#engagement dress

[reachingforthesky1]

Off Shoulder Corset Fairy Pink Prom Dresses,Pink Tulle Jeweled Formal Evening Gowns Off Shoulder,Wedding Reception Dresses,Engagement Dress

[viratblog4]

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[tategaminu]

⭐PRINCESS RAYLA⭐

Playing around imagining what an older Rayla might look like (a total excuse to draw her in a dress).

I think she's between 25 and 30 here, got a bit to get used having the title as the first elven princess of The Pentarchy. The earrings are a reference to her Arc 2 concept art but for a lot of reasons it made sense they scrapped the idea so I HC that when the war is over and she doesn't have to fight anymore she will let her hair loose, wear jewerly and pretty dresses (ofc all gifted by Callum since we know how babygirl is).

Her back is open because Callum wants to enjoy the view

[itwaslegendary]

Taylor Swift's interview on CBS Sunday Morning; 25/08/2019

[ipostmysimpingstuffanonymously]

A while ago I drew this Headcanon that developed on the SatoSho Discord about the two of them being figure skaters and it completely got out of hand and resulted in this and a 16k fanfiction. Anyway, you can find the behind the scenes and the fic on the discord server xD

[irishyuri]

local homosexual has more game than the king of camelot

[mrs-trophy-wife]

[outer-space-face]

I simply will never be over this picture.

[emry-stars-art]

Was inspired to draw kisses and of course they’re royal au flavored

Find the royal au masterpost here 💕

[dress-this-way]

Stella Lunardy

[dudethatsmyundeaduncle]

Tim and Kon the type of boyfriends to respond to declarations of love by saying " cringe" like ratio.

For ex.

Tim being overcome with sappy feelings™ for his boyfriend looks up at Kon like " hey, I love you"

Kon looks at him and lifts an eye brow and says " cringe"

But he's also holding Tim's hand so.

This exchange also works the other way!

Ex.2

Kon being over come with a warm fuzzy emotion after seeing Tim round house kick a baddie to the ground is like. " Damn I love you!"

And Tim sweaty in his robin gear glares at him from behind his domino and says " Cringe"

They take turns being the emotional one and the chronically unable to show affection one. It's balance! It's Gen Z! It's two local rat dudes macking on each other!

[lilaccatholic]

Man, I feel like every clip I see from Pints with Aquinas lately Matt Fradd is demeaning women. Really sad to see it, I used to love his interviews :/

[cheeseballcheeto]

best girls!! ٩( ᐛ )و 💖💖💖

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[yourcoffeeguru]

Natural Rainbow Moonstone on Solid 925 Silver Solitaire ||

My Luna Jewel - Etsy

[nat-20s]

Louise Page (main costume designer for all of David Tennant's original Doctor Who run) really fucking popped OFF with Donna's designs. Putting her in a pinstripe suit to visually mirror The Doctor in Partners in Crime. Putting her in a long brown jacket to visually mirror The Doctor in Journey's End. Making her primary outfit color purple both because it's cute and because it ties in with both her name being Noble and becoming a time Lord. The fucking ADORABLE Planet of the Ood jacket. Her lil flapper dress. Giving her sneakers with almost every fit regardless of how formal it is. Her hoop earrings that she's wearing TO THIS DAY. God everyone say thank you Louise Page!!