#on any other characters i would be complimenting them for their bold fashion choices (except for maybe the last one)

[amysterywrappedinanenigma]

Ranking (bullying) LD Curtain's season 2 fashion choices

Because even if the show seems to have forgiven him, I sure haven’t. 

DISCLAIMER: This is in NO WAY criticizing the costume designers of this show- it couldn’t be farther from that. They’ve done an amazing job with every single piece in the show, and all of these fit Curtain’s personality and aesthetic perfectly. This is just me mocking the in-universe fashion choices that the character makes, because he needs to be bullied more. All lighthearted, all in good fun.

Disclaimer #2: I know literally nothing about fashion, please don’t attack me. 

Okay, from least heinous to most heinous, here we go! 

First up:

As much as it pains me to admit this. I actually. Really like this one. (”And if you told me I would never say something like that, well, I would never say something like that, but here we are.”) I think the silhouette is interesting, and all of the pieces come together well. Plus, in some of the tighter shots you can see that the fabric texture and detailing is really cool:

The leaves as clasps and that crinkly texture kind of really slap, and I really love the way the collar sort of wraps into the placket.

8 / 10

Interview outfit:

Wow, look! Another one that doesn't inspire immediate feelings of rage! We're doing so well.

This one isn't as visually interesting as the first outfit, but I do sort of like it. The collar folds create kind of a cool shape, and the grey accents under the top is a nice little contrast. I don't know how I feel about the zipper right below the collar, it's kind of a weird choice and might look better if it wasn't so visible, but I'll let it slide for this one since we have a much more heinous zipper situation coming up later.

I like the contrasting shades of blue with the button up shirt, and the lavender shirt he wears under it later in the episode, and the fact that part of the collar can kind of fold down to make a different shape.

6 / 10

Clown sleeves:

So the sleeves on this one are. kind of a lot. But they gain a couple of points for being the only thing in this outfit that really pops. They're sort of weird, but I can see the appeal of them standing out against the black vest, and being a pretty nice contrast that draws the eye.

5 / 10

Meh:

Time for the part of the post where I include 6 outfits that I just kind of don't have strong opinions on, mainly because they feel like pretty standard, decent outfits with no real reason to bat an eye at them.

The last image is saved on my computer as "are those your pajamas?" but. acceptable.

sure / 10

Dancy dance:

🧍‍♂️

I don't have much to say about this one other than, for some reason, the visual of him wearing tennis shoes makes me viscerally uncomfortable.

🤡 / 10

Elizabeth Holmes Chic:

He looks like a kid playing dress-up in their dad's giant overcoat, except someone let him go outside looking like this. I know oversized clothing items can be fashionable but here he's like drowning in it.

And then when he takes the coat off:

This maybe wouldn’t be a terrible outfit, it’s just so goddamn pretentious. He seems like he's trying to look like Steve Jobs, but ended up looking more like Elizabeth Holmes.

about to start another pyramid scheme / 10

Vacation dad (derogatory):

On someone else I might like this outfit, but on him it just looks so dumb. He looks like he's about to go skydiving with how much he's buttoned up. Better watch out or he could get carried away and spend 20 minutes unstrapping and unbuttoning it to reveal his fun little vacation shirt underneath! It's somehow stupidly formal and stupidly casual at the same time, and I just think it's a very silly little outfit. He's joining the army as penance for his fashion crimes. If you ask very very nicely he might tell you what's in his four huge, weirdly-placed pockets.

what's in the pockets / 10

And now.

We've arrived. We're finally here. The last one. The moment we've all been waiting for.

The worst of the worst:

I'll be honest, I don't really know where to start this one. There are too many things to choose from. Do I start with the weird asymmetrical pattern on the sleeves, with the red and blue stripes that aren't even made up of the same type of pattern?

Or maybe the fact that the buttons (and the piece of fabric they're attached to) ends too high above the neckline of the top layer?

