#high lace ruff

[gogmstuff]

Closing out the Renaissance Era (from top to bottom) -

1615 Déjeuner en plein-air by Esaias van de Velde (Rijksmuseum). From tumblr.com/andrayblue 2048X1160 @72 653kj.

1615 Lady in a Red Dress by English School (location ?). From tumblr.com/lenkaastrelenkaa 693X900 @72 334kj.

ca. 1618 Elizabeth Vernon Countess of Southampton by ? (location ?). From tumblr.com/catherinedefrance 617X799 @72 273kj.

[anantaru]

⚝ DAY 3 — LINGERIE

kinktober 2024. — masterlist | ao3

— including. — dan heng, moze

— warnings. — fem! reader, seeing you with lingerie for the first time, messy syx, moze turns absolutely feral, petnames used: pretty, baby, brat

⚝ — DAN HENG

dan heng’s usually calm demeanor falls to the ground the moment you let your silky bathrobe fall to the ground as well— his eyes immediately widening right then and there.

now, he doesn't know where to look at first, or if he should continue to admire the chiffon and lacing hugging your figure so perfectly a while longer, especially how it fit you in ways that left little to the imagination.

dan heng's breathing stutters and breaks in half when you straddle his lap with it— he blinks once, then twice, trying to compose himself, parting his thighs a little to adjust the way he’s sitting.

however, the faint dusting of red on his cheeks ultimately betrayed him when you paraded your pretty tits in front of his melting face wanting nothing more but to be squished between them.

"y-you look…" his voice trails off when you take his hands to place them on top of your breasts, "i look what?"

"irresistible," he swallows through the sudden tightness in his throat, "so sexy," as his gaze flickered between his palms fondling with your tits and your hips grinding down his obvious bulge— fuck, dan heng still couldn't decide what to do, or if he should let you take the lead tonight.

he meets your eyes and quickly darts them away, like he couldn’t quite decide if he should or shouldn't look, or if he's allowed to drool over this beautiful sight before him— which was utterly hilarious when pointing out the fact that he was your boyfriend.

you felt your heart stutter, pulse quickening when he wraps one arm around your waist to help you grind down on him harder, your alluring attire getting a little messy yet— it was breathtaking to him.

you swallow thickly when he leaned forward to clumsily push the flimsy lace covering your tits aside to take a nipple in his mouth.

see, you do that to him— making him go all clouded and clumsy, his tongue messily lapping at your erected nipple as he nudged the other with his thumb and index finger, coaxing out a loud sigh of his name from you.

"fuck, you’re so perfect, so fucking perfect, my prettiest— i, sh-shit— ah" with every twitch of his bulge desperately rutting into your wet cunt, he cannot help himself but shower you in praises and singing them against your ear shell.

dan heng continues to rasp his emotions into your neck as you, sloppily now, chased your own high, your hips grinding and fucking into him as he whines into your neck, your hands cupping the back of his head to keep him there, for all time.

don't misunderstand, there was no rush— just the two of you, making each other feel real good, time and passion unraveling at your pace, your bodies craving each other dearly and most importantly, dan heng's composure slowly melting under your frame.

⚝ — MOZE

the delicate, revealing fabric clinging to your skin ignited something raw and primal within moze— surely, he's seen beautiful women before, but you? he cannot even form a sentence now, his sharp intake of breath was the only warning before he grabbed your wrist to playfully shove you against the bed, placing himself right on top.

"you…" he chuckles lowly, his voice ruff and strained, yet his eyes were raking freely over your form, lingering on every curve, dreaming of every inch of exposed skin as he wanted nothing more but to rip those little panties aside and fill you with his warm load.

"hey now, look at me pretty, c'mon, do you know what you’re doing?" there was a challenge in your smile, and you'd be stupid to think he didn't catch it, "look at this," he points to his twitching bulge pressed against your wet folds, "this is what you do, yeah, you little brat,"

"my brat," his touch was hot, rough, wet as he licked between your breasts— fuck, it's as though your presence alone had completely undone him, had his mind break and ultimately explode into a million pieces. you could smell his cologne all over you, especially heavy against his neck, and the way his hands grabbed and fondled with your flesh, fingers digging into your sides like he was afraid you might slip away.

"oh baby, you're dangerous like this," he whispers, his lips brushing your ear before licking your lobe.

it’s messy— juices splattered everywhere with your sweat sticking on one anothery the way he pulls his cock out to slip it into you so roughly made you see stars and dreams, alhough without prepping you, making it hurt a little as your hands cup the back of his shoulders.

he coats his cock with your walls, grunting out fiercely as you shiver over inch after inch— okay so; telling a little secret, but for you personally, you loved it whenever moze was too hot and riled up to prep you, maybe lap at your clit for a little before pressing his cock in you.

without doing that, you feel so, so right, so tight as his dripping cock slumps into you fully. your vision was white, and everything around you feels like being underwater— constricted, weightless.

you feel moze all over you, can smell and repeatedly moan at his tip pressing into your sweet spot— yet he wasn't done, not before he placed a hand over your spasming abdomen, applying just the right amount of pressure to intensify that overwhelming bursts of his cock wrecking havoc in your cunt.

moze laughs and licks his lips, "you have no idea what you’ve started," and his voice changes tone, sounding drenched with carnal need for you, for this, for everything— his hips now rutting into you sloppily, messily and without purpose, barely maintaining the even pace from before yet his smacks grow in strength, bursting fireworks all over your skin.

© 2024 anantaru  do not repost, copy, translate, modify

[enchanting-chit-chat]

Beetlejuice's Backstory and the Black Plague 💚🕷️🥀💀 PART 3

Good evening! As promised, here’s Part 3 of my series on Beetlejuice’s past and movieverse. Today, we dive deeper into historical fashion, analyzing the outfits of Beetlejuice and Delores to uncover their personal stories.

If you missed the earlier parts, check out PART 1 and PART 2.

Warning: This post contains SPOILERS for ‘Beetlejuice Beetlejuice’ (2024)... and many, MANY speculations.

Quick recap: In Part 1, we discussed the Plague. In Part 2, we delved into Beetlejuice’s past, questioning the claim that he died over 600 years ago.

I wondered: is that really true? Why does his clothing reflect the Baroque style, then?

That's right! In Part 3, I confirm my previous point: there are several clues suggesting that Beetlejuice most likely lived during the Baroque era - a cultural movement that began in Rome at the end of the 16th century and faded around 1750. Here is the list of the clues I noticed:

The lace neckband around BJ's neck.

His three-piece wedding suit.

Delores off-the-shoulder neckline and puffed sleeves.

The bird masks used by Delores and the undertakers.

AliveBeetlejuice first outfit (when he's stealing from corpses): specifically, the pirate shirt and the type of shoes.

Keep in mind that most of these elements were revolutionary novelties of the 16th-17th century. Here is proof for every. single. one of them.

The Lace Cravat

A behind the scenes still of Michael Keaton in 'Beetlejuice Beetlejuice' vs. the portrait of Jacob de Witte, Lord of Haamstede (Netherlands). The artwork was made by Jan Mijtens in 1660.

The first cravat, the predecessor of modern neckties and bow ties, originated in France during Louis XIV’s reign as a political and fashion statement. (Although the early idea comes from the Ancient Roman focale, used around 200 CE). The King was inspired by a particularly eye-catching necktie wore by Croatian mercenaries as part of their uniform. The new article of clothing quickly became a fashion staple for high-ranking men across Europe.

In its use, it represented the evolution of the common handkerchief, already popular in the 1500s as a practical tool, a flirty decoration, and a status symbol. I believe the variant Beetlejuice is wearing in the picture is called ‘jabot,’ and is one of the older, simpler versions.

Lace, often used in cravats, highlighted the wearer’s wealth. Italian lace, especially from Venice, was highly sought after by the European elite since the 15th century, when ruffs and collars were in vogue.

This detail suggests two possibilities:

Beetlejuice might have been an impoverished aristocrat (or a rich merchant) clinging to his title until the end. This could also explain the ring on his index finger, symbolizing power or family ties. Or both.

