#ladies suit design 2022

[safeshopindia]

Laranya Lavanya Fiona Ladies Suit

Fashionable prints are back for the dressed-up look that's sure to make heads turn. The striking digital print that defines this collection has deeper tones printed on lighter ground fabrics, creating a dramatic effect. The kurta and dupatta in all-over florals are balanced perfectly with solid bottoms that can be converted into narrow pants, wide-legged trousers or salwar. Have your local tailor customise the top and bottom to your fit and preferred style. These unstitched lengths can be converted by your local darzi into a customized top-bottom set, fitted to your size and style preference. This ethnic set is suitable for both for semi-formal and formal occasions.

[servants-hall]

‘The Gilded Age’ Season 2 Behind the Scenes: How Fashion Defines Each Character (PHOTOS)

by Kelli Boyle

Julian Fellowes, the creator of Downton Abbey (2011-2016) [mod note: on PBS in the US], set that upstairs-downstairs series at a palatial British estate on the eve of World War I. He moved his newest costume drama Stateside to the streets of New York City. Set in the late 1800s, The Gilded Age, which has its second-season premiere on Sunday, October 29 on HBO (streaming on Max), pits the new money of railroad barons against the old money of New York society. The powerful fight for control of the city and use their wealth to measure social success. And dressing for success was its own full-time occupation.

When researching women’s fashion in 1800s New York, the show’s costume designer Kasia Walicka-Maimone saw one thing clearly: “Their life was a catwalk. There was this enormous excitement” when the ladies trekked the bustling, dusty streets of Manhattan. Her job was to recreate that excitement for contemporary viewers of The Gilded Age.

Fashion as a Sign of Status

Who’s doing all this promenading? Marian Brook (Louisa Jacobson) arrived in NYC with no money and was taken in by her aunts Ada (Cynthia Nixon) and Agnes (Christine Baranski), both living off an inheritance. Then the newly affluent Russells—headed by railroad baron George (Morgan Spector) and wife Bertha (Carrie Coon), who is determined to break into polite society—moved in across the street.

Ada Brook (Cynthia Nixon) and Agnes van Rhijn (Christine Baranski) head to church on Easter morning in ‘The Gilded Age’ Season 2 premiere. Niece Marian Brook (Louisa Jacobson) follows close behind (Credit: Barbara Nitke/HBO)

The frill thrills continue in Season 2, especially in a pivotal garden party scene (pictured below) that TV Insider observed being filmed in September 2022 at New York’s lavish Old Westbury Gardens estate. (Westbury House was previously home to an heir of the Phipps family, real-life Gilded Age figures whose patriarch made his fortune alongside Andrew Carnegie at his steel company.) On set was Fellowes, whose smart black suit and tie were the only dark hues around.

Gladys Russell (Taissa Farmiga), George Russell (Morgan Spector), and Bertha Russell (Carrie Coon) step out for Easter mass in ‘The Gilded Age’ Season 2 premiere (Credit: Barbara Nitke/HBO)

Historically Accurate Costumes

It’s a testament to the wardrobe department that the stunning colors of the sprawling grounds nearly pale in comparison to the vibrancy of the women’s period garb. Despite the sepia-toned images in history books, Walicka-Maimone says, those bright tints are decidedly historically accurate. She has a library of more than 35,000 reference images to prove it.

“It’s shocking to our modern eye to see the explosion of color from that period,” she said. Production designer Bob Shaw (who won an Emmy for his work on Gilded Age) was present to share his creative process, which, just as Walicka-Maimone described of her own work, is “deeply steeped in history.”

Nicole Brydon Bloom joins the cast for Season 2, pictured here at the garden party with Blake Ritson’s Oscar van Rhijn (Credit: Barbara Nitke/HBO)

He does note that, when deciding between “what is correct and what feels correct,” the latter always wins. Creative liberties are taken to “build [character] histories into the costumes,” Walicka-Maimone added.

A Garden Party to Remember

Take Brit newcomers Dashiell Montgomery (David Furr) and his daughter, Frances (Matilda Lawler), for example. Nephew by marriage to Baranski’s Agnes, Dashiell requires more “toned-down” attire suitable for social outings, which contrasts with Season 1’s primarily business and formal menswear.

Aurora Fane (Kelli O’Hara) and husband Charles Fane (Ward Horton) attend the garden party in ‘The Gilded Age’ Season 2 (Credit: Barbara Nitke/HBO)

Dashiell must escort Frances through society in his late wife’s absence. One consideration for Walicka-Maimone: “This is a girl who doesn’t have a mother, so there’s probably extra care from all the other family members in [dressing her],” she said.

Meanwhile, Marian, who Jacobson said is “shining this season and sees herself in [younger] Frances,” will be more open to a strategic marriage. Marian’s “not necessarily cynical” after being jilted by Tom Raikes (Thomas Cocquerel) in last season’s finale, the actress continued, but the heartbreak gives her a “spice and edge.”

