#clothes printing sydney

[scarlett-ainslie]

The Influence of Custom Clothes Printing on Personal Style and Branding

Custom clothes printing has transformed personal style and branding. It allows individuals to express unique styles and businesses to promote their brands effectively. Historically rooted in ancient civilizations, the industry now utilizes advanced technologies like screen printing, DTG, and sublimation. Custom apparel enables personal expression and serves as a powerful branding tool, exemplified by cases like Taylor Swift's tour merchandise and McDonald's branded clothing. The future holds potential innovations in 3D printing and AI, aligning with trends toward ethical and sustainable fashion.

[ameliyalanne]

Unleash Seriously Next-Level Style with Design Your Own T Shirt

Design your own t shirt start with brainstorming ideas, drawing inspiration from your surroundings, pop culture, or personal experiences.

[my-outfitisamasterpiece]

Sydney Sweeney in Ralph Lauren & Givenchy at a Samsung Event in Paris 24'

[seniouesbabes]

Lily Maymac 🌸🍒💋🌸 Beach pants n snake skin 🐍 prints @lioness_official

[currymanganese]

Will Carmy leave the culinary world?

I know based on Carmy's current disillusionment with the restaurant world that this is a question that us fans have been asking ourselves, but here are some reasons why I think that Carmy will stay in the food service industry in some capacity, or at least why I'm hoping that he will.

Carmy loves the family restaurant:

First and foremost, Carmy does have a love for his family's business and for cooking, despite the burnout that he has been experiencing he defends the restaurant against his sister's scorn for The Beef and Uncle Jimmy's desire to purchase it in season one. Also, note that in his first onscreen face to face conversation with his sister, Via Chicago by Wilco plays in the background, and the tortured lyrics ultimately end by speaking of searching for home,

-and inter-cut with this scene, Marcus and Richie highlight an effective change Carmy has made to the restaurant (organizing the spice rack). The scene deliberately extends to have Gary tell Fak his REAL NAME while the song in the background says, "printed my name on a back of a leaf and watched it float away..." while Marcus finds a keepsake from Carmy's fine dining days / James Beard Award win that references, "Fairest Creatures", a phrase from Shakespeare's Sonnet 1 which is part of a

series of sonnets which urge a young man to marry and have children so that his legacy will live on. It is almost as if the narrative is telling us that Carmy's real name/identity is being a world class chef, not the harried, downtrodden line cook / small business owner we see him as at the beginning of the pilot, but this identity has temporarily eluded him. It also reinforces what Sydney said about him during her character introduction, when she told him that she knows who he is, "Most excellent CDC at the most excellent restaurant in the entire United States of America".

In a literal sense, the restaurant currently is Carmy's home away from home, even more-so than his sparse apartment, it is also his family legacy, and apart from his love for his family, the restaurant, and cooking by extension, is quite likely his "first love". He outright tells Jimmy that he loves the place in his conversation in Hot Dogs at Nicky's birthday party, and during his business pitch in "Beef" in S2;

"I love this place. I love this city. I wanna start our first business here."

He also doesn't deny it when Richie asserts that he loves the restaurant when Richie has the conversation about purpose with him also in "Beef", he just lets slip that the business is not fun for him presently, but as with many things, that can be subject to change in the future, especially if the restaurant presents him with the opportunity to have a home and a family of his own, and a legacy to give his own child or children someday! Now, don't get me wrong, a major component for Carmy's original love for the restaurant and for cooking was motivated by his love for Mikey, however, I believe that over the course of the series that Carmy may cement his love for the place and for his identity/ vocation as a chef even though he no longer has Mikey as his reference, his North Star. He may very well find even more reasons to love being a chef and to love the place that Nat and Jimmy, and his mom, and even Mikey once found unlovable.

2. Divestment and gifting of belongings, especially belongings that one is emotionally attached to is often a symptom of suicidal depression:

This may be TMI, but I first learned this as a child because my father was suicidal, he also even attempted once, but was thankfully unsuccessful, but one of the things my mother taught me and my siblings to be wary of is when he gives away clothing (he loves clothes). I know that Carmy giving Tina his chef knife in Season 2 is probably not meant to indicate that he is depressed, but I would be concerned if Carmy checks out of the business entirely to the point that he completely gives his stake in the restaurant up to Sydney or something of that nature, since, see point one above, he does love the restaurant, despite the strain that it causes. If Carmy continues giving away stuff that he loves in Season 3 onward I'd be very concerned.

I also believe this mental health symptom of suicidal depression was subtly illustrated in the pilot of Season one "System"; the jacket that Mikey gave Carmy, the one that it is implied that Carmy ended up selling to keep The Beef stocked and afloat, why did Natalie have it if Mikey gave it to Carmy? I believe that Mikey may have let Carmy know that he wanted him to have the jacket before he committed suicide, as in, Mikey divested himself of the jacket, just like in death he ultimately divested himself of the $300,000 from Uncle Jimmy and the restaurant itself. Knowing that, I don't see Carmy having an easy time walking away from the restaurant, regardless of if it is to pursue his artistic passions, even if he wants to...And also, as Carmy expressed in his monologue in Braciole, there's artistry in cooking and it is a subset of art that Carmy has become quite proficient in.

3. Carmy is competitive, but we still haven't seen him at the apex of his talents as a chef onscreen in the show so far:

Carmy was once so competitive in the culinary world that he viewed his coworkers in an antagonistic light to such a degree that he was determined to be so excellent at his craft that he "smoked" them and showed them up by comparison...He essentially becomes a master in his profession, despite his lack of academic /collegiate instruction in the culinary arts, through sheer spite for Mikey (as he expressed in his monologue in Braciole), for making him feel,

"...so rejected, and lame, and shitty, and uncool...."

-and out of spite/disdain for his coworkers. Although he is now far less anti-social and presumably has a healthier attitude towards competition, what would happen to someone with Carmy's competitive mentality if he quits the industry?

What healthy outlet does he have to be competitive to the extent that he can "be the fucking guy" and be the best at what he does, and to quite frankly be (in his own estimation, most importantly) cool? What happens to him (if he quits being a chef) the first time he walks into a restaurant and orders a meal, sits down to eat it and finds the dish shitty? What happens to him when he can't turn off the intuition that he has honed from years of self study where he can figure out how to improve a dish just off of one taste, like he did with Syd's braised Beef Short Ribs? As @thoughtfulchaos773 mentioned to me, we still haven't seen a moment where Carmy is confident and in control AND having fun while he is gelling with the rest of the crew in the kitchen, like Richie had while on expo in the season 2 finale.

If he quits being a chef, when will he get to "be the fucking guy" that Uncle Jimmy has been admonishing him to be? Because on some level he does indeed want to be that guy; he even watches Pasta Grannies in his free time, he doesn't suddenly stop being that kind of guy even if he quits, and I daresay that cooking may actually be some sort of special interest for him, which leads me to my next point:

4. Carmy may have to get into some form of further studies if he wants to pursue visual arts intensively, whether at a tertiary level or through some vocational program or as someone's understudy:

Whether it's visual or performing arts, the arts are quite difficult to get into and be successful in at a high level, and Carmy may have to undergo some retraining in order to have a competitive chance in that field, whether as an independent artist or whether he works under another artist or for a studio or fashion house etc., especially since the business administration aspect of his current job seems to be a challenge for him. However, since Carmy expressed that he had trouble in school and there were also instances where he seemed to struggle with executive dysfunction in season 2, the possibility exists that Carmy has ADHD or some learning disability that may complicate such a prospective career switch. It wouldn't be impossible for him, mind you, but this is a factor that also potentially influenced him, if not outright prevented him from going to college or pursuing another field. He'd need a lot of privilege and support to make such a career shift successfully.

Barring some assistance from connections and friends in high places (a la - his implied friendship with Thom Browne) it is unlikely that his current artistic skill level in sketching/illustration (that we have seen thus far anyway), that is either self-taught or based on his high school education, would be enough to get him very far as a visual artist. From seeing some of my artistically talented relatives struggle to make it as performance and visual artists, the arts can be very cutthroat, nepotistic and stressful industries to break into. The starving/obscure artist is an international stereotype for a reason, one of my grandfathers was even a struggling multi-instrumentalist for example; it can be quite rough out there in the art world!

Which brings me to my next point;

5. If Carmy continues to avoid dealing with the root of his traumas and does not process his grief and address his mental health issues, even if Carmy switches career, the next industry that he's in will still proverbially beat his ass:

As part owner of The Bear, Carmy has the opportunity and freedom to not just realize his own creative vision, but he also has the liberty to make it (along with Syd and Nat's and the entire crew's help) so that the restaurant is, to quote Sydney, "different from all the other places we've been at." He now has the power to make it so that, as much as possible, the restaurant is not the toxic, abusive, soul sucking enterprise that had him vomiting every day before his shift when he worked under the abusive executive chef (implied to be) at EMP. If Carmy cedes his place at The Bear, he is not guaranteed to have the same level of autonomy in another field, even as a visual artist, and the arts (or any other industry he may move on to) are riddled with challenges and injustices and struggles of their own.