Alternatively, he may have been someone who strongly wished to be part of the elite.

Jacket and Breeches

Aristocratic fashion, 1630 (Victoria & Albert collection) vs. What Beetlejuice wore in the wedding scene.

Another standout innovation of the Baroque period was the introduction of the three-piece men’s suit, known as the ‘Habit à la française.’

This ensemble included a tailcoat (a calf-length jacket), a coat (a long waistcoat), and knee-length breeches. Like the cravat, this fashion was adopted across Europe. As you can see, Beetlejuice is perfectly embodying this fashion, which evolved and remained popular until the 19th century. Interestingly, one shoe is missing.

Pirate Shirt

Originating in the 16th-17th century, the ‘poet shirt�� or ‘poet blouse’ remained popular through the Romantic era. These multi-purpose shirts served as both underwear and nightwear, featuring long tails that reached mid-thigh or knee. The body and sleeves were gathered at the collar and cuffs, creating a full, loose fit.

Delores' Outfit

For comparison, I’ve included an illustration of noblewomen’s fashion at the court of Louis XIII (died 1643). His successor, Louis XIV, made France a cultural and fashion beacon for the next two centuries.

In the movie, Delores wears two nearly identical outfits: long dresses with puffed sleeves ending just below the elbow, a corset, and an off-the-shoulder neckline. This style aligns with 17th-century trends when fashion became more comfortable and relaxed.

The black color suits her character’s personality and role in the film, possibly hinting at a connection to the late Renaissance and the Spanish Court.

In fact, during the reign of Charles V (1500-1558) and his son Philip II (1527-1598), Spanish aristocracy particularly favored the black color, as it represented austerity and power for both men and women. Additionally, a deep shade of black was particularly difficult to achieve with the dyeing methods of the time, making those fabrics quite expensive to make.

However, The Spanish style was quite the opposite to what France later proposed: it consisted in a severe and somber luxury, which increased in opulence as the time passed. As Spain happened to be the beacon of fashion before Louis XIV came along, it's only natural that black rapidly became quite popular all around Europe as well. The color was particularly appreciated by the members of the middle class in Protestant nations and, apparently, in Italy as well.

Finally, keep in mind that 'Delores' is a variant of the more common 'Dolores'. Both names have Spanish origins and means 'sorrows'.

So what do we think? Was Beetlejuice from a rich family? Was Delores a Spanish witch?

Who knows! But I’m willing to dream and speculate!

Until the big reveal from Tim Burton himself in the now teased but not confirmed yet sequel, have a fantastic week!✨

[splendsay]

COD Fic // Callsign: Sunshine // Chapter 11: How to Catch a Zombie

hi hello yes it's me again sorry for the delay ya girl had a RUFF friday the 13th it's ok tho I lived and here is another chapter YAY HUZZAH WOOHOO

lil blurb of semi-importance: it came to my attention (my husband told me) that Sunshine's original rank (First Lieutenant) would not be possible if she was an enlisted soldier, so you will note that her rank has been corrected to Sergeant in the earlier chapters (which affects how she is addressed in said chapters but little else and nothing plot-wise).

ok das it, bye ..................................................................

Callsign: Sunshine // Chapter 11 // How to Catch a Zombie

.................................................................. CWs: Explicit language, descriptions of guns

Characters: Simon "Ghost" Riley, Reader (You), Kyle "Gaz" Garrick, Johnny "Soap" MacTavish, Captain John Price, Kate Laswell

Chapter Excerpt:

A week and a half later, you find yourself standing in a wide, grassy meadow, about an hour's hike from the estate. Soap, Gaz, and even Price, are here too -- across the field, maybe fifty meters away, still up-range. Another hundred meters beyond them, is a line of targets, each comprised of varying combinations of wood and hay, haphazardly spray painted with red and black. Ghost is standing next to you with a pair of binoculars held up to his face. 

"Any day now," he drawls.

There aren't many clouds in the sky today, the warm sun a nice change of pace. There's a slight, balmy breeze and the field is abuzz with insects. Little blue flowers grow in patches about waist high, and you find yourself distracted by their loveliness on more than one occasion. 

You're holding a rifle -- a regular one -- Ghost's, actually. The one you'd admired that first night, traversing through the desert. They still haven't let you touch the upgraded weapons, to your constant and pervasive annoyance. Price insists it's because they worry you aren't strong enough yet to handle the recoil, but you know it's actually because they still don't quite trust you. 

And why do you know that? Because this is the first time they've allowed you to hold a gun at all that isn't your own pistol. You'd complained to Ghost a hundred times about not getting any shooting practice as part of your training, but he'd mumbled and grumbled things about "not being ready" and "too dangerous" and "waste of bullets" each time. 

Finally, a couple days ago, thanks to endless groveling -- and the new secret weapon in your arsenal to getting your way: Soap -- you were able to convince the group to take you to a range. 

You'd started the morning around the kitchen island sipping coffee and frowning into a bowl of oatmeal -- just the five of you. When Price and Laswell had returned from wherever it was they'd gone, Laswell had stayed long enough to hear about your father's descent into madness and its implications on the future of humanity, and had then immediately turned around and jetted off to some other mission base. She hadn't offered you any information about her and Price's prior whereabouts, but she had brought you another large box of hand-me-downs. She'd even included a few new pairs of shoes -- these actually in your size. A couple more pairs of sneakers, and a surprisingly lovely pair of worn-in leather lace-up boots. She'd handed the box to you with a stern expression and a covert wink. 

..................................................................... Links to: Spotify Playlist Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11

[theghostparty]

Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

To understand my completely unnecessary desire to redesign a musical that is over twenty years old, you have to understand that Romeo et Juliette is my Roman Empire. Long explanation under the break.

I wanted this design to be an homage in the silliest way possible.

I really leant into the sensibilities of original costume designer Dominique Borg, who used contemporary colour and technique and applied it to historical (or pseudo-historical) silhouettes.

Broadly, I wanted the Montagues to feel English in their shapes--Elizabethan doublets, high necklines, and ruffs, in homage to Shakespeare and the source text. They're all leather, denim, silver hardware--a little bit punk with status.

The Capulets would be deeply Italian Renaissance in their silhouettes, in reference to the setting of the play. They're all velvets, lace, chiffon, satins, and gold hardware--giving them an airiness of the Mediterranean while still allowing some drape here and there.

I wanted each family to have a slightly more broad palette than most versions afford them--which is why the Montagues have a smattering of green and magenta while the Capulets play with some soft yellows and lavenders.

The ball scene is largely Arthurian in inspiration--just because I took the idea of "what would the 1500s consider vintage and costume-y in the same way we think of the Victorian era" and ran away with it. There's also some silly Y2K nonsense because I rewatched the "On dit dans la rue" music video and thought "What if the Capulets threw this big Arthurian affair with full elegance and the Montagues cobbled together some gay club outfits circa 1998 fits out of a suit of armour."

FINALLY, I wanted Roméo and Juliette to take on elements of each other's family's style and colours for the end of the play--because to be loved is to be changed.

So here is a breakdown of my choices for each of the looks.

Un Jour: Here we see Roméo in his base look. It's a two-tone patent leather double with multiple zipper details. The peplum is criss-crossed zippers. The wings over the shoulder seams are edged with zipper teeth. The ruff detail at the neckline is also edged with zipper teeth. He has along zipper across the front of his boot like he's trying to be the next Sailor Moon. I don't know y'all. I went a little feral with trying to figure out all the places I could put zippers in.

Juliette is the most juvenile looking in Un Jour. I imagine that in this scene, she's being dressed by her family instead of her own volition.

She's in an asymmetrical, empire-waisted gown that is likely a brocaded or printed silk. Her chemise is a sheer lavender georgette or chiffon that peaks through the lacing at the shoulders and along the upper arms. She has a velvet choker and velvet belt and a heavily stoned velvet headband. Her hairstyling (it would have to be a wig, it would be NUTS to not make this a wig) is an homage to the open-weave Juliet caps that were similar to nets worn in the period on hair. Italy was, fun fact, one of the few countries where women didn't cover their hair during the renaissance.