Don’t count out the possibility of a romance with Larry Russell (Harry Richardson), son of the railroad titan, which was teased last year. Jacobson shared: “They will definitely continue to deepen their friendship.” Old money and new money unite!

[thepastisalreadywritten]

Royal blue

The Princess of Wales in an Alexander McQueen blazer and matching cigarette pants on a visit to HMP High Down, Surrey.

Winning white

The Princess of Wales put a sophisticated twist on England’s team colour as she cheered on players in their opening match at the Rugby World Cup.

Teal triumph

The Princess of Wales at her polished best in a custom teal Burberry suit and custom blouse by the designer for a reception with the Crown Prince and Crown Princess of Norway at Windsor Castle.

Lady in red

Catherine makes a statement in scarlet Alexander McQueen for a ‘Shaping Us’ pre-launch event at the BAFTA headquarters, January 2023.

Purple reign

The Princess of Wales is radiant in Roland Mouret for a reception at Windsor Castle, January 2023.

Sugar plum princess

Another outing for the Roland Mouret suit, this time during William and Catherine's royal tour of Boston, December 2022.

High flyer

A navy Alexander McQueen number is the perfect choice for the princess’s arrival in Boston, December 2022.

In the navy

The same suit was last seen on the Princess of Wales for one of her first engagements in her new position: a reception for some of the Royal Navy Ship’s Company of HMS Glasgow, November 2022.

Cream of the crop

Cheering on swimmers in Alexander McQueen at the Commonwealth Games in Birmingham, August 2022.

Monochrome mastery

Head-to-toe white Alexander McQueen was a chic choice for an outing to mark Windrush Day in London, June 2022.

Pink perfection

Another Alexander McQueen suit, this time in a soft shade of rose, for a meeting with early childhood experts in London, June 2022.

A royal tour triumph

An orange Ridley London blouse brought a splash of colour to her white Alexander McQueen suit for an engagement in Jamaica, March 2022.

Magenta magic

Catherine ensured she stood out from the crowd in this Emilia Wickstead ensemble for a visit to Ulster University, September 2021.

Queen of green

An emerald green Massimo Dutti ensemble blended into the park setting on a visit to Edinburgh, May 2021.

HRH High Street

The Princess of Wales donned a pink M&S suit for a visit to the London Ambulance Centre in Croydon, March 2020.

Green Dream

The Princess donned a faithful Burberry number for a visit to a textile factory in Leeds in September 2023.

Recycled Red

The Princess Of Wales on her way to an event for her 'Shaping Us' Campaign On Early Childhood in September 2023, in one of her favourite red Zara blazers.

Magenta Masterpiece

The Princess of Wales was a tailored masterpiece in Emilia Wickstead for the Shaping Us National Symposium at the Design Museum, even accessorising with Princess Diana’s sapphire and diamond drop earrings.

[lamaisongaga]

LADY GAGA IN CELINE FOR JOKER LA PREMIERE

Lady Gaga attended the Los Angeles premiere of the upcoming "Joker: Folie à Deux" movie at the TCL Chinese Theatres last night.

Styled by Tom Eerebout and Sandra Amador, here's what she wore!

Gaga opted for a striking black gown by Celine, marking her second time wearing the designer during this press tour. While Gaga had worn Celine at the London premiere just days earlier, her choice to return to the French fashion house for the LA event was deliberate, underscoring her alignment with the film’s darker themes.

This custom piece features a structured silhouette with a mock neck, a daring side slit, and bold, billowy satin taffeta shoulders that extend into a dramatic cape-like feature at the back. The voluminous design of the shoulders, combined with the sleek and minimalist column shape, speaks to a balance between power and elegance—a signature in Gaga’s fashion narrative.

Returning to black after previous colorful and playful looks aligns with Gaga’s understanding of thematic coherence. Black is classic, authoritative, and in many ways, cinematic—especially for a film as tonally dark as this one. Her decision to wear the same designer twice during the press tour could be seen as a continuation of a narrative, tying together both premieres through a consistent aesthetic. Black also allows the focus to shift from the dress itself to the emotional gravitas of the event. It’s a color that refuses to distract, making it the perfect canvas for Gaga’s embodiment of her character.

While it might seem repetitive to some that she chose Celine again, this could signal a deeper connection between Gaga and the brand, especially considering that black, in this case, serves as more than just a fashion statement—it becomes an extension of the film’s atmosphere. Though the user (me) expresses disappointment in not seeing her explore another designer, Gaga’s dedication to theme speaks volumes, staying true to her roots in performance art and creating a cohesive narrative that transcends fashion.

Gaga also opted for Tiffany & Co. jewelry (almost as if expected!).

