighting changes accordingly.

Not much self-conducting hand movements in this one - Kili!Geoff does it the most in this one, but still not as much as typical. I guess it's partially from remaining "in character", and partially from the fact that most of the characters here are holding onto something, and so hand movements are a bit more restricted.

Say it with me everybody! He's! So! Pretty!

(Someone commented on the video that it's easy to forget that all five characters are the same person (because of the incredible costuming and stuff), and Geoff replied saying "It's all thanks to my incredibly bland face. It's like the perfect blank canvas 😉". Honestly! This man! But I did adore the remark of one of the other Patrons in the Discord server, saying that "I'm convinced my aquatic ancestors evolved eyes just so that one day I would be able to gaze upon that 'bland' face." 🤣 So extremely valid, and what a mood.)

On the line "but still the sunken stars appear/In dark and windless Mirrormere", the lighting goes back to gold one more time, reflective of one last remaining piece of hope to cling onto.

"Till Durin wakes again from sleep"

And so Gimli now continues on his journey, and that's the end of the video!

I really like this cover, I really like this video, and I of course always love making these posts! And, assuming I don't get too swamped by classes, assessments, and other real-life commitments, I'll hopefully be doing a new Voiceplay Visuals post in about a week from now, one that I've basically been waiting a whole month to do at this point! Until next time!

[farawayfiction]

Silhouette (Batober 2023 #27)

“I’m Batman.”  A straight, serious delivery.  Dick stood with his head high and his shoulders square, confidence hanging from his frame like the well-worn cape.  Having donned the cowl the night previous, he’d had plenty of recent practice.  He was believable in every detail.

“Fuck that.  I’m Batman.”  The statement was cavalier but declared with no less confidence.  Jason voice was naturally deeper than Dick’s and he didn’t have to exaggerate to match Bruce’s range.  The cowl didn’t quite fit right thought and he’d chosen to stick with the red on grey combination, making it his own. 

“You guys are losers.  I’m Batman.”  Tim had put on a late growth spurt and although he wasn’t nearly as tall as his brothers, he made an impressive presentation.  The suit was solid black and professionally crafted and his lean muscles had grown in mass over the summer.  Bruce wondered wistfully when his boy had grown into a man. 

Cass flipped them off and then pointed with enthusiasm to herself.  The platform boots gave her an extra five inches in height and she certainly had presence.  She’d comically acquired a chest plate with a six pack fashioned out of plastic and thrust back her shoulders, emphasizing her physique.  Then she flexed her biceps proudly.  Bruce grinned. 

Damian crossed his arms and glowered, clad comfortably in his Robin costume, daring his father to question his choice.  He’d refused to participate in the farce, stating with an edge to his voice that someday he would be Batman.  Pretending was ridiculous. 

There was a pause.  Then from behind them, Alfred cleared his throat.  None of them had realized he’d joined them.  He too was wearing the cape and cowl he used for emergency rescues.  Dick started laughing.  Jason snorted.  Tim and Cass both smiled.  Damian looked as if he was ready to murder the butler. 

“You too, Alfred?”  Bruce was thoroughly enjoying the theatrics. 

“Always be yourself, sir.”

[decepti-thots]

🔥 Shakespeare

the obsession some people have with performing plays 'uncut' as a kind of authentic representation of the Full Artistic Vision is really annoying. doing e.g. a four hour Hamlet is INTERESTING, but it's not interesting because it's a 'purer' Hamlet; it's interesting because it is a choice being made that you can do interesting things with, the same as choosing to cut any particular part is an interesting choice because it says something about the version of the play you're putting on. contemporary performances almost certainly didn't put on plays uncut as the "norm", at least for the longer texts such as Hamlet, and since many of the longer plays are combinations of scenes taken from different manuscripts that don't line up 1:1, none of those 'uncut' texts represent anything but a reconstruction anyway.

also, a lot of literary analysis of the plays still lacks enough interest in stagecraft and how it might have directly impacted the way the plays were written, at least for my tastes. (less so nowadays than in the early to mid 1900s, but it does persist!) textual analysis and super strict "death of the author" are perfectly fine approaches in themselves, but imo for them to be our ONLY approaches becomes limiting really fast. questions like 'is the Gertrude confrontation scene extremely protracted because a costume change they had to do was taking a very long time' is as interesting a question in its way as 'what does the swing towards dark humour at the end of this scene do in the play textually'. which is a similar thing to the cut/uncut play thing, because to recognise these as influences when analysing the plays is to acknowledge the ways that the plays were fiddled with at the time, not just now, in retrospect.

[septembersghost]

Sometimes it feels like people like to pat themselves on the back for dissing Elvis because it’s the cool thing to do

I’m the anon who deleted TikTok btw. I was tired of the same repetitive comments about Elvis and decided finally to delete that annoying app LOL.

i'm not sure what you saw on the clock app, though can guess it was probably the same stuff that's said on twt, but any reason you feel to get rid of that app, or anything that's stressing you out!, is a good/valid one.

when it comes to e, between misinformation, misunderstandings, and decades' worth of caricatures and this almost prideful disdain towards him - the origin of which i can't quite figure out? - he's been an easily mockable and reduced figure. like even beyond, idk, judgment of his struggles and addictions and health, or the massive volume of tabloid accounts, or the cardboard camp of impersonators, or the feeling some seem to have that he was too excessive or gauche, or define him by vegas as a kind of sideshow, there are some, i've come to find, that outright reject the idea he was in any way a serious artist. the article i read recently...basically posited he wasted his entire life and talent, in a way that was so cruel and dismissive of everything he ever did after sun records. things i can't even fathom saying about a person. ("success corroded and finally destroyed a budding talent who might have achieved so much more than just celebrity. He might have been an artist...by 1958, when he was inducted into the U.S. Army, his beauty and his creativity were behind him. A few brief echoing rays of the glory that had been might suddenly shine through, yet the sun had all but set." seriously? he was 23 years old in 1958! it's a complete erasure of nearly half his life. and it's particularly jarring as some of what's said in that piece is astute and well-written, yet some of the rest of it...i refuse to even quote.) he created so much wonderful music later, but it routinely gets ignored. (plus he wasn't a songwriter, as if that invalidates his astonishing musicality and gift of interpretation and arrangement). the movies, and critical view of them due to what they are, unfortunately do not help. this embarrassment surrounding him, the sense that his talent was squandered and his legacy tarnished, mixed with misperceptions of his character, is so ingrained in the pop cultural zeitgeist that there are always going to be people set to take him down a peg or deride him or shake their heads rather than lend any sympathy for how and why things unfolded as they did.