L'amour heureux: As I explained above, Roméo's outfit is so silly. The wrap around glasses. The one arm of armour. The sheer, stoned period shirt. The gold brocade on the trousers. The pearl earring. The many, unnecessary belts. Bless this mess. It's also a cheeky little nod to Baz Lurhmann's Romeo + Juliet.

Juliette is, ostensibly, cosplaying as Guinevere or Lady Macbeth or Ophelia or any number of Middle Ages women. The ball is the Capulet's opportunity to really sell their daughter as marriage material so I wanted the look to feel bridal, hence the veil. I wanted to give reference to exaggerated surcote sleeves without actually doing them, hence the sleeve-into-glove and bow detailing with trails down to the floor. There is also a hint of yellow chemise underneath, which is actually just her Le balcon look underdressed for ease of the quick change (yes, I did think about this.) The dress is velvet with one panel of lace in-set into the underskirt. The bows are satin-face organza.

Le balcon: Romeo would change into his base again (during Le Poète). Juliette is in a simple yet totally impractical sheer chemise + slip combo. I wanted this soft yellow for this sequence because I always think about the lines "O she doth teach the torches to burn bright!" and "But soft! What light through yonder window breaks?/It is the east and Juliet is the sun" when it comes to describing her. The chemise would likely be a chiffon, while the slip would be silk.

Aimer: I say this with my whole chest--I hate how they changed the palette for Aimer in the 2010 production. I want my lovers soft and angelic and matching in this moment of union. Here we see a bit more of Romeo's lace shirt--his sleeves are laced like Juliette's in the first look. His doublet, trouser, boot combo are off-white leather in homage to the original production. Juliette's dress has a similar train length to her ball look (again, bridal) and we see the neckline creep up into a ruff (Elizabethan, rather than Italian). Lots of sheer net and lace with cream bridal satin as a skirt. Tiered sleeves. A little circlet on her head.

Le poison: Honestly? Just wanted her to have another outfit change before her death dress as a transitional choice. There's so much more of the purple in this look because it's going to take us into the blue elements of the final dress.

La mort de Roméo/Juliette: Again. To be loved is to be changed. Juliette has a dropped waistline, a high neckline and ruff, and a heart shaped cut-out detail (see: boob window). She's straight up in blue, and all the sweet and soft pinks of her youth are gone. Romeo has lost his high neckline, ruff, wins, and peplum in favour of a shorter Italian silhouette. He's asymmetrical (a call-back to Juliette's asymmetry) and all the edging detail is done in red. Mantua as a setting is patchworked, torn, and dirty, so I imagine the doublet is pieced together from scraps of jersey (so it's drippy and sad and hangs off him in a lovely manner).

[eolewyn1010]

Downton Abbey Fashion 4 - Edwardian indoors fashion

Time for indoors outfits! Now, since I’m wholly lacking in Edwardian propriety, I’m throwing in various kinds of outfits here, blouse-and-skirt combinations as much as tea gowns because, let’s be honest, I cannot tell a tea gown from a nice day dress.

Like this. What category of dress is this? Not sure I care. The blue print fabric is lovely! Quite crisp in the pleats, so I think it’s a taffeta, and it’s even got some embroidery on the front V and the cuffs. And because the Dowager™ is a woman of taste, she pairs it with white lace. The bow on the throat wouldn’t be to my taste, but who would Violet be if she suddenly kept up with fashion?

--------------

Interestingly, the first time we see Isobel, she’s also wearing a blue dress over a white lace blouse. Granted, it’s something very different than Violet’s grand gown; the color is a lot more understated, the fabric doesn’t have the same silky sheen, the print is more unassuming. I do like the little brooch with the cabochon though, and the earrings – in fact, several Crawley women wear this style of cameo ear studs.

Geez Louise Isobel, look alive; I was about to compliment the blouse. This print is fucking adorable, and the color! It’s a rare occasion to see something not pastel around here, so credit where it’s due. Especially early on, Isobel seems to prefer this sort of blouse, a simple cut, fitted sleeves, sturdy fabric.

Right away another one, only this one goes with the frumpier print and is lacking the nice puffy shoulder bits the previous had. Or maybe it’s the collar that makes this look frumpy?

For something new, a nice dress. The lavender color suggests her affiliation with the purple-prone Grantham Crawleys. I do quite like this one; the collar is way more flattering than the previous, and different than the blouses that wouldn’t look out of place in the 1940s either, this dress seems to have a fundamentally Edwardian silhouette. Funny thing is, it reappears – not in the next season, but in the third, when the girls have already moved on to early 1920s fashion. But why should Violet have the monopoly on being behind?

I think I’ve seen this dress only in this one scene, and I couldn’t get a non-blurry more extensive shot of it. Shame; I would have liked to see more of this bodice embroidery, especially since this looks like it might be a silk dress, aka one of the more expensive ones Early Isobel owns.

--------------

Oof. How does Isobel pull off a dress with a similar color and a similar collar with so much more grace? Cora, darling, this is a mess. It’s got, like, four different shades. Velvet here, white-patterned trim there; it looks too busy. I’m not even sure if it fits, with the way it wrinkles. Also, I’m very grateful she never again wears quite this style of high-necked blouse. If you want to put your head on a plate of lace, you either go big, as in a full-on ruff, or you go home. And when you get home, burn that blouse. It’s all yellowed anyway.

Much better. This tidies up a lot of the frill I find off-putting about the previous. More streamlined, less add-on elements, the velvet can stand on its own here, the trim is way better coordinated with the overall picture. This style is doing a lot more for Elizabeth McGovern’s figure, too. Still not a great fan of the famous Edwardian high collar, but at least it’s not trying and failing at being a ruff.

In general, Cora seems to like this white blouse with all the horizontal pin tucks, because she wears it under several dresses. This dark blue velvet number with the translucent chest area is a holdover to season 2, and I will give it that; it looks incredibly comfortable to lounge around in. And there’s the black piping pattern around the chest and shoulders adding a little chic to the whole deal.

This dark purple one is one of my favorites; I will freely admit that I prefer it with the open V-necked blouse in the second picture. What can I say; just because the first style is more authentically Edwardian, it doesn’t necessarily appeal to me. But of course, the high neck gives Cora a point to put her pretty brooches. Other than that, I don’t know. This dress is so simple; there’s really not much to it, just a wrap top with an embroidered trim. But it hits juuuust right.

And another favorite. No notes. I love it. The silver silk, the waist gathers flowing right into the wide sleeves, this absolute dream of embroidery? I want this with a vengeance.

[dualdeixis]

[Image description: Digital drawings featuring a variety of characters from Octopath Traveler. There are full descriptions of all images under the cut. End image description.]

you know what? octopath is the only game i’ve ever played that accurately depicts what happens when you eat an olive. thank you octopath

[Image description: First is a drawing of Primrose, Ophilia, Kit, and Lyblac, with certain aspects of their designs altered. Primrose steps forward in a beguiling pose. She wears a red dress with a short, layered front and a long, flowing back. She wears gold jewelry including three rings on her right hand, a headband with a flower adornment, and a belt around her waist. Her knife is strapped to her right thigh and she wears medieval women's knee-high hose, black with red garters, beneath her sandals. A note next to her reads, "Elements taken from 15th century Italian illustration of dancers." Ophilia holds up her staff. A long lace veil covers her head and is tied beneath her chin. She wears a brooch on the left side of her cloak. The notes next to her read, "Mourning veil worn for varying lengths of time depending on relation (parent = 1 year). Mourning brooch of braided hair worn indefinitely by choice." Kit's design is much the same. He looks with slight wonder over at Lyblac, who stands tall with her hands clasped and a blood red halo around her head. She wears a black escoffion and a black and red houppelande with dagged sleeves.