For her ears, she chose their Schlumberger-designed platinum and 18k yellow-gold on black enamel with diamonds Banana earrings.

Her Vignes necklace hails from the 2022 "Botanica" Blue Book high jewelry collection.

Impressive in scale and presence, it features a suite of oval rubellites of over 330 total carats, oval cabochon emeralds of over 50 total carats and round brilliant diamonds of over 10 total carats – all intertwined by intricate 18k yellow-gold "vines".

Next, she wore the Schlumberger-designed platinum and 18k yellow-gold with diamonds on black enamel bracelet.

Her favorite Pleaser Flamingo-1020 black vinyl platform lace-up ankle boots completed the look.

For the after party, she decided to serve us real 90s goth realness in a vintage black crushed velvet cami maxi dress which she topped off with a Celine classic black wool gabardine blazer with notched lapels and two buttons ($2,750).

Shop:

Celine Classic Blazer ($2,750.00)

She also wore the Oliver Peoples Maysen glossy black acetate sunglasses with silver details ($619).

Shop:

Oliver Peoples “Maysen” Sunglasses ($619.00)

[countslimeula]

Hey yall I've REDUCED THE PRICE of my D&D Adoptables from last year! These premade designs are a perfect starting point for a ttrpg character if you need a new character but don’t know where to start! 

If you'd like to give one of these lovely ladies a home PM me here or email me at: thelastbashtion@gmail.com 

If you like my style but would rather see YOUR character drawn in it then good news! I’m open for commissions! Info/rates can be found here. 

If you can’t buy one of these adopts or commission me at the moment, but still want to support me and my work consider tipping me through my ko-fi! 

I also have a Patreon where for just 3$ a month you can help me continue to do what I love. 

[ Image I.D: First image is an Illustration of a Human Fighter/Barbarian.  She is tall, muscular and covered in healed scars.  She is holding a massive war hammer that is covered in blood. She is wearing scant armor, greves and arm guards with intricate reliefs on them and a manica.  Over her left eye she is wearing an eyepatch with a metal plate over it that has a relief of an eye on it.  She has short messy hair and is looking at the viewer with an intense scowl. She is also wearing a champions belt.  Next to her is text that reads “Human Fighter/Barbarian,  $105USD’ and a watermark on her that reads “Maya Jimenez @CountSlimeula 2022”.

Second image is an illustration of a Dwarven Sorceress/Wizard.  She is fat and squat.  She is floating in the air and someoning fire from one hand and manipulating it with the other, creating an “arch” over her head.  She has curly ringlets of dyed red hair that fall down her back and a curly beard.  She has gems in them.  Her hair and beard have multiple braids in them and she has a half bun in a hairnet at the nape of her neck/base of her head.  She is wearing tiered, flared loose fitting pants with tassels on each tier and a short sleeve bodice that stops just under her bare breast.  She is wearing gold bracelets and a small geometric tiara.  She has gold flecks all over her face and body, a thick unibrow, brown skin and prominent nose.  She is smiling at the viewer enthusiastically.  Next to her is text that reads “Dwarven Sorceress/ Wizard,  $105USD’ and a watermark on her that reads “Maya Jimenez @CountSlimeula 2022”.

Third image is an illustration of a female Triton, floating in water, holding a dagger. She is a lion-fish Triton.  She is lithe, with spines on her calves, forearms, head and back.  She has bright orange stripes all over her body.  Various scars including a chunk taken out of her right arm due to a shark bite and a massive jellyfish sting on her right leg and calf.  She is wearing a wet-suit made of seal skin and a breastplate made of rib bones.  She has various tools, pouches and decorations made of kelp and the remains of ocean fauna.  Tied around various parts of her body is seaweed and around her neck and arms are long pieces of kelp floating behind her.  At her side is a harpoon carved from whale-bone. In her lip is a fish hook. She is holding a dagger in front of her defensively.  At her side is a Moray Eel with a kelp collar around its neck.  Next to her is text that reads “Triton Ranger/Rogue - $135 USD” and a watermark on her that reads “Maya Jimenez @CountSlimeula 2022” 

Image I.D ends ]

[maximumwobblerbanditdonut]

Hiroyuki Sanada is one of a handful of Japanese actors to land major Hollywood roles, He has an extensive background in Kendo, Shorinji Kempo and Kyokushin Kaikan Karate. Sanada's films include “The Last Samurai,” released in 2003, “The 47 Ronin,” starring Keanu Reeves in 2013, Bullet Train in 2022 John Wick: Chapter 4 in 2023. The role Sanada plays in “Shōgun” was first portrayed by Toshiro Mifune in the 1980s.

Hiroyuki Sanada not only starred in Shōgun, but he served as one of the producers of the show, in charge of things associated with the Japanese culture and he thoroughly pursued authenticity. As such, he was poised for a big job and He was an example to follow. He took the producer role, and He could throw all his experience into the cause to look fully satisfied. Shooting was done amid the [COVID-19] pandemic. Sanada wore two masks and a pair of goggles on his face and came to all the scenes, taking thorough measures against infection.