While it would probably not be the intent of the creators if they do depict him leaving the culinary industry someday, in a way Carmy quitting being a chef could also be seen as a repudiation of Sydney's conviction that The Beef, now The Bear, doesn't have to be a shitty place to work at. If Syd and Carmy succeed at making it a great place to work at, shouldn't he be able to enjoy that for himself as well?

6. This show is many things, it's a study of the way grief and trauma shapes a person, it's about family, surviving family trauma surrounding addiction, and love, it's very loosely autobiographical, it's a genre bending dramedy, but so far it has also been a love letter to the food service industry and food service workers:

This is just my opinion, but wouldn't it be a somewhat tepid love letter to the food service industry/worker if the protagonist leaves the very industry that has made him who he is thus far, and that has even brought (in my opinion, don't kill me) his soulmate (Sydney) into his life at the end of the story? After the showrunners took the care to have two bottle episodes where supporting cast members gained fresh perspectives on their roles in the food service industry (Marcus in Honeydew and Richie in Forks) - we are even shown Richie (like Sydney with Coach K's "Leading with the Heart") reading and internalizing the book, "Unreasonable Hospitality" by Will Guidara.

To quote the author's website:

"Today, every business can choose to be in the hospitality industry — and you don't have to be a luxury business to do it. This book of lessons about both service and leadership learned over a career in hospitality celebrates the one principle that will never go out of season: the human desire to be taken care of. In this behind-the-scenes peek at the world of fine dining, Guidara shows us how to find the magic in what we do — for ourselves, the people we work with, and the people we serve."

As a result, I think Marcus and Richie's character arcs in season 2 foreshadowed the possibility of Carmy having a similar transformation on his current outlook on the restaurant and his place and purpose in it. It is also important to note that potential love interests served as mouthpieces to aid Marcus and Richie's perspective shifts in Honeydew and Forks, Luca for Marcus and Jess for Richie; while they weren't there as the sole reasons for Marcus and Richie's renewed appreciation for what they do in the restaurant, they were there to witness and assist with their character development and renewal.

With this in mind, how do you think learning that he prepared the best meal Sydney ever ate in her life, when he was at one of his lowest points mentally / professionally would affect Carmy? Would he really want to walk away from the field and vocation that helped him to win over / woo Sydney before he even met her, when he learns that this is effectively what brought her to his doorstep in the first place, not The Beef, not her Dad, not Mikey, not his prestige as a chef, but him and his cooking? I think that over the course of the show that Carmy has to learn to (to reference the aforementioned books) lead from his heart, and to rediscover the magic in what he does as a chef.

7. One of Carmy's struggles is loneliness and isolation, he may be even lonelier if he leaves The Bear behind:

Realistically speaking, the food service industry is a high stress industry that makes high demands on workers' time, with that in mind, how will he maintain his relationships with those who we have seen become his surrogate family members in the crew if he walks away from The Bear permanently? Let's say he becomes an independent visual artist, being self employed can be a lonesome experience. Also, loneliness itself can also cause dissatisfaction with one's job, does he really no longer think he is cut out for work as a chef, or is his loneliness one of the factors that brought him to a psychological/emotional tipping point at the end of season 2? From my own experience with losing my job at the end of last year, switching careers or leaving behind a job can, in an of itself, be a very isolating experience - especially if you were emotionally attached to your job or befriended your colleagues. If Carmy's loneliness is one of the biggest things he wants to escape, leaving The Bear isn't going to automatically make it possible to form the connections and the work/life balance that he is yearning for deep down inside.

8. If Carmy walks away from the restaurant, what happens to his partnership with Sydney?

After all, he was the one to convince her to partner up with him to start a new place. Worse yet, Carmy is heavily implied to be in love with Sydney, how will he have the opportunity to make something of that fondness for her or maintain a romantic relationship with her if he does start a relationship with her, if he leaves? He won't be there to try to make good on his promise to not let her fail, he won't see the highs and lows of her days BOH, their relationship just would not be the same. The disparity between professions and the high constraints on their time was also one factor that would have made it difficult for Carmy to maintain the relationship with Claire in the long run.

As such, it is common for persons in the food service industry and in other fields where it is common to work long hours, to get around this hurdle to proper work/life balance, by simply having their personal lives heavily intertwined with their work. It's common for persons in the food service industry to meet their spouses and partners at work and to continue to work with them. This is even referenced in season 2 which featured the husband and wife owned and operated restaurant, Kasama, and also with the butcher that mentions that he is in business with his wife to Sydney, after they lost their restaurant due to an untrustworthy partner.

So which will Carmy ultimately be to Sydney, just a partner that ultimately walks away from their shared vision and venture and goes it alone with his own career, even if it is for the sake of his mental health? Or will he be her partner in multiple senses of the word? Does he really "wouldn't even wanna do it without" her in a literal sense or will he walk away from The Bear? I'm hoping that he stays, or that even if he leaves that they leave together, and that they leave to greener pastures. Remember that Carmy told Jimmy that he wanted to open their "first restaurant" there at The Bear, imagine if they yield the restaurant to Tina, Richie and Nat someday and start another venture elsewhere or start publishing cookbooks together or become food television personalities, like Carmy saw himself as in his nightmare in Braciole, but in a positive twist?

Also keep in mind that when asked about the possibility of there being a romance between Syd and Carmy, Christopher Storer has gone on record to cryptically say about the two of them:

"It's a partnership, you'll see......."

9. Carmy is not a one to one analogue for Christopher Storer:

While Christopher Storer left the food service industry and entered the film industry as a writer/producer and director, and Carmy and his family is loosely based on Christopher Storer and his sister's life, there are some deviations from C Storer's life that make Carmy's character and story unique. Carmy is a youngest child, Storer is the eldest child in his family. Apart from having a cigarette addiction, Carmy is sober, but C Storer struggled with alcohol and substance abuse before he met his partner Gillian Jacobs. Storer is currently no contact with his mother who is an addict, but it remains to be seen what decision Carmy will ultimately make concerning his relationship with his mother, Donna. At the very least it seems that Nat wants her to be a part of their life still. This might be superficial, but Carmy is also short and Christopher is tall, here he is standing between Ebon Moss-Bachrach and Lionel Boyce who are roughly, 6' and 6' 3" respectively.

I'd be more confident that Carmy would leave the food service industry if he was more of an author stand-in for Christopher than Jeremy Allen White's depiction of Carmy currently is. Perhaps Carmy will represent the chef that Storer would have liked to work under or become if he remained in the culinary industry. And perhaps Mikey represents the person that Storer saw himself becoming if he did not meet Gillian Jacobs and become sober? Based on the earliest drafts of The Bear I know that Carmy and Sydney were supposed to more closely resemble Storer and his relationship with his sister Courtney, who is still a chef and is a culinary consultant on the show. However, since the story has changed so much after JAW and Ayo's casting, to the point that Carmy and Syd's relationship if rife with romantic subtext, then it'd make sense for me if Carmy remaining a chef is one more area where his life is not just a mimicry of Christopher Storer's.

TL;DR - I don't think Carmy will quit the culinary industry or The Bear, or at least I hope that he won't and here's why:

Carmy loves the restaurant.

Divestment of beloved belongings is sometimes a symptom of suicidal depression.

Carmy is a competitive person, being a chef gives him a healthy outlet to compete and to execute well at a high level, and we have yet to see this side of him/his full potential as a chef onscreen.

Carmy will require retraining to work in another field, even if he wants to do visual arts full time.

If Carmy keeps avoiding dealing with his mental health issues, a job in a different industry will still be a challenge for him.

The show is a love letter to the food service industry, Carmy leaving the industry someday will defeat the purpose of the show in a way, and would mark a departure from the trend of character progression where we've seen the supporting cast find renewed purpose in the industry.

Since Carmy suffers from loneliness, it is likely that he'll be even lonelier if he leaves The Bear.

His partnership with Sydney and his possible desire for a romance with her may suffer or become less likely to occur if he leaves.

And lastly, Carmy is not completely based on Christopher Storer's life, just because Storer left the food industry doesn't mean that he intends for Carmy to do so by series end.

Thanks for reading this through if you've made it to the end, and a big thank you for listening to me jaw on about all of this and convincing me to write it out @thoughtfulchaos773 !

P.S. Happy New Year everyone! 💃🏽

[dollya-robinprotector]

Personal ID portrait Commission OPEN

Slot: 1/3

Waitlist (Start after ~26/12): 0/4

Price: 35$ - 40$ depending on your level of detail required. Transaction through Paypal!

Commission sample belongs to @zola-no-kanojou

More details below cut:

Messages and discussion through Discord or Tumblr DM. Please DM me first, and I'll secure your slot and send you my discord. After I finish the sketches, please send me 100% of the agreed payment through Paypal. Then I'll start finishing your commission. You can totally ask me to livestream my drawing process.