that video analysis i shared about the film mentioned him as this sort of quintessential american tragedy, the hollowness of the dream gone wrong, even though he was still trying so hard up to the end, still sharing that love with his audience, and i think sometimes we're uncomfortable looking at tragedy and illness and exploitation, so it's easier to ridicule or blame or turn into a joke. i also think his sincerity and emotion as a performer, the movement that came to him naturally that he couldn't switch off, the unique ways he utilized the power of his voice, read as, for lack of a better word, cringeworthy, to many, because society at large struggles with raw expression. a combination of factors thus make him an easy target. he's that halloween costume, spangles on a jumpsuit and what they erroneously view as shlocky music, or he's the worst perpetuated things, but never real, never explored or offered understanding. it's lousy and disheartening, but it unfortunately is what it is. (i can imagine only a fraction of why this stuff used to upset lisa marie the way it did.) i don't require people to be perfect to care about or be touched by them. human beings are not saints. he was flawed, he had a temper, he certainly misstepped, he made choices along the way that proved to be destructive. he was also generous and gracious and forgiving and compassionate, kind in a way that embraced people and made them feel seen and like they belonged, in a way that's still radiant in recollections, and in what we find in ourselves too.

catherine martin recently said, "elvis is a humanist. he believed in people and kindness and connection, and i think he wanted to use music to bring people together." he'd say, "i'm just a singer. i'm nobody special. do you think they'll remember me?" he always marveled that people came to see him, and held fast to that idea that the happiness and love in that connection of the music was worth something. as my friend wrote to me, there's a lot of dreck out there, but it's boring. there's no fire there, no passion. without the fire and passion you can't even get elvis at all. meanwhile, here we are, nearly fifty years later, on technology that didn't even exist while he lived, still finding reason to remember him, to wax poetic about him, to connect to him and to one another, to find that same joy and solace in the music. i have to believe that matters so much more. some of this other stuff is just useless clatter, you know? there's music and there's noise. i'll choose the music every time.

[squidpro-quo]

Dakaretai Otoko No. 1

AN: Forgot I could post on tumblr too for a bit, whoops! Couldn't sleep because of this fic, enjoy

Ryuu had never thought to ask, but then it would never have occurred to him that it could be a possibility. Even knowing his experience with the President over the years, and with apologizing to Sougo-kun about his thoughtless comments on family before, he’d never expected to miss something else so glaringly close to him. If they hadn’t all moved in together, how long would it have taken him to notice? To realize and put the pieces together, to see the pattern that had been repeating beside him all this time? 

They’d settled into something of a routine once they moved into his place, with regards to navigating each other’s things and laundry, all the mundanity of everyday life lived together. There had been a few surprises, Tenn’s collection of houseplants being one, and a few arguments about the air conditioning and the heater and methods for loading the dishwasher, but he knew those squabbles between the other two were simply the equivalent of play-fighting amongst lion cubs. He’d heard the same gripes from his brothers a dozen times if ever and they were all growing so much closer in the process that the noise was worth it all. 

The washing machine was yet another point of contention, the fact that they could not combine their loads quickly became apparent. Ryuu’s own sweaty sports club clothes required a certain setting, Tenn followed a rigid regimen towards keeping his colors vibrant, and Gaku…That Gaku had so many clothes that required handwashing perhaps shouldn’t have surprised Ryuu by this point, but the world of designer brands and their upkeep was still newer to him than to the other two. He was no stranger to the chore of it, had helped his mother out back home with their festival wear, and he knew their costumes usually necessitated the same class of care, but for his own leisure and personal choice, the option wasn’t one he would’ve picked. And considering the stray garment that had wound up in his basket, he didn’t know if Gaku had picked it either.

It was sheer silk, smooth and so diaphanous that Ryuu felt as if he were holding a wisp of mist, billowing even in the stagnant air of the bathroom. Turning it over, he finally understood that it was a top, the sleeves slitted and the neckline so wide that he’d almost mistaken it for a skirt. Unbidden, the image of Gaku wearing it rose in his mind’s eye, the silk brushing his fingers just like now, but already warm from its wearer. His imagination provided plenty of detail, despite the fact that he’d never seen Gaku wear it before—

He’d never seen Gaku wear it, though it was clearly expensive and well-made… Ryuu blushed, realizing the truth, folding it on the counter as carefully as a gift deserved. With all that had happened, the last he’d heard was that Tsumugi accepted and understood the strictures on them both now and they’d kept their distance, but this might be a reunion present of some sort. Going indie had its perks, certainly. 

Turning back to his own laundry, Ryuu ignored the tightness in his chest and buried the image under a list of what else they needed to fit into their meager budget and just how they were going to make ends meet. 

~*~

Amidst chasing missed chances and fading opportunities across the city, Ryuu forgot about tidying up at home for a few days. With the crushing weight of every closed door and refusal they’d faced, he fell back on doing something that he could control and would leave him in a better place by the end, regardless of the rest of their predicament. Cleaning was a way to wipe his mind free of worry for a while, to find the joy in a spotless surface and the ache after a thorough scrubbing, creating a small corner of order in an otherwise uncaring city. 

Vacuuming was the last order of business, the satisfying sound of all the grit and little irritants being removed lulling him into a trance, until a glitter in the carpet behind the entry table caught his eye. He’d moved the vacuum over it before the sight of it had fully sunk in: the gem-bright shine of jewelry. Fumbling to turn the vacuum off before it was sucked in, he heard the rattle and winced. He crouched, hoping to salvage whatever might be left, and found it still lodged in the carpet, an earring. 

Despite the attack by the vacuum, it looked undamaged, sparkling as he twisted it free of the rug. It was a waterfall of pearls, cascading delicately over his palm, their various sizes creating an illusion of foam amidst the silver wires. It belonged at a gala, paired with a dress and necklace to match. He recognized the present for what it was this time, no distractions or delusions getting in the way. 

Knowing that Gaku had headed in to shower as soon as he’d returned, Ryuu tried the door to his room, earring in hand ready to slip onto the dresser discreetly. Ryuu was aware of Gaku’s predilection towards big gestures, ever the dramatic romantic at heart, and how openly he wore that heart on his sleeve; if he had decided to keep this courtship a secret then Ryuu wouldn’t pry. He knew what it was to yearn, to feel the spark and yet be kept from fanning it into a flame, to hope for something that might be within reach and still be scared to grasp. It was a vulnerability he didn’t know how Gaku could bear so often, as freely falling into love as if it were a soft bed and not the terrifying uncertainty of sky-diving, but that courage was just another reason why he—

Gaku looked up from his bed, out of the shower and already dressed, brows rising at Ryuu’s sudden entrance. Laid out across the covers were several outfits, some revealing while others left a little more to the imagination but all as provoking as the next. A jumble of jewels was spread beside him, necklaces dripping with diamonds, crystal aigrettes, and rings of all styles, a treasure trove in the making. 