It is important to stress that sometimes actors become producers to gain extra power on the set, sometimes in place of a pay raise or just to look good in their resume, and we have seen many examples on TV.

MOST producer-actors aren’t TRUE producers because producers work 6–7 days 14+ hours a day, and actors wouldn’t give up their “off days” to come into the office and handle what a producer has to do getting next week's show going, including story and script writing.

Sanada was involved in making the script as well and followed painstaking steps in the process. He could work on the production in the way he liked thanks to the ample budget of the global streaming service.

The high quality of the production, including costuming, props and mannerisms; collaboration between the Japanese professional team, headed by producer Sanada, and the local production team; as well as the acting that delivered a strong sense of reality, all came together.

He first booked creative staff and called on Japan’s specialists in wardrobe, wig-making and set design, with whom he had produced period dramas and films for nearly 40 years. He also made sure that each Japanese actor was taught by a specialist instructor on their role, be it samurai or lady-in-waiting. Props and wigs were brought from Kyoto. Some of them were produced in eclectic styles, combining Japanese and Western methods.

He checked the first draft [in English] to see whether there was anything culturally off. Once the draft was translated into Japanese and examined by history experts for authenticity, a scriptwriter created the dialogue. Then, He changed them to suit each character, which was then translated back into English and brushed up before being approved as the final version. Sanada said, adding that he always made certain that the script would sound neither Westernsed nor modern. He wanted to put an end, in his time, to the era in which Japan was misrepresented on screen.

Sanada is on the red carpet. AMY SUSSMAN//GETTY IMAGES

Sanada understood their backgrounds very well. Since He also got himself involved in script-making, He knew Toranaga’s personality and role inside out. He was able to concentrate on playing the character without any trouble and as a reward for making all the preparations. He was able to thoroughly enjoy the process of acting and He was rewarded with an Emmy for Outstanding Actor in A Drama Series and an Emmy for a Producer for his fantastic work in FX's critically acclaimed Shogun.

It took home prizes including Outstanding Drama Series, as star and co-producer Hiroyuki Sanada became the first Japanese actor to win the Emmy for best lead actor in a dramatic series.

#Shōgun #Emmy #HiroyukiSanada #actor #producer #LordYoshiiToranaga #Japan #series #feudalsystem #FX #Hulu #Disney+ #COVID-19 #pandemic #JamesClavell #book

Posted 17th September 2024

[beautifulscreaminglady]

As promised, my thoughts on Sense and Sensibility (2024)

(Looking for what REAL people of color wore in the Regency era? Check out my Pinterest board!)

The clothes weren't as bad as I was expecting. The fabrics vary from garish prints, to heavy embroidery, to plain colors.

The main problem seems to be that they are ill fitting. The men's coats seem to add extra bulk to the actors.

The production itself has scenes that appear to be copied from both the 1995 production and the 2009 production.

Elinor's hair is styled in an ancient Greek inspired arrangement that enjoyed popularity during the Regency era. I think it is a beautiful style for Black hair. Most of the women's hairstyles are quite good.

Colonel Brandon's beard and mustache are not period accurate. He should be clean shaven. Compare to this portrait of Pierre Toussaint.

The main problem seems to be that they are ill fitting. The men's coats seem to add extra bulk to the actors.

On the other hand, the ladies bonnets appear to be too small. I thought Margaret's bonnet was weird as hell but apparently it's a real design from the late regency to early romantic period.

Marianne's boots are visible after she has her famous fall. They have a prominent heel. Regency boots for women were very flat without a heel or with a very low heel.

Margaret's shoes here are also very odd. They look almost like 16th century women's shoes.

I don't know what kind of shoes Marianne is wearing here but they look a bit clunky. This is a production where $15 plain, solid colored pleather flats from Amazon would not be out of place, if budget necessitated it.

The blue gloves are period accurate!

Costume Parisien, 1798

In an article about the movie, it was mentioned that the set dressers added real historical portraits of Black people. I noticed the famous Portrait of a Man in a Red Suit and a GIANT bust portrait of Dido Belle (cropped from the original). I also spotted some 16th or 17th century portraits of Black men that seemed vaguely familiar. Other artwork was unfortunately too hidden in shadow or out of focus for me to recognize.

There are also some other things that made this production more Black, such as the scene where Wentworth and Marianne bond over their shared interest in art and find that they both admire Phillis Wheatley's poetry.

There were some changes that raised my eyebrows. The child of Colonel Brandon's ward is his!

At the ball in London I am almost positive that Seal's Kiss From A Rose was being played by the violinists.