The final pieces (PNG, with and without background) will be sent to your Gmail.

It's a Portrait ID drawing, meaning it will at most show the character standing still, from the chest up. No hands allowed, if you want to include hands holding objects or doing something we will have to discuss more and turn it into a regular portrait commission.

For this kind of commission, I can draw: Humans, kemonomimi, anthro, casual clothing, "details level Genshin/HSR/HI3" I don't accept: Furry, mecha, metal or heavy armor, sci-fi clothing, gore or body horror, disturbing details.

I can use the final product (with watermarks, resolution reduced) to post on my social networks and use them as self-promote samples. If you want to make it private I will charge a "private fee". You're free to use the final product and edit it to be ava, icon,... or print it out for personal use, as long as it's not commercial and profitable. If you wish to use the product as part of your branding, please contact me for more discussion.

Also, I'd like to open ONE (1/1) slot for the comic commission.

This kind of commission often takes longer and requires much more communication effort, so I can only accept one at a time. I also kindly ask my client to be patient because I'm not a native English speaker, so I might need more explanation to truly get what my client wants.

Each page will be 35 - 50$ depending on the details, we will discuss more about it in the process. I recommend doing a short strip, about 5 - 10 pages for our first time working together.

Examples are The Sydney Nymphs comic, DDD short, or this small one

[fresaton]

Carmy=Tomatoes and Sydney=Cherries

Carmy is Tomatoes. May cause heartburn.

In ep 1x01 Carmy wakes up next to the cans of tomatoes, the first thing he cooks are tomatoes, he asks about the cans, he needs ketchup.

Sydney is Cherries. A natural antioxidant.

The pepto in 1x01 is unopened because Sydney has not yet been hired at The Beef, Sydney's donut is Cherry, she likes cherries.

Sydney quits after eating the donut, Carmy leaves too when he eats the donut.

In 1x08 they both miss each other, Carmy thinks (to relax) with a cherry yogurt (or ice cream I'm not sure) and Sydney prepares a dish with tomatoes.

Mikey gives him the recipe for spaghetti which ends up bringing them together again for a family meal.

…and they are tired of each other in S3 Because Carmy is wasting food and money. Because Sydney has not signed the partnership agreement

But in 3x09 Sydney makes food for Nat, all the dishes have tomatoes in them…

I think Carmy bought the cherry onesie for Nat’s baby… and the scrunchie too.

Sydney doesn’t wear any with a print during the seasons, I think the print is cherries and… Nat’s baby is wearing a Cherry onesie… how crazy would it be to think that Carmy bought them? And bought the scrunchie as a gift for Sydney.

(Carmy likes to give clothes, in S1 it's the blue aprons, in S2 it's Syd's jacket, it's not strange to think that he bought a onesie for him nephew/niece and the scrunchie for Syd)

So, Tomato and Cherry… What are the chances of them making a dish with Cherry Tomatoes? (I have no idea, I eat them as a snack)

[kdbleu]

Costuming and The Bear...

So, costuming on TV, in a movie always means something even if it’s only a representation of the character. The Bear seems to use that on the next level, too, on the more thematic/symbolic level.

Richie wearing only Beef merchandise is the most obvious use of both these ideas, because it’s not subtle, like Richie is not subtle. His adherence to the Beef dress code shows that his character is tied more to the past than the present/future, and that he’s outside the rest of the group as the kitchen staff dons the new blue aprons. The only exception Richie makes in the present is when he’s on a date. Which says something too. That Richie knows how to fit social expectations. Even how to impress if he keeps his mouth shut.

Clear, color separation is used with Sugar. She wears civvies because she doesn’t work in the kitchen, but she’s in orange, the opposite of blue on the color wheel in the pilot, and pink, a social opposite of blue later when she comes to clean up the shot-out glass and search the office for the tax paperwork. This makes it obvious that she doesn’t work in the restaurant, and she doesn’t like it. In the season 2 trailer, talking to Cicero, she coordinates with Carmy and Sydney, showing that she’s coming around.

There’s a distinct present quality in the blue apron uniform as Mikey’s kitchen staff only adds Carmy’s apron to their usual personalized work wear while Carmy and Sydney wear more personally standardized white tops and black/dark pants that not only are consistent but coordinate with each other, already making them a unit within the unit.

This apron/group dynamic is heightened by it not only being pointed out by Tina, but by Tina going from not wearing the blue apron to Carmy remarking that she looks like Sydney when Tina finally does and Tina in return saying to him she’s “profesh” now. It's interesting that Tina wears a white blouse, like Sydney, before the blue apron. It’s the apron and Carmy she resists not the kitchen uniform, but it hints at the future before she joins the present. And before she sheds her individualism.

This desire for individualism leads to Sydney’s scarves, her show of individualism and how she works the fact that she has to hold her braids back into something distinct and bold within her personal uniform that she likely spent a lot of time working towards as she figured out how stand out as herself in a professional kitchen in a way that could not be argued with. Although she also probably played closer to the rules in an attempt to almost hide, wearing something very discreet until she found a place and acceptance at the Beef with Carmy. She wears a more subtle version of her scarf in episode 1 with it rolled then she does in later episodes with the triangle point showing off more color. I envision her wearing the rolled version while catering and interviews because it’s a little sleeker while still hinting and her boldness.

Carmy keeping to his own version of a very classic chef look shows his insecurity even as he comes into his own. He wants to wear something he’s comfortable in that hints at the denim collection and keeps him close to Mikey, but white tee and black work pants with a blue apron is still very professional kitchen. Carmy shows off on the plate, not in his uniform, which he keeps no matter how he’s working in the restaurant or where he’s cooking. Except at home, which is notable. This is echoed in his off-duty clothes, muted colors, and denim, as opposed Sydney’s prints, stripes and screen tees.

All of this is a very winding way to say that all the costume choices mean something. It’s something that the new girl will have a uniform that matches Sugar’s life outside the Beef/Bear. That Richie has Berf merch hidden in someone’s basement, a further tie to the messed up past. That Tina seems to be doing better in culinary school than Ebra. That Marcus and Fak have their own flair.

(There’s not enough of Marcus in the trailers to really guess at his path forward, just rumors, so I’m going to hold off on him in season 2, but in season 1 he falls between present and past but definitely in action looks to his future. I mean, he’s obsessed with possibility and donuts.)

But it also signifies a lot that Carmy and Sydney match in one chaos menu scene but not in the other. Just like it’s important they’re in his home. So, yeah, Carmy and Sydney standing outside their evolving restaurant with Carmy in his personal uniform and Sydney in a personalized inverse of that uniform is a moment that ties them as equals who fit together and complement each other. The fact that they’re together day and, if BTS shot are to be believed, night looking up to the future means they’re a pair. No matter what that future might hold. (the picture is from @devisrina's blog. Thank for posting it.)

[brf-rumortrackinganon]

Met Gala Thoughts

Best in "I thought you were someone else"

(L) Sydney Sweeney as not-Billie Eilish (R) Kendall Jenner as not-Kim Kardashian

Honestly, Kendall looks more like Kim than Kim does at this point.

Best in "Live from Broadway"

Usher, giving Phantom. I hope someone asked him about the Drake/Kendrick beef.

Best in "One Outfit, Two Looks"

(L) Rebecca Ferguson (R) Demi Moore

Best in Technology

Ambika Mod. It's a 3D print of a dress on top of a dress.

Best in "You Could've Done Something Really Meta"

Nicholas Galitzine, whose character in his new film "The Idea Of You" is based on Harry Styles.

Best Rihanna 2.0

Cardi B, who needed 9 assistants to lay out her train.

Reminds me of Rihanna's omelet dress.

Best in "New Look, Who Dis"

Zendaya in her second outfit of the night. Very Blake Lively-ish.

Somewhere inside The Met, Jennifer Lopez was screaming at her assistant for not preparing a second look.

Best in "Couples Who Slay Together, Stay Together"

(L) Eddie and Hannah Redmayne (C) No idea (R) Queen Latifah and Eboni Nichols

Best Cinderella

Quannah Chasinghorse

Best in "Get These People a Career Revival"

L-R. Jude Law, Meg Ryan, Charlie Hunnam, and Michelle Williams

Best of the Gents

(L) Jonathan Bailey (C) Barry Keoghan (R) Colman Domingo, in a tribute to Chadwick Boseman and Andre Leon Talley.

Best in "I Don't Know What You Were Going For But I Guess It Works"

(L) Harris Reed. No idea who that is. (R) Uma Thurman

Best in "Better From The Back"

(L) Tommy and Dee Hilfiger (R) Mindy Kaling

Best "Where Can I Get This I NEED One Yesterday"

A relative is obsessed with dachsunds. I would win Christmas if I got my hands on this. Or a cheat knockoff.

Best in "The More I See Them Appear Together Because They're Contractually Obligated, The Less I Want To See Their Movie"

Cynthia Erivo (Elphaba) and Ariana Grande (Galinda), who've been joined at the hip for the last year to promote Wicked, which comes out in November so there are still six more months of this to go.