Second is a drawing of Mattias, Esmeralda, and Lianna, with certain aspects of their designs altered. A note above Mattias and Esmeralda reads, "Obsidian fashion is ahead of the times (entirely because I mistook Mattias's sprite as having a ruff)." Along with the ruffs around his neck and wrists, Mattias wears a yellow doublet, orange jerkin, a gold necklace with a red jewel pendant, black paned trunkhose, a blue cape with a pattern of yellow stars, and a black cap with a blue feather. He has a confident expression, with one hand on his hip and the other splayed outwards. The note next to him reads, "If he's posing as a merchant he needs a stupid little hat and plume." Esmeralda holds up a black dagger in one hand and clenches the other into a fist with an irritated expression. She wears a French hood, a black gown with slashed sleeves, and gold jewelry around her neck and waist. The gown's skirt is full on the left side, layered and translucent in the middle, and has a slit on the right side to show the crow tattoo on her thigh. The note next to it reads, "Put it back." Then it points to Mattias's left leg and says, "He has it too." Lianna has a neutral expression as she holds up Aelfric's Lanthorn with a dark flame burning within. She wears the robes of a vestal of Galdera. The note next to her reads, "Love how he made her a special little anti-cleric outfit (takes off mourning veil)."

Third is a drawing of Alfyn smiling in profile, showing off his messy, dirty blonde hair with the sides shaved. To the right is a bouquet of seven white lilies. The text above them reads (in all caps), "Donio sam ja sedam ljiljana / Majko da li znaš još sam sam / Majko da li znaš još sam sam / Spava malena slatka glavica / Majko pokrila mi je travica / Majko pokrila mi je travica."

Fourth is a collection of doodles. 1. Lyblac and Kit stand in front of the Gate of Finis. Kit asks, "what are u trying to say." Lyblac points to the Gate with a smile and says, "go here." Kit asks, "in the dark ?" Lyblac says, "go in the dark." 2. Galdera says, "AND I'M BAD!" The souls around the Omniscient Eye say, "MEAN!! GREEN!! BAD!!" 3. To the left, Therion holds up a pair of rivet spectacles to his eye. To the right, he wears a paisley-patterned headscarf and a chador over it with a small smile. The text reads, "His chador swag. Based on an outfit my friend saw me wearing in a dream cuz I thought he'd look cute in it." 4. Two anthropomorphic birds wear cloaks and hold up staves. The first one has a neutral expression and the second looks more aggressive. The text reads, "My brother mistook Believer I + II in Seaside Grotto for bird people and now I wish they really were bird people." 5. A screenshot of a post by user tlirsgender: "Consider: a gay dude and a lesbian who are BEST friends and also dating the same person but not each other because they are a gay dude and a lesbian but their mutual partner has a weird enough gender for it to work. Polycule that’s lgbt like all at once." Beneath it, Alfyn and Primrose happily shake hands while Therion stands in the background with a neutral expression. The note next to them reads, "This concept is so funny to me that it kinda loops around to being compelling." 6. Cyrus smiles and quirks one eyebrow while pointing upwards. The text reads, "LOVE IS IN THE AIR? / WRONG! LIGHTNING BLAST." 7. Primrose leans back on a counter and Therion sits on a stool with his hands clasped. Both look miserable and share a thought bubble which says, "I'm the only bitch here who's incapable of love and sincerity." They glance at each other curiously, and then return to being miserable and sharing a thought bubble which says, "Nah I'm way more sick and twisted than you."

Last is a comic. In the midst of a battle, Ophilia holds up her staff and does 719 damage; Cyrus holds up a tome and does one hit of 1284 damage and another of 1365 damage; and Alfyn holds up his axe and does 649 damage. One enemy remains: a Creeping Treant with one shield and vulnerabilities to axe and fire. In the foreground, Therion says, "Alright..." He prepares a full-boosted Wildfire and says, "Time to end this." Cyrus shuts his tome and says blithely, "I think not. You shall do exactly 2 damage." Ophilia holds a hand over her mouth and blushes, saying, "Oh my, is the Professor teasing?" Alfyn laughs, "Pff, c'mon now, Therion knows what he's doin'!" Therion uses Wildfire on the Treant and breaks it, doing 2 damage. Therion, Alfyn, and Ophilia stand lined up and look very startled, while Cyrus smiles mildly and thinks, "Oh wow, for real? I literally just said that for no reason." The note beneath the comic reads, "*Based on a true story where I was Therion and my brother was Cyrus. I laughed so hard I cried." End image description.]

[ourflagmeansbts]

Source (Season 1 - April 26th 2022)

heathervanderstitch: This was a very interesting challenge! The woman in blue was meant to jump off the flaming boat, so that meant that this stunt woman had to jump off a platform onto pads. It was a high jump so costume designer Christine Wada didn't want to use any bones whether they were plastic or metal or wood or anything that might stab this performer if she landed on it. So Christine came up with a great idea to use a tulle tutu as a pannier instead of a boned understructure. I ended up cutting the front and back ruffles off of a premade tutu and adding many short rows underneath to support the longer ruffles on top. I then tacked those together vertically sort of like an elizabethan collar ruff. I made the bodice stiff and put lacing under the watteau back. Normally i would put bones throughout the bodice and especially next to the lacing, but safety first! We created the rouched trim by carefully pulling threads from the woven fabric. @shizenbeauty created these rosettes alternating the right and wrong side of the fabric. Unfortunately that scene didn't make it into the episode so you don't even get to see it. The only picture I have was when it was on a form behind the blackbeard coat for that same episode.

[badassindistress]

First sentence for fic:

It was not quite a matter of life and death, but it was one of lace and damask, which was equally dire.

It was not quite a matter of life and death, but it was one of lace and damask, which was equally dire.

The Fate of the Nation hung on a thread with inconvenient frequency, but never before had that thread been so annoyingly literal (and lacy).

If only the Grand Marshall hadn't been such a slight, stooped figure. If only his emergency last minute replacement hadn't been so admirably tall. And built like she could lift half the High Council on her entirely too broad shoulders.

If only she had been less gifted in the physical, the National Assembly room would not now be filled with stressed lacemakers and peevish embroiderers, hastily repairing the giant tear in the Ceremonial Robes (including delicate lace ruff) as the rest of the High Council fretted, the Third Minister stalled the visiting dignitaries by talking about architecture, and the newly minted Grand Marshall laughed bashfully as she attempted not to move a muscle, lest the sleeves of her damask robe fall off again.

[writinghabits1]

Two Years

Pairing: Price x f!oc

WC: 2k

Summery: Price reappears at Grace's door after disappearing for two years. Asking for her help. But Grace is not happy to see him.

Warning: Mention of capture and torture. Knifes, arguing, heavy language, mention of sexual relationship

__

Grace rolled over in her bed onto her belly with a heavy groan. The sound of her alarm sounding with an ear-piercing high pitch ring battered her delicate ears. Her hand came up to meet the alarm to turn it off to save her headache from getting worse. Her eyes opened heavily, separately blinking to get into sync. When her vision focused, the first thing that she saw was an empty bottle of whisky. One that she knew had been full the night before.

“Fuck,” She groaned as she rolled over, rubbing her eyes. Her hips were still at an angle as she took a heavy breath. The room was still spinning around as she tried to steady her thoughts. Her right forearm now lay over her eyes, shielding them from the morning sun that assaulted her through the window. She had forgotten to shut the blinds last night and regretted it immensely. Grace began to drift off into another sleep but was pulled from it when a heavy knock came from her front door. Deciding to ignore it, hoping whomever it was would go away. But they knocked again, this time louder.

“Jesus fuckin’ hell,” Grace hissed as she rolled herself out of bed. Her bare feet hit the rug covering the wooden floor’s central part. Her room was simple, with plain white walls, a wooden wardrobe and a bedside table. Grace was never the decorating type, as she never stayed in one place long. Grace moved out of her bedroom and into the living room, where the front door was located.  The knocking sounded again; whoever it was, was impatient.

“Fuckin’ hell, calm down!” Grace yelled loudly to the person as she reached for her keys hooked next to the door. She reached up and scratched her head as she unhooked the keys. Her short brown hair fell just above her shoulders. She wore an olive green, short sleeve t-shirt and a pair of underwear. She put the keys into the lock and quickly unlocked the door before swinging it open.