Ryuu’s mind ground to a halt, taking in the array of finery on display, and the pieces on Gaku himself. He’d been in the middle of pinning back a strand of hair, evidently almost ready to leave. 

“Where’d you find it? I thought I’d looked everywhere,” Gaku said, spying the earring in his open hand and crossing the room with a wide grin. “Trust you to be the savior of the hour, Ryuu!” 

Taking it, Gaku quickly scooped up its pair and put them in, already turning back to the bed when Ryuu found his voice. 

“They’re yours?” 

“Yeah?” Gaku didn’t look up from where he was sorting through the rest of the jewelry. “It’s certainly not Tenn’s.”

“But…not Tsumugi’s?” He’d thought he knew the full picture, but the pieces he’d assumed immovable were falling apart. 

“Why would it be hers?” 

“It’s so nice, an expensive gift like that is…”

“Ryuu, these are all fake,” Gaku said, finally finding what he’d been searching for and straightening up again. The confusion on Ryuu’s face seemed to reach him through the rush of getting ready and he stopped in place, looking Ryuu steadily in the eye. “Sure, they glitter and shine, but none of them is worth what they would have you believe. But the clients like them, so I wear them.” 

“At the soba shop?” Ryuu feels leagues behind, trying to connect this to what he knows of Gaku. 

“No, not at the soba shop!” The laugh that breaks through Gaku pulls Ryuu from his thoughts, roots him in the moment. He admires the way the shirt is cinched tight at Gaku’s waist, a desire to feel with his hands surfacing before Gaku’s next words slam him back into reality. “My escort clients.” 

Ryuu’s been in the city long enough to know what that means, what that entails. The only word that leaves him is, “Why?”

“We need the money. Other people may turn their noses up at us, but that kind of snobbery doesn’t bother the ones who pay me. It’s mostly the same ones from before Trigger anyway, so they’re actually happy that I have the time again.” He scowls at the last, irritated at the schadenfreude.

“Before Trigger?” Ryuu knows he’s just repeating, but Gaku doesn’t seem to notice the echo, words spilling out of him as easily as ever. 

“Longer than we’ve been Trigger actually, now that I count back.” 

“When did it start?” He can do the comparative math, but he naively hopes Gaku will have an answer that doesn’t make his heart squeeze with grief. 

“When my father got custody. There was a whole court battle over it, my mom went down fighting, and the legal fees were hefty on both sides. I didn’t have anyone to debut with and a solo career would’ve been too big of a gamble for the company, so being an escort was how my father got back his ‘investment’. Technically, I was paying off both sides since I just gave my mom my cut, but they didn’t need to know that.” Gaku shrugs, the story old news of an era past, tracing the last piece he’d picked up from the bed. It’s a thick band, studded so densely with gems—like their capes from Treasure!, comes the unbidden comparison—that he can barely see the black velvet of the backing, and when Gaku raises it to his neck, Ryuu breaks his restraint and reaches out, catching hold of Gaku’s hand. 

“You’re not alone anymore,”—his voice breaks—”you don’t answer to him anymore. You don’t have to…” He’s never been the best with words, when the silence falls all he can do is run a thumb along the back of Gaku’s fingers in a slow circle, avoiding the jeweled collar’s edge. He’s been witness to the President’s disregard for years, has had the words ‘it doesn’t matter if you’re my son’ resonate in his head until he saw red and snapped, and known how Gaku, who could never stand silent in the face of others’ injustice, had silently endured his own. In someone who encouraged self-confidence, in Ryuu and Mitsuki and others, to still be chained to the search for any hint of approval, the smallest crumb of blatant pride, or acknowledgement of his efforts from his father had broken Ryuu’s heart more thoroughly than any rejection could. Gaku deserved all the praise that could ever be spoken, but Ryuu knew all his words would pale in comparison to just one from President Yaotome. 

“I’m not doing it for him.” Gaku’s voice is soft, as if concerned he’ll spook Ryuu with anything louder. The velvet is crushed against Ryuu’s skin as he takes Ryuu’s hand in both of his own, the softness at odds with the sharp edges of the jewels. “I’m doing it for us. I want us to rise back up to the top, and if this is a way I can help jumpstart that, then I’ll do it gladly. I’m not the Dakaretai Otoko No. 1 for nothing, am I?” 

Gaku’s smile has always been one that Ryuu can’t resist mirroring, even if his is fainter and smaller this time. 

“But I’m No. 2, then I should—”

“Ryuu, leave it to me. It’ll just be a little longer, just until we get our foot in the door again. We’re close, that’s the direction you should focus on.” Gaku lets go, fiddling with the clasps of the collar. “Help me with this, will you?”

Ryuu hesitates, staring at the gems and knowing that the question is twofold. He might wish he could barge back into the President’s office and give him a big enough piece of his mind that the man will choke on it, but right here, right now, he knows what will do the most good is being a support where needed, when asked. 

He steps behind Gaku, pulling the collar flush with pale skin, and clips it into place. It truly is the last piece, the crown jewels of the whole look, and as Gaku hurries to slip on his coat while hissing at the time, Ryuu bites his lip and lets it slip out, “You look stunning.” 

Gaku pauses on the threshold, looking back from the cusp of the night, a dangerous glint in his eye. He smiles, sharp, and instead of saying goodbye, he says, “When I get back, help me take it all off, will you?” 

Ryuu swallows and nods, a shiver climbing up his spine. He’ll find his voice and speak the words until Gaku forgets he ever wanted to hear them from someone else.

[buriedalienfma]

The Adaptations of Spider-Man’s Costume

So I just watched “Spider-Man: Across the Spider-Verse. I know that the movie has just recently come out, so I will absolutely not be talking any spoilers. for now, I’ll just say that the movie certainly is very ambitious, even compared to the original “Into the Spider-Verse” movie, and I think that people who loved the first movie will probably love this one as well.

But the movie did get me thinking about Spider-Man again, specifically regarding Spider-Man’s costume.