Best in "Celebs, They Get Peckish Just Like Us"

Michael Shannon, with a Balenciaga bag. So disappointed it wasn't a party bag of chips. The Balenciaga retails for $1,850 or 115 party-size bags of Lays potato chips from Walmart.

Best in Vintage

(L) Nicole Kidman (R) Lana Del Ray

I was so happy to see a McQueen antler dress show up.

Best in "Oh Dear God Why Are You Here Go Away"

Ben Platt

Kardashians

Jerry Seinfeld and Jimmy Fallon

Lea Michele

Lauren Bezos (though I didn't actually mind her dress)

My Top Looks of the Night

L-R: Karlie Kloss, Nicole Kidman, Elle Fanning, and Gwendoline Christie.

Ultimately...

It was an underwhelming red carpet. The Met Gala serves an incredible purpose, but they've moved too far away from fashion and costume. There are too many actors and people-famous-for-being-famous involved now that have really watered down the fashion, the themes, and the cultural significance of the event. It needs to go back to being the New York elite and High Fashion - people who know how to wear clothes instead of posing with their hands on their hips, sticking out their butts, and pouting.

[v-as-in-victor]

I’m pretty sure I’m not getting back the clothes that were taken off our porch by the charity collectors in spite of us not scheduling pickup and the stuff not being labeled for them.

The worst part is losing these three tops that I sewed. The long sleeved shirt was made from fabric I bought in Australia. I found the fabric online today but it’s out of stock of course. The short sleeved shirt is fabric I designed while I was staying in Sydney in January. The floral tunic is out of print Kaffe Fassett and I wore it when we scattered Mum’s ashes.

I am not a fast sewist and button up shirts take a lot of work. The tunic was faster but it’s still a beautiful wardrobe staple. And of course these have massive sentimental value.

I also lost two pairs of home sewn trousers. Not as sentimental but practically speaking, trousers!

I have not had any replies to attempts to reach the charity and it’s a week and a half ago now. I hope someone out there enjoys them I guess. At least I hope they don’t get bulk sold to be shredded for insulation or landfilled.

[housedeaubemarle]

A House Call

(written with @escherstrange-ffxiv, without whom none of this would have existed in the first place)

Followed by 'A House Call: Epilogue du Oudine'.

~*~

"Sydney should be here," Joshua grumbles, adjusting the cuffs of his sleeve. 

"Probably for the best." Isillud thinks it wiser not to tell his younger brother of their brother's reply.

An hour ago:

Sydney's laugh was of a man who had suffered at the hands of House Aubemarle. It was long, sharp, and bitter. "HAHAHAHA good fucking luck," he said before the linkpearl fell silent.

Isillud's eyes narrowed at the fireplace, as if telepathically setting his brother on fire all the way at Radz-at-han. "Bitch."

"He could have given us some tips. I've never met the viscountess."

"Neither have I, Joshua." Isillud smooths his hair back, waiting for the door to open.

~*~

Marceaux, butler to House Aubemarle perhaps since the time of the Ancients, opens the door to two lanky Elezen gentlemen. 

The eye first takes in an absurdly beautiful face on the right, accompanied by well-sculpted - youthful - features on the left. Another second of scanning addresses the similar bone structures, Duskwight skin, points of ears, and builds of the pair before him. Yet a third instant notes the ruffles of cravats and shirts, unobtrusive cufflinks and neatly pointed shoes, while filing away for future reference, certain wrinkles in cloth that either point to a household without laundry maids or worse: untrained servants. 

“Our relatives, the Losstarots, are due tomorrow morning, Marceaux. We will not be home to anyone else till their visit is complete.”

“Very good, milady.”

He opens his mouth, just as the trained eye submits a fourth report: the pairs of eyes looking back at him - one impassive, one defiant - are shockingly green. 

“Good morning, gentlemen. Whom may I say is calling?”

Joshua straightens his back, clearing his throat and whipping out a card in between his fingers. “Lord Joshua Losstarot and my brother, Isillud. We are here to meet with Viscount Aubemarle."

The card is a crisp white card printed only with his name and a coat of arms. He looks as dignified and lordly as a young man due to come of age in 3 days (figuratively) can be. Isillud simply nods and smiles at the butler. 

Marceaux wordlessly and gingerly receives the tiny rectangle. He peers at it, absorbing that this is, in fact, the Lord Joshua Losstarot. Still holding the card respectfully in his gloved hands, he bows and moves aside to wave them through.

“Welcome, milords. If you would be so kind as to follow me, I will direct you to the Chantilly Room.”

He awaits acknowledgement of this, and at the briefest nod from Lord Joshua, neatly spins on his heel and walks down the hall at a moderate pace. He does not turn to see their reaction to the interior, though if one were to conduct an interview later, Marceaux would hardly dare suggest anything but satisfaction with the tasteful wallpaper of ivory striped with off-white, matching an elegant marble floor in swirling shades.  

The door of the Chantilly Room opens to, indeed, cream-coloured curtains, off-white painted walls and carpets of a darker grey-blue. Within, on a low table opposite a pale blue sofa, sits a full tea set. Along the walls are ornaments of various styles and sizes on sturdy shelves, while two painted lacquer screens stand at a corner. A gilded wall mirror completes the furnishing.

“Please make yourself at home, milords.”

Marceaux waits for a count of five, trusting their lordships to seat themselves comfortably, before he closes the door with a quiet thud. From the corner of his eye, he sees the barest whisper of a skirt and hears a stifled giggle.

He represses a sigh - and the thought that Lord Joshua’s brother’s reputation precedes itself - before quickly heading upstairs.

~*~

Being away from Ishgard for five summers has dulled their aesthetics towards interior decoration. Joshua shifts his weight, rocking back and forth on his heels. "How long do we have to wait, Izzy?"

Isillud glances at the decor, taking in the details as he walks past the ornaments, mentally placing them in their possible places of origin. "You don't ask, Joshua. You just sit and look around. Gives you an idea of what to talk about." He peers at some. "Hingan teacup. Gyr Abanian charm. If they don't travel, their friends do."

"How do you know they didn't buy it?"

"You don't buy a single teacup, Joshua." 

Joshua points to a row under the gilded mirror. "What about that miniature fan and those dancing figurines then? Took their friends long enough to realise what they liked?"

Isillud glances at the mirror, sighs, then sinks into the couch.

The wait isn’t as agonisingly long as Joshua anticipates. Barely two minutes after Isillud sits, the door opens again. 

“Good morning, my lords.”

The woman offering her greetings is tall and fair, dressed in a blouse of soothing dusty blue with gauzy bishop sleeves, and black trousers. Waves of shiny, dark brown hair have been woven into neat braids, then pinned into a singular tidy bun; bangs frame either side of her face. Clear grey eyes crinkle above a pointed nose; lips coloured an inoffensive shade of cameo pink form a warm smile. 

She stretches out a hand towards Joshua first, as is correct etiquette.

“I am Oudine de Aubemarle. I suppose we could be called cousins of sorts.”

Joshua straightens his jacket before taking Oudine's hand and barely touching his lips with it. "Joshua Lo-" he is interrupted by Isillud's cough. "-Joshua de Losstarot, a pleasure to meet you Viscount."

He steps aside for his brother. Compared to his, Isillud seems smoother, like he trained his entire youth for this moment.

"Milady." Isillud's baritone voice is like silk brushing across her hand. "Will your mother not be joining us?"

Oudine blinks. It hasn’t been that long since she’d received hand kisses as greetings, surely. Is she so accustomed to shaking hands on business that gallantry has become a surprise? 

Focus, Oudine.

She keeps smiling. “She will, in just a moment. Her toilette requires a little more attention, seeing as the sons of her longtime connections are here.” Oudine gestures to the sofa. “Please, do sit. The staff will bring some light repast by and by, so we will have to contend with tea first. I hope red tea is to your taste.”

As her guests sit, and she picks up the teapot to pour, she continues. “If you don’t mind me saying so this quickly in your visit, hearing of your reinstatement was personally gratifying. I’m glad the Holy See is making what amends it can, though perhaps,” she looks up at them, noting the arresting green gazes of both brothers. “Such hurts will take a longer time to heal.”

"I shan't lie, it's equal parts relief and resentment," Joshua replies. "We can't even give a proper funeral for our parents and grandfather, but at least we have our home back." He shoots his brother a pointed look. "Not entirely, but I'll take what I can get." 

Idillud picks up his teacup and inhales once before sipping. Leaning back against the sofa signals to Joshua he has no intention of carrying a conversation - he's only there to supervise the lord-in-training, nothing else - and so Joshua continues. "I do confess my surprise that you are the current viscount, milady." Joshua's voice is markedly younger, and with youth carries a tone of eagerness instead of nosiness. "I thought it would be your brother."