Final thoughts:

According to the costume designer, she had to make 68 costumes in 20 days. This is absolutely an insane demand. While some of the costumes were rented, the time crunch is quite obvious on the other costumes. People who work in film and television do not deserve to be treated like this. Hallmark has a ridiculous turnaround time for their productions, but at this point I feel like the Hallmark back catalog is big enough it can afford to make fewer but more high quality productions.

Or perhaps we can sacrifice complex, unnecessarily over the top costumes in favor of simple but pretty costumes such as the ones in Mr Malcolm's List (2022), which also notably starred people of color.

I think that people of color DESERVE beautiful costume dramas, but this is not what it could have been. The first (and currently only) Black Jane Austen adaptation in existence deserved more. I love Sense and Sensibility but this adaptation broke my heart because it lacked the richness and warmth of the 1995 and even the 2006 versions.

[femlegance]

WOMEN IN HISTORY WHO INSPIRE TIMELESS ELEGANCE

Throughout modern history, women have graced the world with their poise, intelligence, and timeless elegance. The following remarkable female figures exemplified these qualities:

Audrey Hepburn: A talented actress, Audrey Hepburn is a true icon that held grace and style. Her elegant fashion choices and philanthropic work continue to inspire women to this day.

Image Sources(Left to Right): 1.Getty Images 2.Paramount Pictures 3.UNICEF/UNI40095/Isaac

2. Grace Kelly: The epitome of sophistication, Grace Kelly transitioned from Hollywood star to Princess of Monaco. Her refined style and poise still captivate fashion enthusiasts and admirers of classic elegance.

Image Sources(Left to Right): 1.Getty Images 2.Getty Images 3.Getty Images

3. Coco Chanel: This fashion designer revolutionized women's fashion by introducing timeless classics like the Chanel suit and the little black dress. Her innovative spirit and uncompromising standards for elegance continue to influence fashion.

Image Sources(Left to Right): 1.Roger Schall/Condé Nast/Shutterstock 2.Getty Images 3.Kammerman/Getty

4. Jackie Kennedy: Former First Lady Jacqueline Kennedy's fashion sense and dignified demeanor set the standard for elegance in the 1960s. Her fashion choices and cultural influence are still celebrated.

Image Sources(Left to Right): 1.Getty Images 2.Getty Images 3.Bettmann Archive

5. Princess Diana: Known as the "People's Princess," Diana charmed the world with her compassion and impeccable style. Her legacy endures in both her charitable work and her iconic fashion moments.

Image Sources(Left to Right): 1.AP Photo/Jim Bourdier, FILE 2.Bob Thomas/Popperfoto via Getty Images/Getty Images; Anwar Hussein/WireImage/Getty; Jayne Fincher/Getty Images 3.Kent Gavin/Mirrorpix/Getty Images.

Sources of Inspiration:

[architectuul]

Charlotte von Moos (ed.): Miami In The 1980s

Verlag der Buchhandlung Walther und Franz König, Köln, 2022

First things first: that book is cool. The graphic design, in mint green and dusty pink is clearly an homage to its subject – the architecture from postmodern Miami. But not only it respects on glossy paper the colour code of an era and style, it’s full of new drawings (plans and façades) that allow us to understand buildings we knew as images in depth and to consider their architectural qualities. As it must be the book starts with screenshots from the main title of the TV-Series Miami Vice (1984-89) that reminds us that – for the first time in history – architecture had become a real protagonist in storytelling. Remember: two undercover cops dressed in Hugo Boss suits hang around Miami driving a white Ferrari Testarossa, they pretend to be drug dealers to catch the bad guys enjoying the sun of Florida. This criminal society meets and lives in houses that fit their lifestyle and the neo-modern villas from Arquitectonica are not only the decor of their life – they tell us about the taste, the habits and the dangers from those people. Michael Mann was the creator and executive producer from that series and if you’ve seen any other of his films you’ll know one thing: he loves the visual power of architecture and understands the role it can play in storytelling (so was Alfred Hitchcock ‘s review).

Many of us know the images from Miami Vice and if, like me, you were born in the early 1970s and watched too much TV – you looked at them as an adolescent and became an architect because of them. I did. But the genius of the book is to reveal us the context, the ideas and concepts that were around at that time and who brought a generation of architects to the invention of a very unique and local style. For sure, as post-moderns, they wanted to play with history, to mix Adolf Loos or Le Corbusier with ornamented porticos à la Aldo Rossi (the buildings of Duany Plater-Zyberk are a perfect example from this approach). But one should not forget that the iconic Spear House (1976-78) was the child of a project developed by Laurinda Spear and Remment (not yet) Rem Koolhaas in 1974, at the peak of his obsessions with Surrealism, Constructivism and the Berlin Wall. Last but not least, they all understood the power of colour and refused the dogmatic boredom of white plaster. The essay from Charlotte von Moos unfolds all those references, brings unknown archives to life and fascinates with its enthusiasm. The whole book makes it clear: those buildings were not just a set for TV-series but true architecture with its successes and mistakes.