I think that Spider-Man’s suit may very well be one of the best superhero costumes of all time. It’s not my absolute favorite (that honor goes to the classic Flash costume), but it is in my top five. It’s easy to take Spidey’s suit for granted because of how ubiquitous the Spider-Man is as a character. You’re likely to see images of Spider-Man all over objects like T-Shirts, Bags, Mugs, Toys, etc. So it’s very easy to overlook just how unique and special Spider-Man’s costume is compared to other superheroes. Spider-Man’s costume is both simple and complicated at the same time. The suit has two primary colors, red and blue. If you know anything about superheroes, you’ll know that those are heroic colors - most superheroes have a primary red or blue color scheme. Unlike other superheroes, however, Spider-Man’s costume covers his whole body. This is such a simple but effective design choice. Even characters like Batman, who specifically designed his costume to induce terror in his enemies, still has part of his face exposed. Not Spider-Man, though. He doesn’t have any part of his body exposed. This is just one of the things that makes Spider-Man come across like a bit of a creepy looking character when you think about it. He has black webs covering the majority of his body, and bug-like eyes on his mask. The spider-motif in general makes Spider-Man just a bit weird. Just the fact that Spider-Man is constantly contorting his body in strange and outright unnatural poses whenever he’s swinging around or climbing up a building. Some artists like Todd McFarlane or Mark Bagley like to exaggerate Spider-Man’s proportions more than others, and they make him look even more inhuman than he already is.

I don’t say all these things to insult the costume. I like that aspect about Spider-Man - that he’s a heroic character who has a bizarre costume when you really examine it. I think that Spider-Man should always look a bit...off. A little bit weird and creepy in a way that you don’t really notice at a first glance.

Now when it comes to live action adaptations of superhero costumes, some superheroes are more lucky than others. On the one hand, You have costumes like the Christopher Reeve and Brandon Routh Superman suits, or the Shazam suit, where the characters look like they stepped right out of a comic page. On the other hand, you have the various Batman live action costumes, where he looks less like a superhero and more like a soldier or cop who just happens to have a bat-motif. And somewhere in the middle, you have the various Captain America live Action Costumes, which try to adapt the comic book suits as faithfully as possible while still trying to stick to a realistic aesthetic.

Spider-Man has been extremely lucky in this regard. His live action costumes have almost always turned out great. More importantly, those live action costumes have also perfectly replicated the weirdness of Spider-Man’s original costume in suprisingly unique ways. Now granted, I think that this is entirely unintentional coming from the designers of these costumes, but just look at the Tobey Maguire’s suit from the Sam Raimi Spider-Man movies:

For the 2000s, this is a very faithful recreation of Spider-Man’s suit from the comics. However, the suit has some unique elements, such as the raised metallic webbing and the sharp look of the Spider-emblem and the eyes. Combine those elements together and you get a suit that perfectly represents the weirdness of the original suit.

Now let’s look at Spider-Man’s costume from the first Amazing Spider-Man movie:

This is a pretty controversial design. I know that fans either love it or hate it. Personally, I’m very much in the “love it” category. Yes, the suit has problems, it’s a bit overcomplicated, and has design elements that’s trying a bit too hard be “modern”. There’s also the fact that in the movie itself, the webbing pattern of the suit is drowned out by the basketball texture, which doesn’t always look great. However, I still like it. The suit just has a rough look to it, which fits the tone of the movie and I absolutely love the reflective eyes with the honeycomb texture. It just looks so cool in close-up shots. And once again, the suit looks just a bit off in the way that Spider-Man is supposed to be.

If you’ll allow me to tangent for a bit, I think that the first Amazing Spider-Man movie is an excellent and underrated movie. The movie still has a lot of detractors to this day, but I’ll never understand the hate. The movie is well written, has great characters, and executes its themes very well. Honestly some of the criticisms of the movie feel very nitpicky or in bad faith - like how people like to complain that this version of Peter is too much of an asshole (Yes he is. That’s the POINT. He’s an asshole who undergoes a character arc and becomes more responsible and heroic as the movie goes on. That’s way more interesting than if Peter just started out as a nice guy by default). But I digress.

The second Amazing Spider-Man movie has a costume that’s much more well liked by fans. It’s also my absolute favorite live action superhero costume.

Those. EYES.

 I grew up in the 2000s, and I was a huge Spider-Man fan as a kid. Naturally, I would beg my parents to buy any Spider-Man related merchandise that I came across. A large amount of that merchandise would use Mark Bagley’s interpretation of the character, specifically the way the character looked in the Ultimate Spider-Man comic series.

I became fascinated with this interpretation of the character, even though I had no idea who the artist was at the time. I was used to the look that Spider-Man had in the Sam Raimi movies, so I was always intrigued by Bagley’s design and how he always gave Spider-Man those large white bulbous eyes. So needless to say, I was so happy when they replicated that design element in the Amazing Spider-Man movie. The costume design itself is very good. It simplifies the design from the first movie, brings the raised webbing back and makes the colors just a bit more vibrant and sleek. I especially love how the costume isn’t skin-tight. Even when Spidey is swinging around in the CGI shots of the movie, you can still see that the costume has visible wrinkles and is flapping around in the wind.

And finally we come to the suits that the character had in the MCU movies.

I’ll be talking about the above two suits since I consider them to be the “main” MCU Spider-Man suits. I have mixed feelings about these suits. On the one hand, I like that the suits are somewhat more cartoony compared to all the other suits in the MCU. On the other hand, I don’t like that throughout the MCU Spider-Man movies, the costumes are absolutely covered in CGI, which tends to make the costumes look unrealistically skin-tight. I also think that the way the eyes move as a way to replicate how Spider-Man’s mask eyes seem to squint in both comics and cartoons, feels like cheating a little. They’re good costumes, but they’re not my favorite.

So that’s my analysis of the various live action Spider-Man costumes. They all have their positives and negatives, but overall, I feel that Spider-Man has had it very good when it comes to the adaption of his suit and the fact that most of them replicate the weirdness factor of the original costume is just the cherry on the top.

[average-guy-reviews]

M3GAN (1023)

“M3GAN is a marvel of artificial intelligence, a life-like doll programmed to be a child's greatest companion and a parent's greatest ally. Designed by brilliant toy-company roboticist Gemma (Get Out's Allison Williams), M3GAN can listen and watch and learn as she becomes friend and teacher, playmate and protector, for the child she is bonded to. When Gemma suddenly becomes the caretaker of her orphaned 8-year-old niece, Cady (Violet McGraw, The Haunting of Hill House), Gemma's unsure and unprepared to be a parent. Under intense pressure at work, Gemma decides to pair her M3GAN prototype with Cady in an attempt to resolve both problems--a decision that will have unimaginable consequences”

For our first review of 2023 we are starting strong. This is a superb film, and a brilliant addition to the horror genre. It blends old school horror vibes with a very modern interpretation, stalk and slash combined with highly intelligent artificial intelligence.