This is not a question Oudine has heard for a few years now. She takes a quick glance at Isillud, apparently absorbed in his tea. Is this the usual pattern? The older brother hanging back, the younger taking the lead? Then again, knowing what they do of Sydney, perhaps House Losstarot must needs rely on its youth. And youth, Oudine knows, requires training. 

“I’m sorry to hear of your parents and grandfather. It is… difficult, when one does not have the chance to say the goodbyes one desires.”

She gestures invitingly to the sugar bowl, lifting its lid.

“As for Remont, let us just say it has long been an unspoken understanding in our family that birth is not necessarily the best judge of headship. My father’s passing was perhaps the culmination of that understanding.”

She smiles at the young man in front of her. For a moment, she remembers her younger brother as he had been ten years ago, though perhaps Joshua has more palpable vitality. 

“I think, in that, we have something in common, Lord Joshua.”

“And what would that be, my love? Is the head of Losstarot too an insouciant younger brother?”

Oudine nearly drops the lid. She whips around to see the Dowager Viscountess herself standing in the doorway, attended by Marceaux. She is shorter than everyone present, but commands a presence that could even match the likes of Count Charlemend de Durendaire. Smooth, very pale blonde hair that borders on white is neatly put up. A wan but clearly inquisitive smile sits on her slightly wrinkled, but still clear, face, matched by a raised eyebrow. Two hands fold atop her cane, topped by a handle in the shape of a finely carved Hornbill head. 

“Mother!”

The brothers stand and bow respectfully to the Dowager. “Viscountess," they greet, though only Joshua continues. "It is good to see you well." He keeps up the smile, waiting for the Dowager's response, while Isillud tugs his gloves up, checking that he is still wearing them.

The Dowager reaches out, not towards her visitors as Oudine had, but for her daughter. Marceaux has already melted away, shutting the door.

“Well as can be, praise unto the Fury,” she says with a sigh as Oudine dutifully takes her hand and escorts her eight steps forward to a sturdy chair near the sofa. “Remember not to get old, young men - it brings too many inconveniences.”

She sits, waving at them to do the same. Then silence falls, awkward and spiky, as the Dowager seems to read the Losstarots’ very souls.

“Hrrmph,” she says at last. “Whatever he believed, at least Cletienne's eyes outlived him. And you,” she nods at Isillud, “I see la incomparable again in your face, so clearly you have your mother to thank for your looks. Though your reputation is entirely your own.”

There is a slightly louder clink of porcelain, as Oudine turns from where she’s pouring a fourth cup of tea to give her mother an inscrutable look. The Dowager, sitting upright in her chair, returns an impassive glance, then turns back again to her guests.

“Well, Lord Joshua? You’ve not answered my question. Or perhaps I should seek answers from another authority on the subject, eh Lord Isillud?”

Isillud's cup rests on the saucer with another audible clink. He opens his mouth but nothing comes out from it; Joshua starts instead.

"Isillud is well aware that his reputation would not bode well for the house; hence why it was agreed upon that I should bear the title." The younger man flashes his brightest smile, "We are much alike in that we have overstepped our more-deserving siblings to wear our mantles, Viscount." His tone dances lightly over the sunbeams spilling through the windows.

Isillud doesn't look at the pair, merely smiles as the lanky man leans into the sofa, crossing his hands on his lap. "Hmph," he softly laughs, snow white eyelashes fluttering shut.

Joshua's shoulders relax, sloping just enough to be noticeable. "You must be curious about what we've been up to over the last five summers, we would be glad to indulge your questions."

The Dowager shows no sign of relenting. “Ah, so the answer is no. Insouciance isn’t quite the description. Dear heart,” she says, looking at Oudine who has continued to drop two lumps of sugar into the delicate cup she holds. “Your brother’s carelessness evidently is an idiosyncrasy of his own. You are to be sympathised with, it seems.”

Oudine mumbles a form of non-committal reply, simultaneously giving her mother tea, and delicately removing the walking stick for the old lady’s convenience. 

Clearly, this was no longer the Viscount’s game. Though, to be fair, it hadn’t been from the moment she’d handed her mother the Losstarots’ formal letter of introduction a few weeks ago. Oudine glances again at Isillud, looking for some kind of solidarity between older siblings. 

There is none to be found. The older brother appears to be fully meditating on the merits of some otherworldly matter. It is a shame, thinks Oudine, she can’t bring herself to do the same since her mother has started speaking to Lord Joshua again.

“Is there possibly anything more dramatic than the antics of the Warrior of Light and the Scions?” asks the Dowager, carefully stirring her cup. “Did you too ride a dragon overhead into Ishgard, guns a-blazing so to speak? Do tell us from the beginning; we are all attention, Lord Joshua.”

Joshua's laugh isn't of a carefree boy - courtesy and restraint swaddle it. "If there are I'm afraid I wasn't privy to it. My story is simpler than that: Taken under the wing of a trader, I simply learned the ropes of her business. Aside from the usual cargo she offered safe passages to refugees seeking to flee the Garlean occupation, when she abandoned it after Ala Mhigo and Doma's liberation I simply abided by her decision. There are other trade avenues to pursue after all." Joshua is less careful with his tea, even a tiny slurp echoes in the room. "Crude, but it pays the bills for now."

Isillud leans forward, nudging his cup towards Oudine. "May I have more tea, milady?" When she refills his cup, slender gloved fingers brush against hers when he lifts his cup.

"Joshua needs to learn. He will be fine. Breathe easy, cousin." Emerald irises rise to her eyes, almost glowing with a divinity that vouches for him.

His cousin wonders when he had the capacity to notice her unspoken pleas for help. She decides to question it later. The intense gaze and silken touch on the hand are distractions enough (and suddenly, Oudine reaches a deeper understanding with her brother).

“If it’s learning you both sought here, then you won’t leave disappointed,” she murmurs in reply, though as she returns to stand behind her mother’s chair, her posture is slightly more at ease. 

The Dowager on the other hand, sips calmly as Joshua recites the undoubtedly summarised adventures of five years. 

“My, my. Refugees from the Garlean occupation, Ala Mhigo and Doma. Your youth belies your profound experiences, young man. And the delicacy you’ve offered in your storytelling is appreciated but unnecessary.” Her dark brown eyes go straight through Joshua. “Pray tell what your trade entails currently. Aubemarle claims acquaintance with any number of lesser houses that deal in commerce, though we ourselves do not have such businesses.”

Behind her, her daughter quietly shifts her weight; the ease dissolves from Oudine’s spine. 

Joshua's smile tightens, eyes set straight at the Dowager. He clears his throat.

"A variety of merchandise from the east. Thavnair, Garlemald, Dalmasca even. The trade routes are perilous and there is no shortage of demand from these nations." Sip. "I simply bring people what they want for a fee, I should be glad to give you our current catalogue should you wish." The legal catalogue is what goes unsaid in his explanation.

The Dowager tilts her head slightly. “‘Bringing people what they want for a fee’. What a simple explanation it is. Have you considered a different career, Lord Joshua? Perhaps a writer for one of our illustrious newspapers? Some of their pieces are so concise, they do the exact opposite of their express purpose: to inform the public. You would do perfectly, I shouldn’t wonder.”

A knock on the door interrupts the plummeting social temperature of the room. Marceaux silently glides in, bearing a tray full of small plates. Upon them are refreshments suited for a mid-morning interlude with distinguished guests: pastries that do not flake, but can be savoured in two bites, eclairs that aren’t overfilled so as not to embarrass enthusiastic eaters, finger sandwiches that make for dignified chewing.

(Thank the Fury for small mercies, thinks Oudine.)

The butler sets the silver tray down, right beside the teapot. The Dowager’s nod sends him gliding back out of the room.

“Do help yourselves, my lords,” says the Dowager smoothly.

Joshua laughs but the heat within tightens around his gut. He's running out of options to please her, and a choice reply remains at the tip of his tongue only because Isillud would likely kick him off the sofa if he said it. The introduction of desserts has done nothing for him, for he is mentally flipping through a notebook about what to do during social situations like this. Unfortunately, the book is still fresh and blank.

He turns to his brother only for him to notice two things: Firstly, Isillud has seen Marceaux. Secondly, the glint in Isillud's eye.

No, oh no you don't-

Isillud doesn't take his eyes away from the door long after the butler has left. He plucks an eclair from the plate and without so much as looking at what he's doing, places it at his lips and sucks the cream from the hole with no pretense what's on his mind.

Joshua's world crumples in on itself. If Isillud does not hide what's on his mind, neither does Joshua with a mortified expression on his face. He does the first thing he can think of to snap his brother out of his reverie: he elbows him really hard in the ribs. It works - Isillud jolts back to the room, blinking innocently at Joshua.

"What?"

Oudine de Aubemarle, with the seasoned practice of someone who has been trained to ignore that which couldn’t possibly have occurred in the drawing room of a highborn Ishgardian house, immediately speaks in her modulated, pleasant tone. 

“It is good, isn’t it? Though he is our own cook, I must personally recommend Mr Ofanleitasyn’s creations. Lord Joshua, perhaps you might like to try a sandwich.”