Or we could talk about the fact that the top layer looks like one of those smocks you'd wear to get an x-ray at the dentist, made in a fabric that must have been rescued from the back of a fabric store after 50 years of not being bought.

I think by far the worst part is the length:

The fact that those strange little smock flaps go almost a foot past the zipper, halfway down to his knees. It swallows like 2/3rds of his body in this horrible block of grey fabric, and this man has the audacity to carry himself like it’s fashionable, instead of an assault on the senses. 

I want to set it on fire. I want to burn him along with it. I want to gently take his tailor aside and ask if Curtain held him at knife point and made him design this monstrosity. TEAR IT TO PIECES, GET IT OUT OF MY SIGHT, TURN IT INTO SCRAPS FOR SQ'S ART PROJECTS.

Anyway.

This outfit is such a menace to this world that I thought everyone should get a chance to tear it to shreds, so presenting, the communal roast:

“GROSS. SHUN.” -@mvshortcut

"prison chic. dentist x-ray chic. ugly." -@mysteriouseggsbenedict 

“the terrible zip up vest that just keeps on going fucked a potato sack” -@bi-demon-ium

“runway model for the most pretentious fashion designer who ever lived” - @sqenthusiast

“Trying to be casual but also Better Than You. The definition of 'you really thought you did something there'” -@echo-delta

“Child with one of those books where you can draw clothes over top the shape of a person” -@mysteriouseggsbenedict 

“Mr Curtain sir I don’t feel very happy looking at this. I think it’s a little counterproductive.” -@mvshortcut

Truly horrendous.

borrowing constance's acid to destroy the outfit and then clean the eyes of anyone who wants to forget they saw this monstrosity / 10

Thank you so much for coming on this journey with me, and as always, send the x-ray bib to hell.

[chicagoindiecritics]

New from Every Movie Has a Lesson by Don Shanahan: MOVIE REVIEW: Little Women

(Image: vanityfair.com)

LITTLE WOMEN— 5 STARS

Not to borrow out of context from George Harrison’s Beatles lyrics, but, when it comes to Greta Gerwig as the director of Little Women, there is something in the way she moves. Scene after scene in the adaptation of Louisa May Alcott’s beloved classic penned by her own hand, there is an enchanting manner by which the ensemble is allowed to carry on, as it were. For every segment where a performer is hitting a mark of precision to deliver their speech, there are four or five others where Alexandre Desplat’s sumptuous score will rise, mute the conversation, and lead the audience to simply watch. The characters commiserate and move freely within their relationships and surroundings. We too then live and become absorbed in the beauty of those moments.

The endearing brilliance of Little Women is earned in those quaint sways and movements as much as, if not more than, it is by its crests of high drama. With masterful leadership and bold thematic choices applied to well-worn ideals, Greta Gerwig continuously captures an uncanny vibrancy out of a literary setting that otherwise would be frozen in stagnant despair. Every fiber and morsel of this movie swells with this sense of spirit to embed radiance in resiliency.

The titular Chatty Cathys are the four March sisters of the 1860s at different coming-of-age stages. The two youngest, Beth (newcomer Eliza Scanlan of Babyteeth) and Amy (rising star Florence Pugh), look up to their older two sisters, Jo (three-time Academy Award nominee Saoirse Ronan) and Meg (the now nearly-30 Emma Watson) with shifting notes of reverence and jealousy. With a short-sighted “tired of being poor” feeling, all four lament living within their reduced New England means during the American Civil War. The family’s pastor patriarch (Bob Odenkirk) has been away for years with little contact while his dauntless wife Marmee (Laura Dern) cares for the rapidly maturing girls.