Allison Williams, as Gemma, is thrust into a position she is not at all ready for when her sister dies in an accident and she becomes guardian to a traumatised niece. Williams plays an engineer, who has a massive talent for robotics, and the imagination to put that talent to the test, but Gemma doesn’t know how to interact with children. This becomes a problem when her niece comes to live with her. Williams plays the role of a woman caught between the pressures of a high powered job with deadlines, and trying to learn a new way of living, with consummate talent. She was ideal casting and she should, rightly, be very pleased with her performance.

Violet McGraw plays Cady, a young woman struggling through the traumas of losing her parents in an accident that she lived through, as well as being faced with a whole new existence in an unfamiliar environment. Either would be so tough for a young person, but both? McGraw is a prodigious talent, as seen in this and Hill House, and she performs her role here brilliantly. I have a feeling she’s going to be around a long time in Hollywood.

But the real star of this film is M3GAN herself. The Model 3 Generative Android is designed as “the only toy they’ll ever need”. She is fitted with loads of technical stuff I’m not even going to pretend I understand, but primarily she is made to learn and be a fully autonomous, intelligent, companion to a child. She is played by three different people throughout the movie, Amie Donald, Jenna Davis, and Kimberley Crossman. M3GAN is, right from the start, very creepy. There is something about her, and the way she looks, that is designed to get under your skin, and it works. However, the performances by the three young ladies ladle on layers and layers of creepy, from the way she moves, the way she simply looks at things, and her ability to switch from polite to menacing instantly. Each of the performers for the doll deserve plaudits galore for the way they made her come to life. M3GAN is creepy as hell and she may be nudging for her spot as one of my favourite horror protagonists ever.

Gerard Johnstone has done an outstanding job as director. This film feels both massively open, and yet constrictingly claustrophobic. His choices of lighting and setting add so much to an already intriguing premise. One particular shot of M3GAN, in the dark with just a slice of light across her eyes, really stood out for me. It showed me that he really understood what she was, and that sometimes in the horror game less is more. I don’t know for sure that I’ve seen his work before but, mark my words, I’ll be checking out to see if I have and I am very intrigued by what he might do next.

The way the film is shot, the cinematography, the soundtrack, the sets and costumes and the special effects? All of it is really spot on. I love the way the movie came across and the version of David Guetta’s Titanium they used was sublime. I loved it.

Overall it’s a really great film. It’s certainly the best horror I’ve seen in the last 12 months, for sure, and may be one of my favourite movies overall of the last year. I was wondering before I saw it how she’d compare to the other horror doll with a personality. For me M3GAN makes Chucky feel like a secondary character, a sidekick if you will. It’s getting a solid 9.5/10, and the reason it’s so high is because as soon as it finished I looked and said “I need to see this again”, and I will be. So should you.....

[bouncycastlesmanchester]

Planning an Unforgettable Event with Themed Bouncy Castles

Bouncy castles are no longer just for children's birthday parties; they are becoming the ultimate centerpieces for various events, including corporate gatherings, community festivals, and even weddings. Whether you're aiming to create a magical adventure for little ones or looking to inject some fun into an adult event, bouncy castles offer a blend of entertainment and nostalgia. When it comes to choosing a theme, there’s a wide array of options. Popular choices include Hire Pirates Bouncy Castle,Toy Story Bouncy Castle Party Rental, Jungle Theme Bouncy Castle in Manchester, and Balloons Bouncy Castle Indoor Party.

Why a Pirate-Themed Bouncy Castle is a Hit

A pirate-themed bouncy castle can be an exciting adventure for kids and adults alike. The swashbuckling allure of pirates brings a thrilling edge to any party. Picture this: children bouncing in a castle shaped like a pirate ship, complete with skull flags, treasure chests, and perhaps even a plank to "walk". The pirate theme is ideal for birthday parties, school events, or summer festivals, especially if your child is a fan of treasure hunts and high-seas adventures.

If you're planning an event with younger kids, renting a Hire Pirates Bouncy Castle will certainly be a crowd-pleaser. The pirate ship design adds a sense of adventure and imagination that will keep children entertained for hours. Mid-party activities, like a treasure hunt game or a pirate costume contest, can enhance the fun.

Toy Story Bouncy Castle for Your Next Party

Who doesn’t love the heartwarming story of Woody, Buzz, and the gang from Toy Story? This classic movie franchise has captured the hearts of children and adults for decades. For fans of the movie, opting for aToy Story Bouncy Castle Party Rental is a surefire way to bring the magic of the film to life at your event. The vibrant designs often feature characters like Buzz Lightyear, Woody, and Jessie in full bounce-ready form.

In the middle of a party, you can organize games inspired by the movie, like a "rescue mission" where the kids play as Buzz and Woody to save their friends. The combination of the movie's nostalgia and the joy of bouncing will leave the kids buzzing with excitement. A Toy Story Bouncy Castle Party Rental is an excellent addition to any party where the goal is to keep everyone entertained and in good spirits.

Jungle Theme Bouncy Castle in Manchester

For those looking to create an adventurous atmosphere, a Jungle Theme Bouncy Castle in Manchester is perfect. Featuring designs of lush green forests, wild animals, and playful jungle scenes, this theme invites children to jump into a wild adventure. The jungle theme is incredibly versatile, making it suitable for birthday parties, school events, and even family reunions.

Mid-event, why not incorporate a jungle safari game where kids can search for "hidden" jungle animals around the party area? This will keep them engaged, especially with the jungle atmosphere set by the bouncy castle. Jungle Theme Bouncy Castle in Manchester rentals often feature additional elements like inflatable jungle animals, adding an extra layer of excitement to the setup.

Perfect Indoor Fun with Balloons Bouncy Castle

When hosting an indoor party, choosing the right size and theme for a bouncy castle is crucial. The Balloons Bouncy Castle Indoor Party is a delightful option for any occasion. Bright and colorful, these castles often feature balloon designs that make them a hit for younger children and festive gatherings. They are ideal for indoor venues with limited space, ensuring the fun continues even if the weather outside isn't cooperative.

Midway through the party, you can enhance the experience by adding a balloon-twisting activity or a "balloon pop" game, where kids can pop balloons for small prizes. The Balloons Bouncy Castle Indoor Party provides a vibrant and joyful setting that instantly uplifts the mood and keeps the energy levels high throughout the event.