She walks forward swiftly, picking up one of each kind to place on a small plate, then turns back around to the Dowager. 

“I myself requested Cook to prepare these, Mother. They’re your particular favourites after all.”

The Dowager’s lips had already parted, perhaps to deliver a homily against the obvious dereliction of the world outside Ishgard and its regrettable influence on wayward young men. Something in the look she receives - hidden from view of the Losstarots - makes her put her lips back together and nod.

“Thank you, my pet. Such thoughtfulness,” she says, and even gently pats the Viscount on the cheek.

Oudine turns back, places two small sandwiches on a plate and offers it to Joshua. The smile that accompanies it, she hopes, would read as an apology and encouragement. 

He must and will learn, yes, but the older sister in her cannot help herself.

Joshua whips over to the plate of sandwiches. He opens and closes his mouth a few times before mustering weakly, "Y...yes, thank you." He shoves a sandwich into his mouth, breathing heavily through his nose. If he cannot say anything he might as well have something in his mouth for it.

A second of watching his brother's reaction later, Isillud shrugs and takes a dainty bite from his eclair. "A Roegadyn, then? How long has he been in service?"

“Oh, ever since I can remember, quite frankly,” says the Viscount. She looks to her mother, who hands the younger noble her still-full cup of tea. Oudine silently puts it back on the low table, and proceeds to pour a fresh, hot cup. 

“Mr Ofanleitasyn has been with us these last 30 years or so. One of my late husband’s many flashes of brilliance,” says the Dowager, the tone just ever so slightly more conciliatory. “He may be a Roegadyn, but his abilities produce thoroughly Ishgardian fare.”

The dark brown eyes of the lady gleam as she continues with, “If memory serves, your mother  quite enjoyed a variant of Dzemael Gratin he made once in the past. I believe she was carrying your eldest brother at the time, and so could not attend one of our dinners. Seeing as it was her first pregnancy, she could not help but be cautious. We had a dish delivered over to her, and she returned a most gracious note of thanks.” She pauses a moment. “La Incomparable had excellent taste.”

The Dowager receives the new cup of tea from her daughter with an arched eyebrow. There. Happy? It seems to say.

Yes, returns the answering smile of Oudine.

Chewing slowly, Joshua blinks at the story. "Huh, I didn't know that. Did you know that, Izzy?"

Isillud doesn't answer; he narrows his eyes at the Dowager, lips thinned into a single line. Her words have stirred him though he clenches his fists and says nothing.

It felt like a slap, that this woman of distant relation would have a vivid story to tell of their mother. A reminder of their place: If only she knew what has become of her children. One a swindler, the other a harlot. And you dare show your face around Ishgard? For shame.

Isillud finishes his eclair and wipes his fingers on a handkerchief. "Come, Joshua. We have tarried enough."

"Huh? But we just started-" The look on his brother's face shuts him up. "Thank you for your hospitality. It was a pleasure meeting you both, we shall call upon your house in the near future."

He gives a quick bow and jogs after Isillud, who doesn't even bother with niceties as he heads for the door.

The Dowager silently watches the rapid departure of both young men with unexpected calmness, even having the presence of mind to set her teacup down on the table. 

Beside her, Oudine is less able to control herself. “What-”

“Oudine.”

She looks at the Dowager, surprise - and since they’re alone, some hurt - in her face. “Mamma?”

The old lady reaches out, and instinctively, her daughter clasps her hand.

“I know I promised never to interfere in your dealings as Viscount. But I ask you to trust me when I tell you: do not run out to seek an explanation from them, at least for the present. Will you, dearest?”

Oudine purses her lips. Part of her is itching to do exactly that - to demand an answer, if not resolution, for this abrupt end to a visit she had had every intention of helping along. People she trusted had warned her, gently, about the possibility of these being impostors, of interlopers stealing the noble name of Losstarot, and the resulting connection to the Aubemarles. They had asked her to be extra cautious, knowing that the current Viscount de Aubemarle was inclined to see the better side of others, sometimes wishing to be right, rather than knowing she was right. She had wanted, dearly, to prove them wrong, to be able to say - firmly - that the new head of Losstarot is genuine, and that their claims are true. She still does.

The other part - the one which has seen her mother work what could only be magic on the dizzying social circles of Ishgard’s lesser houses, which has witnessed the Dowager Viscountess call on, and call out, rival houses no less powerful or influential than they, without batting an eyelash - makes her grip her mother’s hand tighter.

Finally, she asks, almost demands. “Did you tell that story of their mother on purpose? Did you aim at Lord Isillud?” Neither woman hears the front door of the house slam shut. The rooms are too well-built.

“If I aim at anything, which I will pretend to understand for the moment, logic dictates I ought to aim at the head sitting right before me,” says the Dowager. “No, dearest. My intention had been to give those boys a memory they could not have had; a keepsake now that they must step into their elders’ shoes.” 

She looks back at the yawning doorway of the Chantilly Room. 

“I forget that the young - especially young, “resentful” prodigals - may not look as kindly on memories as those of my age.”

After a moment, the old lady frowns. “House de Aubemarle can only claim to be far relations. There are others who are closer cousins, in higher places, and with even more accounts of the Losstarots as they once were. Lord Isillud will need stronger armour. And more flesh on his bones, if he intends to remain in this city.” 

Oudine cannot help wanting a complete diagnosis. “And Lord Joshua needs…?”

Her mother snorts. “Time. And more polish in his address.”

Oudine shakes her head, before realising what the Dowager had said. She takes in a deep breath, releases it. “You were listening outside the door when I first entered the room, weren’t you?” 

The Dowager makes no answer, merely returning the grip on her daughter’s hand. The Viscount can only sigh, and finally sits down for the first time since she’d welcomed the Losstarots to their home. 

Still clinging to her mother’s hand, she says consideringly, “You believe them to be real then. They are the long-lost Losstarot sons, now returned.”

The Dowager looks surprised. “Of course, dear heart. No charlatan worth their salt would have stormed out so violently.”

A wave of tired regret washes over Oudine and she closes her eyes. “Then we have given offence to our own. And it involves their mother.” She opens them again to stare at the ceiling. “How on earth can we make amends?”

“My sweet girl, ever forgiving. Thus is the discourtesy already forgotten.”

Oudine lets herself frown, obviously and deeply frustrated, at her mother. It’s been a very long morning, no matter that the fiasco had really only lasted for all of fifteen minutes or less.

The Dowager smiles. “You are Viscount de Aubemarle. You will think of something. Besides,” she nods at her daughter. “You have their calling card, do you not?”

Oudine slips her free hand (it’s also annoying how she doesn’t even want to let go of her mother, despite everything) into a trouser pocket. She pulls out the innocuous white card Marceaux had given her, and stares at it.

“...hmm.”

As the Viscount thinks and plans, the Dowager leans forward towards the table. She picks up an eclair, snorts at a thought that has just occurred to her, and takes a delicate bite.

~*~

It is three days later, when there is a knock on the door of the Losstarots’ residence.

Ser Drouhont, Temple Knight-turned-steward, all of 7 fulms (possibly more) and pitch black skin opens the door. "Good morning. Whom shall I say is calling?" The wind whips his long hair about, thankfully long and heavy enough that it doesn't obscure his face.

Before this very impressive figure stand two Elezens, both in the livery of House Aubemarle. The darker skinned one wearing a small pair of gold-rimmed glasses on his face bows respectfully. The grace of his movement is unhampered by the neatly wrapped parcel in his arms. Beside him, a very lovely black-haired maid with dark eyes dips in a polite curtsey, a clearly laden basket despite its cloth covering, in hand.

“No one, sir. We are only here to present my lady Viscount Aubemarle’s compliments, and seek your goodness to deliver them to your master,” says the bespectacled footman in an even tone.

"My masters are unfortunately currently indisposed, but I would be glad to hand it over to them."

The footman bows again. “Thank you, we are most obliged.” He offers the brown paper parcel, secured by twine, to the steward first, before taking the basket from his colleague to hand it over as well. “Good morning to you,” he says with a last bow. The maid curtsies and follows the footman’s lead to go. 

They’ve only gone a few steps when, right before Ser Drouhont closes the door, the maid turns back to call out with a brilliant smile: “Don’t ignore the box at least! It’d be a terrible waste!” 

Drouhont hooks the basket on the crook of his arm, watching the servants leave with a confused look on his face. Within the house, Joshua leans over the banister halfway down the stairs. "Who was it?"

"Compliments from House Aubemarle with a reminder to not ignore the box." He looks at the twine-wrapped parcel with the same impassive face and flat tone. "T'would be a waste to do so." 

That makes the younger elezen curious enough to take the parcel off Drouhont's hands and set it on the dining table. Drouhont puts the basket nearby, turning the cloth over to reveal its contents.

"Let's see what we have here…" Joshua muses, unfolding a blade from a pocket and starts cutting the twine.