The in-depth essay is followed by short introductions with archival or new photographs (and drawings) of 19 projects made my S.O.M, Philip Johnson & John Burgee, Mateu Architecture, Duany Plater-Zyberk, Isamu Noguchi and – of course – Arquitectonica. It’s like eating a pistachio, raspberry, mint and vanilla ice cream: you know you shouldn’t like it and that it’s gonna make you sick, but you cannot stop. Still, and that’s probably the goal of the book: many of those buildings are now in danger – the taste of the inhabitants has changed, downtown Miami craves for densification and the constructions are too young to become historical monuments (think about the IBA87 in Berlin). A whole visual chapter is allocated to the demolition of The Babylon (1981) by Arquitectonica, and alerts us that it might be our last chance to visit those buildings believing we are undercover cops driving a white Ferrari.

Now comes a spoiler, like in movies, but I’m gonna tell you how the book ends (so stop reading here if you don’t want to know)… The final spreads are dedicated to fashion shoots that were done in the Spear House for GQ or Vogue. The legs of a lady in a bikini enjoy the swimming pool, a young man in pyjama stares into our eyes, other people sunbath on the terrace or jump into the water. They pose with their perfectly clean clothes and rather impossible haircuts (too much hairspray involved, much too much – but that’s the 1980s). What becomes clear, looking at those images, is that architecture – here, is more than a decor. It’s a part of a lifestyle that includes nice cars, expensive watches and shiny garments, making the American dream a kitsch and unattainable Gesamtkunstwerk. A total work of art.

- Thibaut de Ruyter

[sunaleisocial]

NASA Program Aids Pediatric Patients Facing Medical Treatments - NASA

New Post has been published on https://sunalei.org/news/nasa-program-aids-pediatric-patients-facing-medical-treatments-nasa/

NASA Program Aids Pediatric Patients Facing Medical Treatments - NASA

As NASA innovates for the benefit of humanity and inspires the world through discovery, the agency launched a new video series specifically designed for use by medical treatment centers across the United States to help reduce anxiety and stress among pediatric patients during treatment.

The project, named “MISSION: All Systems GO!”, is hosted by NASA astronaut Kjell Lindgren and was developed alongside the Fred Hutchinson Cancer Research Center and National Association of Proton Therapy. The suite of products intentionally draws similarities between an astronaut’s experience and the challenges young patients will encounter during their treatment, such as restricted movement in confined spaces, strange sounds and smells, and separation from family and friends. The videos and accompanying products are a new resource for treatment centers, and support President Biden and First Lady Jill Biden’s Cancer Moonshot Initiative.

“As part of the Biden Cancer Moonshot Initiative, NASA is committed to improving the experience of cancer patients and their families while we work to end cancer as we know it,” said NASA Administrator Bill Nelson. “Cancer treatment is full of unknowns, and so is space travel — we hope that this project will provide hope and comfort to patients and their loved ones as they navigate their cancer treatment mission.”

Some patients undergo as many as six weeks or more of treatments strapped into sterile, state-of-the-art medical machines that many patients find intimidating. However, some patients expressed fascination toward these high-tech mechanisms and compared them to the look of a NASA spacecraft, leading to the idea for this unique suite of products.

“Part of the agency’s mission is to improve life here on Earth,” said Kevin Coggins, deputy associate administrator and NASA’s SCaN (Space Communication and Navigation) program manager. “I’m proud that we can help thousands of kids and their families get through an extremely difficult time in their lives.”

In the first of three hosted videos, Lindgren, himself a medical doctor, briefs the patient on their upcoming “mission.” Step by step, Lindgren addresses each requirement and his confidence in how the patients can do it.

After completing their treatment, patients will receive a mission de-brief from Lindgren, where he offers reminders on how to follow up with treatment, as well as his heartfelt congratulations. The patient is also presented with a custom certificate of mission completion signed by Lindgren and Dr. James D. Polk, NASA’s chief health and medical officer.

Finally, in the third video, Lindgren takes part in a Q-and-A in which patients’ family and friends learn more about his job and how he’s handled challenges similar to what they are now facing.

In addition to the video products, medical centers will have access to NASA imagery to decorate a dedicated video viewing room to look like NASA’s Mission Control Center, as well as display posters featuring human spaceflight and science missions enabled by NASA’s SCaN program.

NASA’s “MISSION: All Systems GO!” is another step in the agency’s effort to help President Biden and First Lady Jill Biden’s Cancer Moonshot Initiative. NASA is working with the U.S. Department of Health and Human Services, as well as researchers across the federal government to help cut the nation’s cancer death rate by at least 50% in the next 25 years.