Final Thoughts: Choosing the Right Bouncy Castle for Your Event

Bouncy castles come in all shapes, sizes, and themes, making them a versatile option for many types of events. From a Hire Pirates Bouncy Castle that brings swashbuckling adventures to life, to a Toy Story Bouncy Castle Party Rental that immerses kids in their favorite movie, the possibilities are endless. The Jungle Theme Bouncy Castle in Manchester offers a wild, adventurous twist, while the Balloons Bouncy Castle Indoor Party is perfect for any indoor event where you want to maintain a fun, festive atmosphere.

No matter the occasion, bouncy castles ensure that your guests leave with smiles on their faces and memories that will last long after the party ends. So, next time you’re planning an event, consider renting a themed bouncy castle to provide hours of entertainment and fun.

[the-trend-tales]

Indian fashion icons make spectacular appearances at the Met Gala that left us speechless

The Met Gala one of the most anticipated fashion events, took place on Monday 6th of may inspired by J.G. Ballard “Garden of Time” featuring the “Sleeping Beauties: Reawakening Fashion'exhibition displayed at the Costume Institute in New York” celebrities from all around the world have put on their most prestigious attire. Although some appearances were controversial some others were extremely praised by the public and went viral.

Mystery guest catches everyone’s attention as she makes an outstanding debut on her first Met Gala red carpet. So, who is she?

Indian entrepreneur and philanthropist, Mona Patel, born in Gujarat India, now based in the United States, Founder of eight companies throughout her career fashion, property, and tech ventures. Patel was featured on Forbes next CEOs, and an alumnus of Harvard, Stanford and MIT. The young entrepreneur built multiple business including couture for cause, a nonprofit that raise donations by auctioning one-of-a-kind couture items many of which come from her personal collection. Couture for cause raises funds and awareness for organizations that advocate for girls around the world like pencils of promise and rescue foundation

Patel made a spectacular appearance wearing a custom couture Iris Van Herpen gown and styled by Zendaya’s former stylist Law Roach. The team made an excellent collaborative work and assembled a masterpiece that will then be donated to the Met Museum.

Patel's form was embraced by the nude colored dress, which then widened at the ankles. The gown's front featured a high-low effect achieved by a scooped cut-out, while the back featured a floor-length skirt accented with huge ruffles fashioned like wings.It featured a strapless neckline, and the corset bodice's shape and the details covering the gown were intended to resemble butterfly wings. The sides of the dress were designed with semi-sheer, textured lace. According to Vogue India, “some of the embroidery on the gown was done in India”.

 “I wanted my debut look to be something that celebrates my heritage and also combines my love couture, and when I heard of the theme, Iris Van Herpen seemed like the obvious choice,” Patel told the Vogue India team in March earlier this year. “The native Indian stood out in honor of the "Garden of Time" theme, with a beautifully sculpted outfit that hugged her body and a corset shaped like a butterfly.

But what do you think truly made the appearance go viral? you guessed it right! The slow-motion, artistically embroidered butterflies fluttering across the sleeves. Which Casey Curran just a month ahead designed to resemble a swarm of butterflies fluttering down Patel’s arms as she walked the red carpet.

It is no doubt that Iris Van Herpen is a true pioneer of what is referred to as "high-tech" fashion, especially working with scientists and architects to develop ever-more cutting-edge methods and materials for her designs. In addition, she takes most of his inspiration from nature to create unique artwork making her the best choice for this this year’s Met theme, this masterpiece indeed couldn’t have gotten any more gorgeous than this!

Certainly the Indian presence this Met, made a spectacular impact on the red carpet like never before, celebrities like Mindy kaling, Simone Ashley, Natasha poonawalla ,…etc made Indian representation shine. Speaking of Indian representation, quickly comes to our mind beautiful colorful sarees and of course there is no one that can rock the Indian saree like Aliaa Bhatt did this Met. The Bollywood superstar marks her second appearance this year at the Met with an astonishing saree that gave such a beautiful representation of the Indian culture.

Handcrafted by the renowned fashion designer Sabyasachi Mukherje and styled by Anaita Shroff Adajania , Bhatt claimed when asked about the look choice: “It needed something timeless and there is  nothing more timeless than a saree.”

Indeed, the saree perfectly embodied the aesthetics of the theme with its ethereal hues of nature making her look extremely angelic, but what took this look to a whole new level is its delicate handcraft and how the flowers gorgeously were embraided looking almost like a bouquet accentuated by the soft white tulle.

Splendid real gems with the shade of green crafted on the saree along with a magnificent headpiece made Bhatt look like a gorgeous garden princess. Vogue reported “the actor’s ethereal look featured a 23-foot-long train detailed with florals delicately hand-embroidered using silk floss, glass beading, and semiprecious gemstones.”

This masterpiece definitely took an enormous amount of effort and dedication, can you imagine how long it took to create this look? As Bhatt mentioned on her Instagram post appreciating all the hard work done to bring this artwork to life that she herself describes as “an ode to art and eternity”, “The saree took 163 people working together for a total of 1965 hours showing their dedication and passion to bring it to life”. Moreover, she ended her post by saying:” Timelessness is endless, and we acknowledge that things crafted with time and care, can last forever. In our journey for an Indian interpretation of this universal theme, the outfit took on a life of its own.”

And we can’t think of a more beautiful way to appreciate and recognize the Indian culture.

It is no doubt that Indian celebrities this Met stole the show with their spectacular appearances. They definitely set the bar too high for all designers around the world when it comes to true effort, teamwork, dedication and commitment. I personally was always fascinated by their artistic creations in all industries, but most importantly appreciative they are towards their culture and how they do their best to interpret it in the most beautiful way to the rest of the world. I hope all celebrities can stick to their roots, culture, traditions, values and beliefs and to never be ashamed of them because these are the things that give us our identity and should make us feel proud to be part of it

By: Malak Habib

[oppvenuz]

LATEST BRIDAL DESIGNER LEHENGA TRENDS YOU NEED TO KNOW ABOUT | OPPVENUZ

Welcome to OppVenuz | future bride! We’re guessing your heart and soul are fantasizing about the current bridal lehenga trends & Designs of 2024 that you can select for your special day. Dressing up flawlessly is required whether you’re attending a massive, fat Indian royal wedding or an intimate informal gathering on the beach.

It’s crucial to pay attention to the small things when planning a wedding, including the decor, aesthetics, theme, food, and, most significantly, your wedding outfit because it will be the focus of the entire audience’s attention.

It’s a fairy tale in and of itself to become a bride, therefore you don’t want to mess up your appearance for such a significant occasion. Is it not?