"Oh-"

Joshua stops. "What?"

"Twine can be reused…I could use it to wrap my paintings…"

Joshua simply stares at his steward. He should be used to the man's airy comments by now but he was unpredictable when he wanted to. He shakes his head and continues demolishing the wrapper to get at the contents within.

Brown paper crinkles and rustles, falling away to reveal a perfectly square but good-sized, black, lacquered box. On its lid, a spray of flowers blooming from a shapely bough, made of inlaid mother-of-pearl, grows from the bottom corner. Closer inspection easily reveals that the box is made up of three layers and the mild sweet fragrance of baked goods begins to waft upwards. A thick looking packet sits against the box, along with a thinner, lighter envelope. On both, small wax seals, no doubt from a signet ring, bear the crest of House Aubemarle.

In the basket’s case, its contents are less enigmatic. Fresh fruit of various kinds sit within: Coerthan and mirror apples, La Noscean oranges, Lowland grapes, Pixie plums, even a few lemonettes. There is also a singular pineapple, most of its spiky crown carefully cut off for convenience. In the midst of such vibrant colours, the stark white of a small card stands out.

Not even Joshua can resist the allure of freshly baked goods. "She wasn't kidding about her cook," he says as he picks up the packet and envelope, using the blade to pry the seal open.

Meanwhile Drouhont removes the fruit from the basket and sorts it into an artful arrangement, mumbling to himself, "A fine still-life subject for a painting…Master Joshua, there is a card inside here too." He passes the card firmly held between his fingers to his lord, who now has three things to read.

The thin envelope contains a single-sided letter with the crest of House Aubemarle emblazoned in the top centre of the page. In other words, the official letterhead of the Viscount. The handwriting beneath is neat and evenly spaced, flowing in black ink.

-

To Lord Joshua de Losstarot, head of House Losstarot, & Lord Isillud de Losstarot,

I give greeting to my cousins both, and present our apologies for this late letter.

To come straight to the point, we ask forgiveness for treading upon sacred ground without care. While it is not lost upon us how hollow that may ring after what has transpired, please believe that it is meant sincerely. 

What we should have conveyed that day, but did not, is simply this: words do not suffice for how your house has suffered great losses, in many respects. House de Aubemarle has no power to bring back what was, but we will assist - if you are willing, and should need it - in building what will be. The accompaniments to this letter are more concrete tokens of our friendship.

I hope we shall meet again in future, in more fortuitous circumstances. Belatedly, and truly, we welcome our cousins Losstarot back to Ishgard. 

Yours sincerely,

Oudine de Aubemarle, Viscount Aubemarle.

-

Out of the thicker packet comes a small collection of papers and stiffer cards of varying sizes.

One of the cards is an elegantly decorated invitation. The space for recipients has been filled in by hand: Lord Joshua de Losstarot and Lord Isillud de Losstarot are requested for the pleasure of their company at a formal ball at the mansion of House Maintigny in a month’s time. Lady Oisinne de Maintigny is to be addressed should they accept or decline the invitation.

Yet another invitation, on a marginally smaller card but no less elegant, also requests the pleasure of the lords Losstarot’s company, this time at a musical concert, intended to showcase the talents of the newest protege of the Dowager Viscountess Philomene de Aubemarle. It is to be held at the Saint Llafymae Rooms in a fortnight, with acceptances or declines to be addressed to her ladyship at the Aubemarle manor.

Much smaller in size are four narrow tickets. Identically printed on them are admittances to the latest theatrical sensation of Ishgard, Cant and Candour. The tickets read that they are specifically for box seats on any night while the play is performed.

A folded note comes next, unsealed, so it can be opened to read, in the same ink and handwriting as in the longer letter: ‘The Viscount Aubemarle presents her compliments to the manager of the Lightfeather Proving Grounds, and with great pleasure, wishes to make known to your goodself my lords Losstarot, newly returned to Ishgard. Kindly make them welcome at the usual box whensoever they desire.’  

Yet another sheet of paper similar in thickness to the note contains the simple name and address of Etoilier at the very top. Underneath the letterhead is a message from its proprietress who is delighted to know that their chance meetings in the past could be continued in a more formal fashion. Etoile Wintour reassures her lordships that new suits will be ready in good time before the Maintigny ball, and invites them both for fittings in three weeks. Though there is not much fear there since she already has their precise measurements. She presents her compliments and looks forward to their appointments.

And lastly, the smallest of the ‘accompaniments’ is a white business card. Upon it is printed ‘Marlstone Chocobos’ with an address in Ishgard below it, and another address in Tailfeather on a third line. Flexing it under the light reveals an embossed off-white crest in the upper right corner, that of House de Aubemarle. When turned over, there is a third handwritten message, in the same neat handwriting and the same black ink: 

For any reason, if you are ever in need of a fast bird, bring this to the Marlstone office here. If in Dravania, seek out Remont. You will be given one of our finest, no questions asked, no charge. - O.A.

Once the detailed contents of the packet are perused, the last small card from the fruit basket is almost comical in its simplicity. The writing is in brown ink, and a cursive script far different from all the handwriting earlier. The message is brief:

You’ve only just begun. Eat, then fight.

Joshua shuffles through the cards growing increasingly perplexed. "Oh gods, there are so many events; do these people not do anything except socialize?!"

"That is indeed what they do, Master Joshua," Drouhont answers, carefully stacking the apples into a 3D pyramid. "Networking is very important in Ishgardian high society if you wish to remain relevant. Even a soldier of middling rank is expected to be present at the Forgotten Knight once a week at least."

"Drouhont, I can't attend all these on my own." He fans out the theatre tickets. "There are four tickets here and I don't appreciate music as much as…" His eyes follow the stairs, "Him."

"It matters not which Losstarot attends…only that one does." Drouhont frames his arrangement with his fingers, moving a fruit an ilm to the right to adjust.

"In case you have forgotten," Joshua's voice rises. "The other Losstarot is currently drowning in self-pity with only a blanket to maintain his modesty."

"You seem certain he'll always be crushed by the weight of the expectations he's failed, milord."

The younger elezen sighs, turning his attention to the box. He opens each tray to find out what's inside.

The first layer is a jigsaw puzzle of pastries: danishes, butter croissants, apple tarts, jam tarts, even a fig pastry or two to complete the picture. All have been made specially to fit the size of the box, and to be eaten in a single bite.

The second layer opens up to heavier stuff: currant scones give off a delightful scent of butter and sugar; slices of mille-feuille are artfully dusted with fine sugar and cocoa powder; a row of simple pain au chocolat sits with gleaming golden-brown skins.

The third and last layer is filled with nothing but eclairs, covered in chocolate icing.

Joshua twitches visibly at the tray of eclairs; he considers pushing it aside and bringing up only the first layers but changes his mind and slots the small card from the fruit basket among the eclairs before closing it up and lugging it upstairs. "Drouhont, bring the fruits up- on second thought, do as you like with those."

He kicks the door open; the crow roosting at Isillud's head caws in surprise and hops up to the headboard. Etienne turns and raises his eyebrow just slightly. Joshua Losstarot puts the box loudly on the side table and roughly yanks his brother's shoulder over to face him.

"Wake up, Izzy. You have a society to impress."

Isillud stares blankly through dull green eyes. Joshua removes the last tray and puts it in front of him. "See this? The dowager acknowledges you. Mother would've been proud." The crow tilts its head at the baked delicacies, plucking an eclair and gliding over to Etienne's work desk to pass to him.

Joshua grips his brother's chin between his fingers; the Fury lives in his voice, in the determination writ across his face. "You want expectations to live up to? Live up to the lord of House Losstarot's. Live up to mine."

╔═════ஓ๑♥๑ஓ═════╗ 

        end 

╚═════ஓ๑♥๑ஓ═════╝

[zahri-melitor]

Actually heck let me just drop names if you're Australian and trying to buy comics, because advice on local resources is...less known:-

Local Comics Shops and their quirks include:-

Kings Comics (Sydney): Kings have something that no other Australian comics shop online has - a functional search engine that you can filter. Tracking down titles on Kings is just so much easier than literally anyone else, AND they keep their online inventory updated. Standard Auspost pricing for shipping.

All Star Comics (Melbourne): you have to be a bit more careful with their website as they do list out of stock titles (but in a way that you learn to navigate pretty fast), but ASC have a standard discount program for regular buyers, a tendency to chuck freebies into orders, and a flat $15 postage rate. Freebies I've received range from excellent stuff like an issue of City Boy through to someone adding The Culling: Rise of the Ravagers (n52 Teen Titans) to an order for YJ98 trades.

Comics Etc (Brisbane): And now we start descending into the harder to search options. Comics Etc works best if you're looking up specific titles rather than browsing, but they do keep the website updated with what's in stock, and because they're a bit harder to navigate you can find stuff that isn't in stock other places. They do sell bag and board sets individually, if you've only got a few floppies you want to bag for storage. Standard Auspost pricing for shipping, free for orders over $100.