Her eyes scrunched up at the sudden burst of morning light. Blinking several times to see three figures standing in front of her flat door. One is standing off to the right with his hands tucked into the pockets of a zipped-up black hoodie. One was standing to the left, leaning against the railing about two meters away from the door. But the man standing directly in front of her was the one that caught her attention. She blinked more to bring his face into focus and instantly felt a bubble of anger rise in her chest.

“Ha! Absolutely fuckin’ not.” She laughed and slammed the door shut before turning and starting to walk back away from the door.

“Grace! Open the damn door!” The ruff voice yelled from the other side, banging on the wood again.

“Price, get the fuck away from my flat!” Grace yelled, “Before I come out there and give my door a new fucking paint job.”

“Damn it, woman.” Price yelled before Grace tuned him out and went to her cupboard to grab a towel so she could go for a shower, wake herself up, and try to rid herself of this hangover. The shower was perfect, steaming water hitting her sore muscles, bringing her back to the land of the living.

Grace pulled back her wet hair into a small lower ponytail to keep it off her face. She was dressed in a pair of khaki green cargo trousers paired with a soft green t-shirt and an olive-green zip jumper. Once she laced up her boots, she turned and moved through the living room to the front door. Peeking out the peephole to check and ensure that man was not there. Thankfully, the coast was clear. Grabbing her keys and burner phone, Grace moved out of her flat and locked it behind her before making her way down to her silver car. The engine roared to life when she turned it on before she put it in gear and pulled off.

The drive to the range was around twenty minutes long. Ten minutes in the city and then ten on the country back roads. After spending her day brushing up on her weapon skills, ranging from pistols to sniper rifles. Her skills with a weapon were clearly still in top form. Grace retired from the military around three years ago, mainly due to a near-fatal injury she had received when she had been captured during a mission that went wrong. Something that still haunts her to this day.

The sun had set, and the dim streetlights lit the streets as she parked her car and made her way back up to her flat. Grace reached her door, but something in her gut told her something was off. One thing that Grace always trusted was her gut. When she reached her door, she noticed it was unlocked, meaning someone else had been there. Bending down, Grace pulled a combat knife sheathed in her boot. Knives are easier to conceal than handguns, and she preferred to use a blade up close.

Holding the knife ready to fight in her right hand, she pushed open the door with her left. Creeping into the flat that was completely in the dark still. She stalked into her living room, listening closely for any slight noise. When she heard it across the room, she reacted quickly. Twisting the knife, she held it by the blade and launched it through the air. It landed with a thud.

“You missed.” A voice grumbled as Grace reached over to the wall and switched on the main light to reveal the same face she slammed the door on this morning. The knife was lodged into her armchair right next to Price’s face. The blade had grazed his right cheek, causing a slight bleed in his skin, just above her bread.

“That was a warning,” Grace told him with a death glare. She walked to her kitchen and opened a drawer to pull out another combat knife she had stashed. “The next one will find its target if you don’t disappear as fast as you appeared.”

“Is that any way to welcome an old friend?” Price spoke as he reached up and pulled her combat knife from the leather. He wore dark green cargo trousers and a tight-fitting black shirt. His bucket hat sat perfectly on his head as he looked from the knife to Grace.

“Friend?” Grace laughed as her eyebrows raised, watching his every move. “Last time I checked, friends don’t fuck their friends and then disappear.” She hissed at him; he dropped his chin slightly and coughed awkwardly.

“Yes, well.” Price began but was cut off by Grace.

“Save it,” Grace told him as she moved the combat knife around in her hand. “The last thing I want to hear is your pathetic excuses.” Grace turned and walked over to the door to replace her keys on the hook and her burner on the tablet under it.

“You look well,” Price spoke, trying to break the silence between them.

“Oh yeah, loneliness and depression are a great accessory,” Grace muttered sarcastically to his statement.

“You’re still drinking?” Price asked as he noticed the stash of half-empty bottles off the side of the room.

“Like a fish.” She fired back as she turned and walked back to the kitchen area.

“How is…” Price began but was stopped when Grace slammed her hands down onto the counter with a loud bang.

“Fuckin’ hell, enough of the nicey nice shite, Price.” She growled at him, her Scottish accent becoming thicker and stronger. A dangerous sign to Price that her anger was beginning to take over. “What the fuck are you doing here, huh?” She asked him in a loud tone of voice. “I haven’t seen you in nearly two years! Two fucking years Price!”

“I need your skills with weapons.” Price told her bluntly, seeing she would not listen to him.

“There is it,” Grace chuckled deeply as she stepped back and leaned on her counter, crossing her arms over her chest. “Need I remind you; I’m retired.”

“I need you out of retirement.” Price began to lose his patience with her, and his voice was starting to rise. “Your skill with a sniper is still unbeatable.”

“Screw you, Price.” Grace yelled at him, “You don’t get to show up at my door with your little entourage of merry men at stupid o’clock in the morning and expect me to welcome you with open fuckin’ arms.”

“Watch your tone.” Price growled at her taking a few steps closer. Grace knew how to test his patience, and he was beginning to lose it.

“Price, do us a favour and do what you do best.” Grace looked at him.

“What?”

“Disa-fuckin’-pearing.” She spat at him with so much venom. Price didn’t know how this meeting would go, but it definitely was not like this.

“Listen, whatever you are going through. I need you to put it aside.” Price told her as he now stood on the other side of the counter to her.

“Put it aside?” Grace laughed with eyebrows raised, pushing herself off the counter behind her and leaning on her hands to the one in front of her. “Put aside the memories of being captured and tortured. Watching my friend being murdered in front of me while I couldn’t do anything. And then, when I came home, I sought comfort in the man I loved. Only for him to disappear. No text, no call, no nothing.” Grace yelled at him. “Two fuckin’ years, Price.” She felt her voice break as her emotions began to get the better of her.

“I drink every night, so I can sleep without seeing everything happening over and over again.” Graces muttered, showing Price just how broken she really was. The truth was, Price had no choice. He had to leave her. Back then, he got involved in a mission that ended with him being watched by the enemy. He couldn’t put her in danger while healing from what happened. When he came back, he saw she had officially retired from the military and thought she wouldn’t want him around, reminding her every time she looked at him.

Price sighed and turned around to walk over to the chair he had been waiting for her to arrive home. A beige folder was on the coffee table in front of it, and he picked it up. She held it in both hands as he walked back over to the counter.

“If you change your mind, my number is in here.” He muttered as he placed the folder on the counter and slid it towards Grace; as she watched the folder carefully. He then turned and walked over to the door to leave her alone.

“It’s good to see you again, Grace.” Price muttered softly to her before he left her alone once more. Grace reached for her combat knife and gripped it tightly in her right hand. The mix of emotions was something she was not used to. She let out a scream of anger and launched the knife at the now-closed door. Grace moved from behind the counter and walked over to her bottles of alcohol. Grabbing the first one to hand, which happened to be whisky and pulled the cork out to take several large gulps from it.

_____

“How’d it go?” Soap asked Price as he appeared at the truck they were waiting at. Price looked exhausted as he opened the door to the vehicle. Price didn’t answer and instead slipped into the driver’s seat. Soap looked at Ghost with a knowing look before moving to sit in the back seat behind Price and Ghost in the front passenger.

“Do you think she will help?” Ghost asked Price as he turned on the engine.

“Knowing her, she will.” Price told him as he pulled the car into the road and drove off.

“You never told us who she is?” Soap asked, not knowing whether pressing the matter was a good idea.

 “Someone I trust.” Was all Price told them. That was all they needed to know for now as far as Price was concerned.

[pimpmizziriam]

I see you have miche Victorian fashion history infodump material? I would love to hear your 60 minute unprepared lecture

So i said victorian era, but like, this starts with marie antoinette, and the background for it goes back even farther, and then my examples extended into the mid edwardian era, so.

I’ve always loved fashion history, and started doing victorian reenactment in high school, so ofc i've read way too much about victorian fashion. These are my only qualifications, if an actual fashion historian finds things to correct, please do!