In order to dress like a royal bride for weddings, we’ve highlighted the top 7 lehenga trends for 2024 in this post. You can even combine some of these suggestions to creatively live up to your wedding day inspiration.

1. Classic Red Lehenga

It’s impossible to go wrong if you choose a traditional red lehenga! A red designer attire is an evergreen, iconic representation of a bride that endures through many passing fashions. Red has a special meaning since it stands for love, passion, courage, strength, and resolve. In addition to this, our tradition also regards the colour red as lucky. Even in the contemporary period, it is still the most common option for Dulhan lehenga designs. A traditional red designer outfit is luxurious in and of itself, and it gives you the opportunity to look chic and enchanting on your special day.

2. Pink Bridal Lehenga Design

In terms of bridal lehenga patterns, this is yet another new trend. We can’t stop swooning over the captivating pink hues. Pink is one of the most popular colours to choose when designing bridal wear since it will make you seem incredibly lovely on your big day. You can also contrast it in a number of ways, such as by wearing it with a thick border or dupatta to enhance your ethnic charm.

3. Indian Bridal Lehenga With Belt

The lehengas with stunning waist belt is a popular trend these days! The waist belt can lend a touch of “Modern” to your wedding outfit’s contemporary style and feel. You wear the waist belt around your waist, and it can match or contrast with the colour of your clothing.

4. Bridal Lehenga Design In Velvet

Velvet-made attire is an absolute must-have while looking for the newest lehenga trends for brides. A velvet costume has a luxurious, sophisticated, and attractive appearance and is a favourite among well-known designers. A velvet lehenga gives you a royalty feeling which will make you feel like a royal bride on your wedding day. A velvet bridal lehenga is ideal for a winter wedding. Beat the wintertime blues like a queen

5. Gold Bridal Lehenga Design

On your particular day, picture yourself dressed in glistening, glittering gold. At your wedding, wearing a complete golden-toned lehenga will make you feel like a true celebrity. This one will definitely turn heads on your special day because it exudes magnificence.

6. Floral Bridal Lehenga Design

You can now wear a flowery lehenga on your wedding day as well as at your wedding events. This bridal lehenga style certainly won’t go out of fashion. Choose a floral lehenga in the colour of your choice, with any size print.

7. Dramatic Trail Bridal Lehenga Design

A sweeping lehenga trail offers a gorgeous queen-like vibe and can have a surprising effect on anyone’s bridal appearance. A trail lehenga is the finest option if you want to look spectacular and regal during your wedding. Any bride would be delighted to wear it on her wedding day because it is so understated yet so lovely.

[vinaydevi]

Beads and Findings in Modern Jewelry

Beads and findings play a crucial role in modern jewelry design and creation. They come in a wide variety of materials, shapes, sizes, and styles, allowing jewelry designers to express their creativity and produce unique and beautiful pieces. Here's an overview of beads and findings in modern jewelry:

Seed Beads: These tiny, uniform beads are often used in intricate bead weaving and embroidery techniques. They come in various sizes and are popular for creating detailed patterns.

Gemstone Beads: These beads are made from natural or synthetic gemstones like amethyst, turquoise, and lapis lazuli. They add color and texture to jewelry designs.

Glass Beads: Glass beads come in various shapes, colors, and finishes. They are versatile and can be used in a wide range of jewelry designs.

Wooden Beads: Wooden beads add an organic and rustic feel to jewelry. They are lightweight and often used in boho and nature-inspired designs.

Metal Beads: Metal beads are available in different metals such as silver, gold, brass, and copper. They can be plain or ornate, offering a range of design possibilities.

Ceramic and Porcelain Beads: These beads are known for their unique, handcrafted appearance and can be used to create one-of-a-kind pieces.

Plastic and Acrylic Beads: Lightweight and affordable, these beads come in a wide array of shapes and colors, making them popular for costume jewelry and beading projects.

Pearls: Natural and cultured pearls add elegance and sophistication to jewelry. They are often used in classic and bridal designs.

Findings

Clasps: Clasps come in various styles, including lobster, spring ring, toggle, and magnetic clasps, and they are essential for securing necklaces and bracelets.

Jump Rings: These small, circular connectors are used to attach charms, pendants, and other components to jewelry pieces.

Earwires and Earring Posts: Earring findings come in different styles and are used to create earrings. They can be simple hooks or more intricate designs.

Headpins and Eyepins: These findings are used for creating dangles and pendants. Headpins have a flat end to keep beads in place, while eyepins have a loop for attaching other components.

Crimp Beads and Tubes: Crimps are used to secure beading wire and create a neat finish in necklaces and bracelets. They come in various shapes and sizes.

Spacer Beads: Spacer beads are used to separate and add visual interest between other beads in a design. They can be simple metal beads or more decorative options.

Connectors and Links: These findings are used to join different parts of a jewelry piece, such as connecting multiple strands in a necklace.

 

Bail Findings: Bails are used to attach pendants to necklaces. They can be simple, hidden bails or decorative elements that enhance the design.

Modern jewelry designers often combine various beads and findings to create unique, personalized pieces that cater to different styles, from minimalistic and contemporary to vintage and bohemian. The choice of materials and components depends on the designer's vision, the desired aesthetic, and the functionality of the jewelry piece.

Certainly, here's a continuation with more information about beads and findings in modern jewelry:

Wire and Cord: 9. Beading Wire: Beading wire, often made of stainless steel or nylon-coated wire, is used to string beads and create secure and flexible jewelry pieces. It comes in various thicknesses and flexibility levels.

Leather and Cord: Leather and various types of cords, such as suede, cotton, and hemp, are used to create bracelets and necklaces with a natural, rustic, or bohemian feel.

Pendants and Charms: 11. Pendants: Pendants are decorative elements that serve as a focal point in a necklace. They come in a wide range of shapes and materials, from simple geometric designs to intricate gemstone pendants.

Charms: Charms are small decorative elements that can be attached to bracelets and necklaces. They often hold sentimental value and are popular for charm bracelets.

Beading Techniques: 13. Knotting: Knotting between beads is a technique used to create elegant and traditional jewelry. Silk or nylon cord is knotted between each bead for a beautiful and secure finish.

Bead Weaving: Bead weaving involves creating intricate patterns and designs by stitching together individual beads. It's a time-consuming but rewarding technique often used for making detailed bracelets and necklaces.

Wire Wrapping: Wire wrapping is a method where wire is used to secure and embellish beads and pendants. It provides a more organic and artistic look to jewelry.