The Marchs are not alone with the tough times. With a shared “I know what it is to want,” they are in a place to tighten their skirts and give to help a poor and struggling single mother nearby. At the same time, they are supported from above by their huffy elder aunt (a perfect feisty Meryl Streep, well within her element) and the wealthy Laurence family next door comprised of Mr. Laurence (the kindly Oscar winner Chris Cooper) and his nonconformist son Theodore (Call Me By Your Name’s Timothée Chalamet). With an alluring young man like “Laurie,” as he is called, nearby, affections grow and hearts swoon.

Swinging the chronological narrative pendulum to and fro, the plight of the March family is being remembered in episodic portions by Jo. She has moved away years later to New York City with the uphill aspirations of becoming a published writer for the discerning editor Mr. Dashwood (Tracy Letts, with the right amount of curmudgeon). Jo is enterprising and determined to be taken seriously.

LESSON #1: GIRLS HAVE TO GO OUT INTO THE WORLD — Independence is highly valued and celebrated with “love my liberty” in Little Women. For our central guide Jo, fond reflection forms the confidence that her own story is compelling sort that will inspire others. Despite what society deems suitable and how they are kept from property and prosperity, women are fit for more than love and marriage. They deserve to play out their ambitions. Along the same lines, Alcott’s novel itself presents a great passage on wealth that is echoed in the film in its own way:

“Money is a needful and precious thing, — and, when well used, a noble thing, — but I never want you to think it is the first or only prize to strive for. I’d rather see you poor men’s wives, if you were happy, beloved, contented than queens on thrones, without self-respect and peace.”

LESSON #2: NEIGHBORS HELPING NEIGHBORS — In many wonderful displays, these are noble and generous people who care to hear and tread in the stories and needs of others despite their personal wants. Furthermore, respectfully knowing the arduous realities present keeps them from being truly ungrateful for what they have. That level of empathy will remain in them into their own families. When rewarded, their own pulled-up bootstraps will transform how “pretty things deserve to be enjoyed.”

LESSON #3: TO PINE, OH WHAT IT IS TO PINE — Nevertheless, even with a giving heart, the longing for deeper wants is hard to truly curb. We have multiple characters in this melodrama that pine for love, marriage, position, dreams, or freedom within their unfortunate and trying situations. The definition of “pine” reads “to yearn intensely and persistently especially for something unattainable” followed by “to lose vigor, health, or flesh.” So much of Little Women, is this languishing pursuit towards personal and emotional fulfillment.

LESSON #4: THE STRENGTH OF FAMILIAL LOVE — To borrow this time from the Greeks and a dollop of The Bible instead of the Fab Four, the level of “storge” love in this saga is exquisite. When family is in need, the annoyances and competitiveness of these sisters go away and bonds are renewed. As they say in the dialogue, “life is too short to be angry at sisters.” Once again, thanks to Gerwig’s tonal choices, you see it, plain as day, in the way the cast in character interacts. The emotional wreckage that results is incredibly genuine.

The performances of this exceptional cast make this journey of pining sacrifices and kindred challenges palpable. Saoirse Ronan accomplishes the quick wit and stubborn strength of the lead role without making it a Katharine Hepburn imitation. Timothée Chalamet uses his smiling charm at full wattage where his piercing gaze and strong words can convey soulfulness under the rude, edgy, and volatile arrogance of his romantic catalyst. Laura Dern flips the privileged acid of her Marriage Story lawyer role to play uncompromising earnestness here with complete and utter grace. Lastly and hugely, Florence Pugh is the spinal cord to Ronan’s backbone. She makes the nerves and savage passion of her tug-of-war middle daughter position stunning.

More and more, there is a pep here higher in this eighth adaptation of Alcott’s novel compared to its predecessors. Springing its winter steps, this Little Women strolls rather than plods. French Cinematographer Yorick Le Saux (Personal Shopper, A Bigger Splash) captures the textured array of period ambiance created by production designer and veteran Coen brothers collaborator Jess Gonchor. Le Saux’s framing choices are absolutely perfect and the slow-motion occasionally employed to freeze time in happy, blissful moments adds even more impact to its ravishing cinematic layers.