Tl;dr first. We can’t blame beau brummel for mens fashion being so boring, he was a sign of things to come, but he wasn’t why it happened. Instead we can blame sexism and industrialization!

So we actually have to start farther back than the victorian era. For most of european history post like, uhhhhhhh, dark ages ish? Basicly, back to when christianity really got going in europe and stopped having to deal with so many herecies. But only very quickly.

So the bible has some passages about women being chaste, and meek, and keepers at home and like, not having outer adornment, and there was this idea that a woman’s top priorities should be her children, running her household, and pleasing/taking care of her husband. NOT being fashionable (ofc she had to be pretty and fashionable enough to keep her husband happy, but that was it) so we see much simpler (at least on the surface) fashions for women. 

(source)

(source)

These are husbands and wives in the 1600s, and the womens clothing has less lace (ignoring the ruff, which everyone had) tends to be in colors that are easier to keep (dark reds, browns, blue) and even the pulled up gown is meant to be reminiscent of a working woman, or to suggest that this wife could, in fact, actually be involved in the practical parts of household up keep and child rearing. The men on the other hand, could definitely not work in all that finery. Natural black dies are famously unstable, the pleating, gathering, voluminous pantaloons, and abundance of lace collars and cuffs rendering his clothing utterly impractical (i love the man on the far rights sash belt that's just like, not doing anything), in addition to the wigs that were in fashion. Even the hair is more toned down on the women, styled into buns under caps, or loose curls, things that don’t take heavy ornamentation, and once again, at least look low maintenance. 

Now women's fashions had moments. Particularly courtesans, which set the trends for womens fashions, but they were also improper, and so no “good” woman would want to dress like one. Until we get to the rococo period. I suspect the official mistresses of the king, madam de pompadour and the like, actually started the shift, but they walked so marie antoinette could run. She was hated, for being foreign, for spending too much money, but also for her fashion choices. A woman with hair a foot tall and such delicate painted silk dresses couldn’t even pretend to be doing work as a mother and lady of the house. She wore more jewelry too, and even her famous chemise a la rein, which looks to us very toned down and practical, was a fashion statement about her life of leisure. No one could actually work in a floofy dress of layers of thin muslin, not if she wanted it to last more than five minutes. 

(obviously marie atoinette is not single handedly responsible for this shift, but she's kind of the most famous example of it, and probably did influence it quite a bit)

And so this queen, this woman who is supposed to model womanhood for her countrywoman, is more interested in fashion than running her household(/country)! The scandal! But also, if women can do fashion, then what are men supposed to do?

Well that question went unanswered for a while, while france had... 3? 4? Revolutions and the regency happened and women’s dresses are still completely impractical, especially the really narrow empire waisted ones, but we have this grecian ideal. And actually at this point mens fashion is still fairly colorful. There are some portraits with lovely butter yellow breeches and pants, green jackets over bright yellow vests and grey breeches or trousers. and there was a style of men’s breeches that where so tight it uhhhhhh. Well you remember that picture of a man in too tight skinny jeans? That. but like, men wore special under clothes to keep things from being that visible. (pinsent tailoring has a video about these and similar breeches and trousers) Still, no one could actually move or work in them. They where frequently made of kid, which is a very soft leather.

I may have thought about these breeches a lot. partly cause this style came back later.

Anyways.

Beau brummel revolutionized cravat wearing, and gave men another avenue of fashion, besides elegantly and ornately dressed man-about-court. But they deserved it, and its more fashion. Not less.

And then, end of the georgian era/being of the victorian era, we get the romantic fashions (~1830s/40s). And manmade dies. And machine woven textiles. And calico! And men seeing how many types of plaid they can fit into one outfit. Its great. Outerwear has always been toned down, and now men get these delightful smoking jacket/duster/robe things that are just, luxurious, colorful, brocade things. And fun little hats. And women get to play with bonnets and elaborate updos and poofy sleeves and skirts and. Just like, so many stripes and plaids. 

This is also a good point to bring up that, at this point, and for all of history before it, all clothing was cut and stitched by hand. It might be made in a big workshop, but it was designed, cut, and tailored for you. By a dressmaker or a tailor or your mother or a servant. Off the rack clothes didn’t exist. If you were poor, you got second hand clothing and then had it tailored or tailored it yourself, or repurposed old clothing. Or you were too poor to get it tailored and made do with close enough.

Handmade clothing was actually still common up through the middle of the 20th century, especially for special occasion wear, or during hard times. But it being THE option, is about to change.

The first ever ready made clothing factory opened in 1831 in New york, but it wouldn’t take off for another 50 years. Particularly for women in their corsets, you needed to have a properly tailored dress, and so ready made just wasn’t practical. At the point you got it all tailored right, you might as well have bought the fabric and shown the picture of the dress to the dress maker. Ready made was firmly for those too poor to afford a dressmaker or tailor.

In the 1860s mens clothing really tones down. We still have interesting patterns on vests and cravats, but coats and pants increasingly only appear in neutrals, earth tones, and the like, tho they do mix these, the idea of a three piece suit in all the same color isn't here yet.

And then women’s fashion really goes crazy. We go from round skirts to ellipticals to bustles in the course of 20 years. And then there’s the brief natural form era, the second bustle period, and then a return to round skirts, and then the Edwardian era. Hairstyles change more frequently, tho they tend to pile high when there are bustles and narrow skirts, and to sit lower with hoop skirts, or the edwardian bell skirts (think gibson girls). Sleeves go from big open pagodas to tight, 3/4th length sleeves with frilly little cuffs to big poofy shoulders again.

And men, just get closer and closer to the modern suit. Part of this also has to do with the rise of office work, clerk jobs, and the middle class. At this point, secretarial duties are still the providence of men, since women aren’t supposed to go to college and work (tho women are increasingly seeking higher education, especially in the upper classes). And for this work, you need to be able to look presentable and formal on a low budget. Enter ready made mens clothing, started 50 years ago, and in particular the celluloid and paper collars and cuffs. Now, it is easier to look good in ready-made clothing if its a little blocky, or, in the case of vests, if you have tabs to adjust it. And its easier to sell if it comes in a variety of popular and easy to wear colors, like gray, brown, tan, black, navy, etc. And these are easier to coordinate if you don't try to mix and match the pieces from different sets. This, combined with the changes in men's neckwear styles, has us with bowties and a cravat that resembles our modern neckties, save a few details.

And oh look, I just described a modern suit set.

(shoes had been mass produced in standardized sizes for hundreds of years at this point, that’s a different subject and i can’t rant about it as much)

And of course, these new middle class office worker men are too serious and business minded to engage in as frivolous a pursuit as fashion. That’s the realm of women! Along with child rearing, household management, looking pretty, cooking, cleaning, uhhhhhhhh.

(source)

Also can you imagine trying to actually work in these narrow skirts? We’ve come full circle fashion wise, with women’s fashions now being obviously impractical, and mens clothing at least looking like its practical clothing he could do any work in (especially as bare shirt sleeves are now societally acceptable (this is another short rant)).

There was a brief moment of women having a similarly uniform fashion to the men’s suit in the early 1900s, as shown here, but then womens fashions moved on.

so this is my rant on fashion history, and why i'm really glad men are starting to wear colorful suits again.

[gogmstuff]

1620s dresses (from top to bottom) -

ca. 1620 Elizabeth Wriothesley, née Vernon, Countess of Southampton by Paulus van Somer (private collection), From tumblr.com/lenkaastrelenkaa 734X1000 @72 91kj.

ca. 1620 Lady called Margaret Stuart, Countess of Nottingham, by Paul van Somer (location ?). From tumblr.com/shewhoworshipscarlin; enlarged by half 900X1350 @72 410kj.

Young woman by Cornelis van der Voort (location ?). From tumblr.com/blog/view/froggi-mushroom/693248899675193344; fixed spots w Pshop & exp +25% & shadows 25% 1210X1651 @72 388kj.

Presumed portrait of Maria Caterina Farnese (1615-1646) by Nicolas Régnier (location ?). From tumblr.com/roehenstart 1159X1500 @72 967kj.