“In 2022, NASA was added to the White House Cancer Moonshot Program. Since then, the agency’s Office of Chief Health and Medical Officer has formed several task forces with one specifically focused on patient and caregiver support,” said Mark Weyland, director of health operations and oversight for the Office of Chief Health and Medical Officer. “We believe the ‘MISSION: All Systems GO!’ initiative will have a positive impact on so many patients and caregivers. Partnering with SCaN and the Cancer Moonshot Program furthers NASA’s desire to continue to provide for the health and wellness of humanity and the discovery of new medical innovations.”

The agency’s “MISSION: All Systems GO!” products are available for use by medical treatment centers and facilities across the United States. Centers interested in accessing the suite of products will be required to fill out an electronic form, accept NASA’s Terms of Use, and download the products from a dedicated Office of Chief Health and Medical Officer webpage: OCHMO & NASA Mission: All Systems GO! – NASA

[customknitfactory]

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[customsweaterproducer]

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[womentouch]

Exploring Elegance: A Ladies Suit Blog by Womentouch

Ladies’ Suits Have a Classic Appeal:

Ladies’ suits have evolved over time, from classic cuts to adopting current styles. Womentouch recognizes this progress and offers a varied choice of suits to fit a variety of preferences and circumstances. From the classic black trouser suit, a quintessential wardrobe staple, to vibrant colors and patterns that express individuality, Womentouch beautifully amalgamates versatility with sophistication.

Tailoring and Fit:

One of the distinguishing features of Womentouch suits is their exquisite tailoring. The brand focuses on the optimal fit, recognizing that each woman has her own shape and stylistic preferences. Women touch stresses tailoring that matches and highlights the female form, whether it’s a fitting blazer with tapered trousers or a more relaxed design with wide-leg pants.

Fabrics and quality:

Women Touch distinguishes itself by employing high-quality textiles that provide comfort without sacrificing style. From sumptuous wool blends to lightweight cotton, their attention to detail in material selection ensures longevity and a luxurious feel. The brand’s commitment to superb craftsmanship is evident in every stitch, making their suits a mark of enduring sophistication.

Styling Versatility:

A Ladiestouch suit transcends traditional workplace dress. These adaptable ensembles seamlessly move from business situations to evening events or casual outings. Womentouch offers solutions that flawlessly merge elegance and versatility. Pair a fitted blazer with jeans for a sophisticated and easygoing look, or opt for a matching suit for a formal function.

Conclusion:

A well-designed suit speaks volumes about elegance and empowerment in the realm of women’s fashion. Women touch, with its dedication to quality, tailoring, and versatility, perfectly exemplifies this ethos. From traditional styles to modern twists, their ladies’ suit collection has something for every woman looking for sophistication and grace in her wardrobe.

Note: “Womentouch” is a hypothetical brand name created for the purpose of this blog. If this brand exists in reality, this blog is a hypothetical representation of its attributes and is not based on any official endorsement or information beyond my last update in January 2022.

[angeliqueshelleyartist]

A Bewitching Tale

SOURCES & SIGNIFICANCE, BLOG POST #1

I adore character art with story driven and expressive elements; art that isn't just nice to look at but leaves me wondering about the character: how did they end up in that situation? What is their world like? How do they interact with everything that makes their world? What is their personality, their talents, their roles? Such things can be what collectively create the visual narrative of a design, particularly when combined with storyboards or additional panels depicting the character in context using abstract knowledge of concepts, such as 3D objects that are universally known, to relate information to the viewer (Cohn, 2013).

I am in love with this character concept by Alexander Skripnikov (2023), (fig.1). It's a humorous portrayal of a witch who seems to lavishly enjoy causing a little mischief with her undead powers, also using them in unconventional ways as a means of transport; a pallbeared coffin is a refreshing alternative to the classic broomstick!

Fig. 1 Witch by Alexander Skripnikov

The personality sketch panels on the right are a great way of portraying the practical use of her magic and her traits. The panels also help build the visual narrative around this character, but also impressively, these elements are also presented in the main concept through design. Her dark suit has stylistic nods to 17th century fashion (when witch scares were at large (Schons, 2022)), as seen with Wenceslaus Hollar's etching "illustrating the commonwear of 17th century ladies in England" (1640), (fig. 2).

Fig. 2 Etching by Wenceslaus Hollar

Skripnikov seems to push the classic design in a way that captures the fear and terror of women gaining more independence and power by creating a more masculine cut and using a ruffled cravat: the cravat, with its regal and militaristic origins, was donned mostly by men at that time (Le Blanc, 1828). Skripnikov's character, while defiant in her style, still embraces the feminine with a long wide skirt, emphasised waistline and a delicate shoe, (although men also wore delicate heels at that time (Peoples, L. 2015)).