Incognito Comics (Melbourne): they're bad at updating their website but they also do really good sales deals. A lot of their listed titles online are older ones rather than new releases, which can be helpful depending on what you're looking for. Free shipping over $50.

Impact Comics (Canberra): Impact have a really good trade selection, actually, and a halfway functional website. Their search engine doesn't distinguish between trades and floppies, and there's a radio button you have to push to only get titles that are in stock, but again because they're that bit harder to navigate (and they're in Canberra) you can often get older stock trades that are sold out at other places. Shipping is $12.99.

Secret HQ (Melbourne): I have a soft spot for them as their website is so difficult to navigate for trades that I've actually turned up a few things nobody else still had in stock. Had a seriously bad string of luck recently and lost their shop; are currently selling from the local markets. Potentially one of your best routes to getting things Tom Taylor's signed recently because Taylor came over and signed a WHOLE bunch of stuff for them due to the aforementioned bad luck to help them keep afloat (Things like this are why I can never just join in the general hate on for Taylor).

Minotaur (Melbourne): I don't think anyone's rebuilt their website in the last 15 years or more. Minotaur have a mix of things (as they're a wider SFF shop), and their search engine functions best looking for exact titles of trades or comic run titles. They do have a free shipping policy for anything over $25 if it's in stock, which is probably the best deal anyone has.

Kinokuniya (Sydney): probably the most extensive collection of trades of comics and manga in Sydney. Their search engine is old and you need to carefully check the stock levels but they tend to carry a LOT more titles from a lot more presses than your average LCS and, being a Japanese bookshop, also have a very significant manga collection too. I tend to find they're slightly more expensive than Kings, but they have a wider selection of presses and keep on top of things like having full indie runs in print on their shelves.

Popcultcha (Geelong): yes, they actually do carry some comic trades not just figurines and clothing. I've found their collection can be pretty old; they've got basically a permanent sale on a bunch of Rebirth trades at this point to clear them out, so if you're looking for stuff published between 2016 and 2020 or so they have good deals going.

Mighty Ape/Kogan/Catch: I'm grouping all the online superstore options together. They all work the same way. Look carefully who's stocking them, there are often issues like it's going to be imported from the US and take forever.

Book Grocer (Melbourne): This is an overstock/remainder/second hand book company and their graphic novels selection is eclectic but quite extensive. Definitely one worth paging through the entire collection to see what they have if you're looking for older titles.

Booktopia (Sydney): if you want an online bookshop just use Booktopia. Their comics selection isn't fantastic but it's about the same as any other bookshop's will be, and they're fairly good about shipping (as long as it's not Christmas). You know Booktopia.

Angus & Robertson/Dymocks/QBD: they're bookshops. I've occasionally got decent discounts on weird stuff at QBD but it's again another 'pick through lists of things and see what pops up' situation.

Also I guess Amazon exists but you're shopping in Australia and you know all the issues there, why even bother. As much as I despise Gerry Harvey's position on online shopping, his protectionist nonsense probably is why we have a vibrant online shopping scene that's not wholly dominated by a single player.

(I also have a list of about a dozen even smaller options, but they're very random, even harder to navigate, and more prone to the entire store being listed as sold out. LCS websites are notoriously terrible).

[youngharridan]

Let me preface this by saying I adore Annie Autumn. Its one of those great one-sided/parasocial kind of relationships of my online life. I’ve been following her for awhile now after seeing her tagged in another friend of a friend’s posts. I bought a baby blanket from her for a friend of mine when she was doing a fundraiser, and I have one of her hook rugs on my wall as well. It’s devastating watching her go through cancer treatment and now settling into end of life care - but I also really value what she is willing to share with everyone. Radical queer community grieving at its finest. That is all to say – this is a funny kind of review. Not that I ever strive for objectivity or anything like that. But this little zine really hit a spot in me and its really interesting to give a bit of a longer reflection.

I bought this on a total whim – Annie made merch for her living wake and asked Instagram if people would buy it. Which hell yeah of course we wanted it! Let everyone wear this beautiful stuff while giving you some money for your family. And she included this zine with the totes and shirts. I knew she had built her home with her family and community and jumped at the prospect of hearing more of the story. It’s a short zine – maybe less than 10 pages, colour printed on cardboard. It’s structured around two weather events that woke Annie up in the middle of the night and threatened her home. In-between these stories of fire and flood is a bit about the actual building of the house. The thing that initially struck me is that this is a climate crisis story, displaying the real cost of our collective failure to address climate change meaningfully and sharing the material effects of this crisis. This is a story that is both political and personal in all the best ways.

Annie talks about how building her own house was a dream of her’s from when she was a teenager. I feel like it is such a strong trope in the queer community that we all dream of running away from society to start a commune where we can live freely and build things together. I have personally harboured this dream, but during the covid-19 pandemic lockdowns I was confronted with just how interconnected we all are and thought that this kind of running away fantasy was really cruel. I don’t want to turn away from the world, I want to find a way to live in it while also being in community. This also led to me to looking at houses instead of property when it came to buying a house. I did kind of abandon the city in the end and run away a bit, but just up the hill to the mountains where we could afford to buy a house just outside of the insane Sydney property bubble.

There is something that I struggle with that comes in later in the zine that I want to dig into a bit, towards the end. Annie reflects on how the house is far from perfect but that:

“I love that she’s still a bit of a work in progress, that I’ve shown my kids that you can build a life using your hands, and that life can resist dominant paradigms that dictate that you ‘cant’t’ or ‘shouldn’t’ make things for yourself. That tells you not to try in case the things you make are ‘bad’. That its better to work in a soulless job so that you can pay others to use their hands to make things for you – your clothes, your home, your garden”.

This kind of sentiment is something that greatly irritates me while also being something that I agree with to a certain extent. I live in a house that someone else built – and we paid someone to renovate the kitchen in the first year we lived here, and I don’t regret either of these decisions. I also really want to learn how to paint the walls myself and take on other repairs eventually as well because learning skills rules. The garden is going to be a lifelong project for me. At the moment it’s a fussy cottage garden that the retirees that lived here before us obviously poured so much love and care into, but is full of plants I want to slowly replace with natives and productive fruits and vegetables. I don’t think it’s fair to blanket say that all work is soulless, and that paying professionals to do things for you is wrong. But I do think we could all stand to learn the true cost of things like food and clothes on the planet, people, and animals. So call me a fake radical but I am happy to give some jobs over to the tradies in my house.

I kind of can’t believe how long this went – hoping to review more zines this year but don’t expect >500 words very often.

[reblogalanaartdream]

Yes I’m happy to buy SOME things online being they’re not available offline but sometimes there are things you have to buy in person

Like shoes and clothing will not always match the size / colour it says/ shows it is online so you’re gonna need to go to the shops for that

And don’t get me started on how some books you have to see them in person to read it in case it’s printed wrong

Heck like some of those surprises omg dolls / NA na na surprise dolls have cheat ways to find out what doll you’re getting (well some of the na na na surprise dolls do) but you’re getting it online your not gonna see the cute little simble that lets you know what doll you’re going to get your going to get whatever the person your buying it online from is going to give you then you’ll see the simble too late and get a doll you’re not after

So yeah online shopping can be convenient for some things but not great for other things

Also it’s nice to get out of the house check out your fave bookstore/ doll/toy shop then go get a lovely chai latte with maybe a ham & cheese croissant 🥐 toasted for lunch

Also you may find some awesome tiny things on the way

Like here in Sydney I’ve seen some cute butterflies 🦋 fly by on sunny days as well as some cute blue native Australian bees

Heck I herd up in Brisbane part of Australia they have these cute little doors you can find people have made that they call fairy doors

So yeah sometimes it’s nice to go outside a bit for things

[delicatecentipede]

how i thought some of the camp here n there characters would look

rowan: a black-hooded cape. also thought he would be black with dreads

yvone: a scene kid that has black hair with pink and green raccoon tails (either like #1 or #7 in https://pin.it/7lC8C8s ). plus a little necklace with a perler version of the camp logo, along with some kandi almost halfway up to her elbows. also pink zebra print leg warmers, a white shirt with the camp logo on it, thigh high converse, and black shorts thought she would also be black too

soren: thought he would also wear a cape (do you see the trend) and long black hair. also thought he would be tan

the gravedigress: REALLY messy black or brown hair (upper chest length) and also contains some dirt and leaves. also torn up clothes with skull gloves

joshua: ginger hair (basically shoulder length hair with curtain bangs) and a sleeveless shirt with the camp logo on it, and either navy blue or black shorts.

elijah: seriously messy blonde hair, and basically all of the canon stuff he wears

jedidiah: short brown hair (NO IDEA WHAT TEH HAIRCUT IS CALLED) with glasses, and a white short sleeved button-up shirt, with jeans. also kinda tan skin.

sydney: mostly like his canon design, but with more mushrooms and stuff in his hair. also a shirt like i thought jeddie would have but with a lanyard too. prob light skin

will reblog later and add more