[cyarskaren52]

In 1998, the mainstream Hip-Hop landscape was dominated by No Limit soldiers, Bad Boys, and Wu-Tang killer bees. There was a preoccupiation with floss and, in the wake of the high-profile murders of 2Pac and the Notorious B.I.G., the industry seemed to want to shine as much as possible. Understandable — but out of Yonkers, N.Y., there came a crew. 

With a production wizard, a brash beauty, a trio bred from the streets, and a tortured superstar who was taking the rap game by storm, the Ruff Ryders put the streets squarely on the late 90s pop charts. In doing so, they helped usher in the new millennium of East Coast hardcore: grimy enough for the hood; polished enough for the charts. They owned the streets and the radio. 

Here's 25 of their best bangers.

#26

"JENNY FROM THE BLOCK" - JENNIFER LOPEZ FEAT. JADAKISS, STYLES P [BONUS SONG]

Our BONUS SONG pick is a celebrated classic guest spot! J. Lo got to reconnect with some of that Uptown swag and Yonkers connection when she hooked up w/two-thirds of the LOX. 

#25

"THEY AIN'T READY" - RUFF RYDERS W/JADAKISS, TIMBALAND, BUBBA SPARXXX

They crew from Yonkers made it clear that they had love for that Dirty South swag. VA superproducer Timbaland laced the track, which also features Athens, GA's own: Bubba Sparxxx. 

#24

"WW III" - RUFF RYDERS W/SNOOP DOGG, YUNG WUN, SCARFACE, JADAKISS

Swizz Beatz pulled together a who's-who of legendary emcees for this track from RYDE OR DIE VOL. 2. The song also served as the album opener for the hit compilation.

#23

"NIGGAZ DIE 4 ME" - DRAG-ON FEAT. DMX

X was Ruff Ryders' biggest star, and he had underrated chemistry with the young gun from The Bronx. The lead single from Drag-On's gold-selling 2000 debut album, OPPOSITE OF H2O, is one of the best from Y2K. 

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#22

"WHO'S THAT GIRL" - EVE

The single from Eve’s sophomore album, SCORPION, is one of her most memorable, mostly due to the catchy hook. She’s clearing up any confusion about who she is as a woman and what she brings to the table artistically, carving out space to shine completely on her own.

#21

"KNOCK YOURSELF OUT" - JADAKISS

Never sleep on Jada's ability to craft radio tracks. From his solo debut KISS THA GAME GOODBYE, Jada's second single wasn't a Swizz beat; it was actually produced by The Neptunes. 

#20

"GOT IT ALL" RUFF RYDERS W/EVE AND JADAKISS

Jada and Eve pull off the classic "Battle of the Sexes" with this stellar back-and-forth over a steel drum-driven beat from Teflon. Released a single from Ryde Or Die, Vol. 2, it revived a classic pop music formula (seriously, everybody from Otis Redding and Carla Thomas to Ice Cube and Yo-Yo have done it) for the hardcore bling era.

#19

"WHO WE BE" - DMX

The surging beat is one of the most anthemic X ever rhymed over, and his aggression belies a tour-de-force performance that caps the tail end of DMX's most classic run. The kiddie chorus is the right kind of foreboding:  both a warning and a call-to-arms. 

#18

"MY NAME IS KISS" - JADAKISS

Kiss and The LOX had been well-established by the time he released this declaration of self. It's a showcase for his particular brand of pensive street rap and lyricism, a pronouncement more than an announcement. And proof positive that Kiss has a lane all his own. 

#17

"WHAT'S MY NAME" - DMX

By 1999, the whole world knew who this guy was. But X's hunger was still palatable in every single. Even as the vids got glossier and the collabos got Sisqo-ier, X managed to bring grittiness to hip-hop's surging mainstream over a skittering backdrop by Irv Gotti & Co.

#16

"LET ME BLOW YA MIND" - EVE FEAT. GWEN STEFANI

She'd begun her career on Dr. Dre's Aftermath, but we didn't really get to hear what E-V-E could do with the Good Doctor (and Scott Storch) until this monster hit from the early 00s. Paired with soon-to-be-solo superstar Gwen Stefani, the Philly rhymer delivered a bouncy single that still seems to capture the best of its era.

#15

"SLIPPIN'" - DMX

One of the best examples of DMX's tortured brilliance, the autumnal sadness of this classic perfectly conveys the hopelessness and vulnerability in X's verses. He's an artist who came to embody "write your pain," and this single from his second album is proof positive that few wore angst better.

#14

"LOVE IS BLIND" - EVE

An examination of domestic violence that lingers long after that first listen, Eve's heartfelt single was dedicated to her high school best friend. The Ruff Ryders' First Lady struck back for victims everywhere — and struck a chord with anyone who'd endured, known someone who'd survived, or had lost someone to the pain of abuse.

#13

"WHAT THEY REALLY WANT" - DMX FEAT. SISQÓ

DMX was on quite the singles run, Sisqó was at his post-"Thong Song" peak and over a slinky beat that could only come from Nokio, X rattles off his frustrations as a gruff ladies' man. The infamous name-dropping of "Brenda, LaTisha, Linda, Felicia..." made it one of the most quotable tracks in X's oeuvre and birthed a viral internet challenge almost 20 years after its release.

#12

"GOOD TIMES (I GET HIGH)" - STYLES P

Swizz's inspired flip of Freda Payne is the perfect backdrop for Styles P's ode to herbal refreshment. The hit leadoff single from his A GANGSTER AND A GENTLEMAN album, the track was close to inescapable in 2002; turning up everywhere from Swizz's own compilation to the Kevin Hart comedy SOUL PLANE.

#11

"STOP BEING GREEDY" - DMX

It sounded like a warning, issued from a newcomer ready to take on the flossy chart-toppers dominating the rap game. DMX had a few major hits under his arm when he unleashed this anthem, letting everybody know, regardless of where you stood in hip-hop's hierarchy, you were going to have to contend with the dark rhymer's hunger. 

#10

"WHY" - JADAKISS

Over soulful production from Mobb Deep's Havoc, Jadakiss poses the hood's hardest questions. It proved to be one of his most resonate tracks, and it's not hard to see why. Referencing everything from the prison industrial complex to the early 2002 Oscar race, it became a smash hit in the summer of 2004, skyrocketing all the way to No. 11 on the Billboard Hot 100. 

#9

"JIGGA MY NIGGA" - RUFF RYDERS W/JAY-Z

NYC-based rap labels were enjoying a friendly competition in the commercially lucrative late 90s. Roc-A-Fella and Ruff Ryders were two of the hottest brands in Hip-Hop. Jay-Z and Roc-A-Fella understood how to walk the balance between ballerific raps and street grit. Hov pairing with Ruff Ryders made all the sense in the world circa 1998. 

#8

"RIDE OR DIE BYTCH" - THE LOX W/EVE AND TIMBALAND

It became a phrase that defined Bonnie & Clyde-esque solidarity for a generation. And it was the single that announced The LOX's second act, as the street rap trio had landed on Ruff Ryders after a highly-publicized departure from Puff Daddy's Bad Boy Records. The Timbo-produced track made it clear the trio from Yonkers could craft radio hits and keep it street. 

#7

"WE GONNA MAKE IT" - JADAKISS FEAT. EVE AND STYLES P

An epic single that served as the first solo hit from Jadakiss, this street anthem (has any song ever epitomized that phrase better?) is one of the best in Ruff Ryders' enviable oeuvre. Alchemist laced Kiss with one of his most inspired beats, and Jadakiss delivers as only he can: the kind of rabble-rousing call to arms that resonated on many a corner.  

#6

"GOTTA MAN" - EVE

There had been odes to thug love before, but none had managed to be so cute, so sweet and so street — all at the same time. Eve's brand of everygirl relatability was unique in the high glamour late 90s, but make no mistake — nobody could blend swagger and sex appeal like the Ruff Ryders First Lady. The kind of song that made many a thug wish they had this sorta girl by their side.