Personalization: 16. Customization: Modern jewelry allows for a high degree of personalization. Many designers offer custom jewelry services, allowing customers to select the type of beads, findings, and materials to create a piece that reflects their style and preferences.

Birthstone Jewelry: Birthstones are often incorporated into jewelry designs to add a personal touch. Each birthstone is associated with a specific month, making it a meaningful choice for personalized jewelry.

Name and Initial Jewelry: Initials and names can be incorporated into jewelry using letter beads or pendants, making for unique and meaningful pieces.

Sustainability: 19. Ethical Sourcing: Many modern jewelry designers and consumers are concerned with the ethical sourcing of materials, including gemstones and metals, to ensure that their jewelry is produced with environmental and social responsibility in mind.

Upcycling: Some jewelry designers specialize in upcycling old or vintage jewelry components to create new, eco-friendly pieces, reducing waste and environmental impact.

Modern jewelry is a diverse and evolving field that combines traditional craftsmanship with innovative design, allowing for endless possibilities. Whether you're interested in creating your own jewelry or purchasing unique pieces, you can explore the world of beads and findings to express your individual style and creativity.

Certainly, here's a further continuation on the topic of beads and findings in modern jewelry

Trends in Modern Jewelry:

Minimalism: Minimalist jewelry features simple and clean designs with a focus on geometric shapes, delicate chains, and understated beads. This style is popular for its versatility and timeless appeal.

Statement Pieces: On the opposite end of the spectrum, statement jewelry incorporates bold and eye-catching elements, such as oversized beads, chunky chains, and large pendants. These pieces are designed to make a strong fashion statement.

Mixed Media: Modern jewelry often combines various materials, such as mixing metal beads with natural gemstones or using textiles like silk or leather in conjunction with traditional beads.

Geometric Designs: Geometric patterns and shapes are prevalent in contemporary jewelry. These designs create a sense of symmetry and order in jewelry pieces.

Layering: Layered jewelry involves wearing multiple necklaces, bracelets, or rings together to create a dynamic and personalized look. It allows for mixing and matching different beads and findings.

Modern Jewelry-Making Techniques: 26. Resin Casting: Resin is used to encapsulate small objects like flowers, gemstones, or beads in a clear, plastic-like material, creating unique and personalized jewelry pieces.

3D Printing: Some jewelry designers incorporate 3D printing technology to create intricate and complex bead and pendant designs that would be challenging to achieve through traditional methods.

Enamel Work: Enamel is a decorative technique that involves fusing powdered glass to metal surfaces, creating colorful and durable designs.

Mixed Metal Jewelry: Combining different metals, like silver and gold, in a single piece creates a contemporary and eclectic look.

 

Wire Sculpting: Jewelry designers use wire to sculpt intricate and delicate designs, making it a popular technique for creating custom pieces.

31. Ethnic and Tribal Jewelry: Many modern jewelry designers draw inspiration from the jewelry of various cultures, incorporating elements from tribal, ethnic, and indigenous designs into their pieces.

Bohemian and Gypsy Styles: The boho and gypsy styles emphasize free-spirited and unconventional designs, often featuring beads, fringe, and mixed materials.

Art Deco and Vintage Revival: The elegance and geometry of Art Deco design and the charm of vintage jewelry from different eras continue to influence modern jewelry.

Modern jewelry is a dynamic and ever-evolving art form that continues to push boundaries and explore new design possibilities. It offers a broad spectrum of styles and techniques for both creators and consumers, catering to a wide range of tastes and preferences. Whether you're looking for a classic piece or a cutting-edge design, the world of modern jewelry has something to offer for everyone.

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Buy Garba Chaniya Choli Online

Welcome to Winasia Global Ventures, we are chaniya choli manufacturer from India, where we celebrate the joy of childhood with our charming Chaniya Choli. Designed to make your little ones feel special, our collection brings together comfort, color, and tradition in one delightful ensemble and we craft traditional chaniya choli at best price.

Introduction

How Chaniya Choli Began

Chaniya choli, often referred to as ghagra choli or lehenga choli, was created in Gujarat, a place well recognized for its rich textile history. Three elements make up the majority of this ensemble:

Chaniya: The generally flared and folded skirt. It has a range of lengths, from ankle to knee, and is decorated with vibrant colors, skillful stitching, and mirror work.

Choli: The form-fitting blouse that goes with the chaniya. Cholis frequently have matching embroidery or decorations and can be simple or beautifully crafted.

Dupatta: A long scarf or shawl that completes the outfit. The dupatta is draped over the choli and serves both as a fashion accessory and a symbol of modesty.

Cultural Significance

The careful designing and focus on detail that go into chaniya choli’s design are what give it its true attraction. The following are a some of the major decorative accents and design features found on chaniya cholis:

Hand stitching: is a distinguishing feature of chaniya cholis. Gujarat’s talented craftsmen use threads, beads, sequins, and mirrors to create beautiful embroidered patterns. Kutchi embroidery, Rabari embroidery, and Ahir embroidery are only a few examples of the distinctive needlework styles found in Gujarat.

Mirror Work: A major component of chaniya choli is mirror work. They are positioned thoughtfully on the chaniya to catch and reflect light, giving the entire outfit a stunning shine.

Patchwork: Chaniya cholis frequently use patchwork, in which various fabric scraps are stitched together to produce an attractive and vibrant costume.

Bandhani: The complex patterns on the chaniya and the dupatta are typically made using the tie-and-dye method known as bandhani. Small sections of the cloth are tied using this method before being dyed, creating distinctive patterns.

Zari & Gota Patti: To give chaniya cholis a sense of majesty and luxury, gold and silver threads (zari) and gota patti work (gold or silver lace) are utilized.

Present-day Creation

Chaniya choli has changed to accommodate contemporary tastes and preferences even though it is still strongly rooted in tradition. Modern designers have drawn inspiration from this timeless outfit to develop fusion clothing that combines Western and traditional chaniya choli styles. For weddings, receptions, and other formal occasions, these fusion-inspired dresses are a popular choice.

Furthermore, there has been experimentation with chaniya choli designs due to Bollywood and fashion runway influences. Celebrities frequently wear chaniya cholis with creative twists, encouraging fashion lovers to discover new options for this costume.

Conclusion

The chaniya choli is a monument to the continuing popularity of traditional Indian clothing in a world where fashion fads come and go. It continues to grab people’s hearts all across the world with its bright colors, beautiful craftsmanship, and significant cultural history. The chaniya choli continues to be a representation of grace, beauty, and tradition whether it is worn for special events, weddings, or just as a means of expression. This classic outfit will certainly find new ways to charm and motivate future generations as fashion develops.