The brass buttons, large belt buckle, utilitarian bag and magical tools hint at an independent and handy woman. The defiant smile and confidence of her posture, despite what must be a ridiculously heavy prop, further reinforce that independence and strength.

The coffin prop is both hilarious and brilliant. She's ditched the broomstick, which can be representative of housework, and seems to be able to summon undead men to do her bidding: a satirical turn of the tables, and a good use of Levi-Strauss’ (1908 - 2009) binary opposition of Man vs. Woman in cultural narrative structures, which is seen again in the panel where she is summoning her army to chase off the men with pitchforks, probably engaged in a witch-hunt.

 The coffin and ornament in the shape of sacred geometry are in the Gothic style famously used in cathedrals. The style choice is wonderfully blasphemous for a woman with a god-like ability: she holds the literal the key to unlocking the chains of death and also hints at proficiency with the ability through the pose of her fingers manipulating the flaming skull.

Overall, this design seems to be a fun take on the classic narrative of women embracing what was once feared of them; summed up in, what seems to me, the exaggerated point of her traditional witches' hat as a playful middle finger to extreme patriarchy. Which in turn may describe the challenges and role of a Witch presented in a character concept piece that uses history, pop culture, shape and colour to tell a narrative that is a blend of universal and individual experiences. All this may be conjecture on my part, but therein lies my next argument, is what I experienced analysing this work intentional on Skripnikov's part beyond the shared abstract knowledge? Were they just creating a fun design and had subconsciously included these symbols? Controlling the experience of the viewer is something that directors and artists struggle with, in trying to solve this problem Rico Garcia et al. (2022) have created an AI powered electroencephalography (EEG)-based emotion recognition system, which can by-pass audience biases by directly reading electrical activity in the brain and thereby intuitively guide the viewer into the emotional state the content creator desires by selecting from multiple outcomes. This sits more in the realm of interactive storytelling, but with the way technology is advancing, I can’t help but feel excited about the future integration of AI to guide viewers into a desired emotional or cognitive state perhaps even through a series of images/panels or changeable props in concept design or comics. 

Concept art is already evolving to be more than representations, for example 3D animations that can relate more information, or perhaps even working simulations for pre-visualising interactive media, but at the heart of it is visual narrative and how much can be conveyed from the simplest design to the more complex. While technology may not be advanced enough to non-invasively alter experiences in every electronic medium, for now by being aware of the cultural and psychological impact of visual narratives, my concept art will become richer and more informed and can break the barrier of the expected, or intentionally embrace the familiar, and somewhat guide the viewer into my intended narrative. 

References:

COHN, N. (2013). 'Visual Narrative Structure'. Cognitive Science. [Online] Volume 37. (Issue 3). pp 413-604. Available from: https://doi-org.ezproxy.herts.ac.uk/10.1111/cogs.12016  [Accessed: 06 October 2023]

LE BLANC, H. (1828) The art of tying the cravat: demonstrated in sixteen lessons, including thirty-two different styles, forming a pocket manual … preceded by a history of the cravat from its origin to the present time … and remarks on its influence on society in general. [Online] London : Effingham Wilson. Available from: https://archive.org/details/b22018967/page/12/mode/2up [Accessed: 02 October 2023]

PEOPLES, L. (2015) A History Of Men In Heels In 18 Stunning Pairs. [Online] Available at: https://www.refinery29.com/en-us/history-of-men-in-heels [Accessed: 02 October 2023] 

RICO GARCIA, O.D., FERNANDEZ FERNANDEZ, J., BECERRA SALDANA, R.A., WITKOWSKI, O. (2022). 'Emotion-Driven Interactive Storytelling: Let Me Tell You How to Feel'. In: MARTINS, T., RODERIGUEZ-FERNANDEZ, N., REBELO, S.M. (eds) Artificial Intelligence in Music, Sound, Art and Design. EvoMUSART 2022. Lecture Notes in Computer Science, vol 13221. Cham: Springer. pp 259–274 https://doi-org.ezproxy.herts.ac.uk/10.1007/978-3-031-03789-4_17

SCHONS, M. (2022) Witch Trials in the 21st Century. [Online] Available at: https://education.nationalgeographic.org/resource/witch-trials-21st-century/ [Accessed: 02 October 2023] 

Image References:

HOLLAR, W. (1640). Ornatus muliebris Anglicanus, Plate 21; The severall habits of English women, from the nobilitie: to the contry woman, as they are in these times. [Etching on Paper]. Available at:  https://www.robzangerrarebooks.com/pages/books/273/wenceslaus-hollar/ornatus-muliebris-anglicanus-plate-21-the-severall-habits-of-english-women-from-the-nobilitie-to [Accessed: 02 October 2023] 

SKRIPNIKOV, A. (2023). Witch. [Digital Artwork]. [Online]. Available at:  https://www.artstation.com/artwork/xYGBY2 [Accessed: 02 October 2023]