#5

"GO HEAD" - THE LOX

Sometimes you just know an artist is in their element, and just enjoy watching them work. The LOX were, in many ways, the soul of Ruff Ryders. The grimy street tales from the Yonkers trio were always a better fit for Ruff Ryders than Bad Boy, and Sheek Louch, Styles P and Jadakiss do what they do best on this melancholy masterwork from TJ Beatz.

#4

"DOWN BOTTOM" - RUFF RYDERS W/DRAG-ON, SWIZZ BEATZ, AND JUVENILE

Proof positive that nobody does synth-driven fanfare better than Swizz, this epic single gave Drag-On a huge boost leading into his solo career and was one of the few late 90s East Coast/Dirty South collaborations that didn't’ feel forced or awkward. Juvie repped for NOLA’s Cash Money and, circa 1999, this was the two hottest new labels in the rap game joining forces.

#3

"GET AT ME DOG" - DMX FEAT. SHEEK LOUCH

Everybody knew Dark Man X was coming. He’d been making noise via underground performances and several star-making appearances on hit singles by Ma$e and LL COOL J for almost two years. But his first major label single dropped like a grimy bomb in a landscape littered with shiny suits. With his first hit, X made it clear who he was, and also made it clear that the game wasn’t going to drown in jigginess as we raced towards Y2K.

#2

"WHAT Y'ALL WANT" - EVE FEAT. NOKIO OF DRU HILL

She finally had her moment. The "Illest Pitbull In A Skirt" had been waiting in the wings for almost three years, but it was this catchy, salsa-inflected single from the RYDE OR DIE, VOL. 1 compilation that not only let the world know the Philly firebrand had arrived, but made it clear the RR was taking over the radio.

#1

"RUFF RYDERS ANTHEM" - DMX

Could there be any doubt? The song that all but announced the genius of Swizz Beatz, its an anthem in every sense: instantly memorable; a call to arms for the crew; and a song that transcends its time and era. It's the label's theme song, and captures a moment in time that feels immediate and fresh every time you hear that infectious chorus -- but it never feels stuck in 1998. It's a street rap masterpiece. And to think, X didn’t even like the beat when he first heard it

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[insilverrolled]

The Triumph of Death

By Rosanna Warren [x]

To Mary Sidney

In your lace ruff you resemble a giant snowflake or a spider web pearled with dew. What poets you catch

in your symmetries, at your long table at Wilton what wits (Spenser, Fulke- Greville, Drayton) pitch into the roasted

piglet, stewed apples, carp. If you rowzed God up, He knocked you back on your heels, Lady—

“O God, why hast thou thus Repulst, and scattred us?”—Through the high windows at Wilton seethe

rumors of battle, Philip’s pussing thigh, death in the Lowlands. Mother Wrong, Daughter Strife stalk the cities; still

you keep house with grammar, you salt the psalms for long preserving. “As smoke in wind, as wax at fire doth waste”

the unjust dissolve. Your stanzas stay, still sting the tongue. Dawn finds you kneeling on stone, calling

again the bleak God you believe will answer you. You mix medicines, you write

in invisible ink. But Time trumps Fame which undoes Death which masters Chastity and Love—which leaves

Eternity, your Master wrote, master of all. And like your lace, your lines shine, not pale, “but whitely,

and more whitely pure than snow on windless hill that flaking falls, as one whom labour did to rest allure.”

Translate us too, rough line by line, into your crystalline severe design.

[windflowerofskellige]

OKAY NO WHILE IM ON THE TOPIC OF PHILIPPA EILHARTS FUCKING DESIGN THE WITCHER 2 AND THE WITCHER 3 AREN'T BETTER THEY'RE NOT BECAUSE SURE ITS NOT OWL FEATHER SHOULDERPADS BUT THEY COMMIT, IN MY OPINION, AN INFINITELY WORSE CRIME. THE LACE RUFF ON THE BACKLESS DRESS. THERE IS NOT ENOUGH STARCHING IN THE WORLD FOR THAT THING TO HOLD UP THE WAY IT DOES IT LITERALLY ONLY DOES SO BECAUSE IT IS POLYGONS THAT DO NOT HAVE TO CONFORM TO PHYSICS AND EQUALLY UGLY THIS WOMAN IS DESCRIBED GORGEOUSLY IN THE BOOKS AND THE FIELD OUTFIT, WHICH IS ONLY WHAT I CAN ASSUME THIS IS BASED ON WITH THE DOUBLE BRAIDS, IS MENS CLOTHES SHE'S WEARING HIGH BOOTS, HOSE, AND A MENS JACKET. NO ONE KNOWS HOW TO DRESS PHILIPPA JUST PLAIN AND SIMPLE NO ONE DOES IN THIS ESSAY I WILL-

[andrealeocoutures-blog]

Matching Couture Wedding Dresses with the Perfect Hairstyle

Every bride envisions herself looking flawless on her wedding day—a harmonious blend of gown, hair, and details. Couture wedding dresses are the ultimate in luxury bridal fashion, offering an elevated sense of style that’s both heirloom-worthy and unforgettable. But as any bride-to-be knows, it’s not just the dress that completes the look—hairstyles play a key role in enhancing the overall effect.

So, how does a trendy bride of 2024 choose the perfect hairstyle to complement a couture wedding dress? The answer lies in balancing the gown’s design with a hairdo that elevates and completes the vision. Here’s a guide to pairing some of Andrea & Leo's most luxurious couture wedding dresses with the ideal hairstyles, ensuring brides achieve that breathtaking, once-in-a-lifetime look.

The Dramatic Ruff Collar & Tulle Sleeves Gown

Picture this: a gown featuring a ruff collar gathered at the neckline, flowing into long tulle sleeves that bubble around the arm, ending in a delicate lace cuff. The sheer bodice is adorned with lace appliques that trickle down the layered A-line skirt. Bridal buttons along the back add a touch of tradition to this otherwise modern masterpiece.

Hairstyle Match: With such an ornate neckline, a sleek, polished low chignon is the perfect choice. A few delicate tendrils around the face soften the look, ensuring it feels bridal without competing with the gown’s grandeur.

The Baroque Elegance Strapless Mermaid Gown

This strapless mermaid gown is all about drama and sensuality. With glittering baroque motifs, a daring sweetheart neckline, and off-the-shoulder detachable scallop straps, this couture wedding dress screams opulence. The addition of a rhinestone bow belt cinching the waistline adds femininity, while the boned corset ensures both style and comfort.

Hairstyle Match: For this luxurious mermaid silhouette, a classic Old Hollywood wave is the perfect pairing. Let the waves cascade over one shoulder to highlight the off-the-shoulder straps while also maintaining a sense of elegance and glamour.

The Sweetheart Neckline Gown with Dimensional Floral Appliques

This gown, with its layered tulle and dimensional floral appliques, offers a blend of elegance and contemporary flair. The bodice’s sweetheart neckline and thin straps are balanced by a long tulle overlay that adds a touch of drama to the dress. This couture wedding dress is ideal for a bride who wants to feel both modern and timeless.

Hairstyle Match: A relaxed half-up, half-down hairstyle with soft waves would enhance the casual yet sophisticated tone of this gown. A few delicate hairpins or a minimalist veil would be a nice finishing touch.

The Organza Mermaid Dress with Ruffled Tulle Details

This fitted organza mermaid dress with lace applique is all about the details. The strapless sweetheart neckline is complemented by ruffled tulle elements, while the removable Marie Sleeves add a romantic flourish.

Hairstyle Match: A timeless high ponytail with soft waves or gentle curls adds the right amount of modernity to this otherwise classic mermaid gown. It keeps the hair out of the face while still looking bridal, elegant, and utterly chic.

When it comes to pairing couture wedding dresses with the perfect hairstyle, it’s all about finding a balance. The dress and the hair should work together to create a harmonious and unforgettable bridal look. Whether you’re going for drama, romance, or timeless elegance, your hairstyle should enhance—not overshadow—your stunning couture gown. And with Andrea & Leo’s collection, every bride is guaranteed to find a gown worthy of her dream wedding day.

For more information about Formal Dresses Wholesale and Prom Dresses Wholesale please visit:- Andrea & Leo Couture