LESSON #5: A WOMAN’S TOUCH IN ALL THINGS — This task to recreate Little Women for the 21st century landed in the right hands, namely HER hands. Greta Gerwig’s elevated her work from Lady Bird in sweeping, grander fashion without losing any of her keen and insightful voice for humanistic commentary. To have this epic tale of powerful gender-driven truths that still resonate in the present day move with such whimsy and gumption is extraordinary and important.

And there’s the best word of all: important. The timelessness of Little Women matters. Gerwig matches the dreams of Alcott’s quote stating “Writing doesn’t confirm importance, it reflects it.” Her stewardship and screenplay deserves every compliment that can be paid. She brings forth the full vigor possible of this story and now owns the poignant love it expresses as much as Alcott.

Not to borrow out of context from George Harrison’s Beatles lyrics, but, when it comes to Greta Gerwig as the director of Little Women, there is something in the way she moves. Scene after scene in the adaptation of Louisa May Alcott’s beloved classic penned by her own hand, there is an enchanting manner by which the ensemble is allowed to carry on, as it were. For every segment where a performer is hitting a mark of precision to deliver their speech, there are four or five others where Alexandre Desplat’s sumptuous score will rise, mute the conversation, and lead the audience to simply watch. The characters commiserate and move freely within their relationships and surroundings. We too then live and become absorbed in the beauty of those moments.

The endearing brilliance of Little Women is earned in those quaint sways and movements as much as, if not more than, it is by its crests of high drama. With masterful leadership and bold thematic choices applied to well-worn ideals, Greta Gerwig continuously captures an uncanny vibrancy out of a literary setting that otherwise would be frozen in stagnant despair. Every fiber and morsel of this movie swells with this sense of spirit to embed radiance in resiliency.

The titular Chatty Cathys are the four March sisters of the 1860s at different coming-of-age stages. The two youngest, Beth (newcomer Eliza Scanlan of Babyteeth) and Amy (rising star Florence Pugh), look up to their older two sisters, Jo (three-time Academy Award nominee Saoirse Ronan) and Meg (the now nearly-30 Emma Watson) with shifting notes of reverence and jealousy. With a short-sighted “tired of being poor” feeling, all four lament living within their reduced New England means during the American Civil War. The family’s pastor patriarch (Bob Odenkirk) has been away for years with little contact while his dauntless wife Marmee (Laura Dern) cares for the rapidly maturing girls.

The Marchs are not alone with the tough times. With a shared “I know what it is to want,” they are in a place to tighten their skirts and give to help a poor and struggling single mother nearby. At the same time, they are supported from above by their huffy elder aunt (a perfect feisty Meryl Streep, well within her element) and the wealthy Laurence family next door comprised of Mr. Laurence (the kindly Oscar winner Chris Cooper) and his nonconformist son Theodore (Call Me By Your Name’s Timothée Chalamet). With an alluring young man like “Laurie,” as he is called, nearby, affections grow and hearts swoon.

Swinging the chronological narrative pendulum to and fro, the plight of the March family is being remembered in episodic portions by Jo. She has moved away years later to New York City with the uphill aspirations of becoming a published writer for the discerning editor Mr. Dashwood (Tracy Letts, with the right amount of curmudgeon). Jo is enterprising and determined to be taken seriously.

LESSON #1: GIRLS HAVE TO GO OUT INTO THE WORLD — Independence is highly valued and celebrated with “love my liberty” in Little Women. For our central guide Jo, fond reflection forms the confidence that her own story is compelling sort that will inspire others. Despite what society deems suitable and how they are kept from property and prosperity, women are fit for more than love and marriage. They deserve to play out their ambitions. Along the same lines, Alcott’s novel itself presents a great passage on wealth that is echoed in the film in its own way:

“Money is a needful and precious thing, — and, when well used, a noble thing, — but I never want you to think it is the first or only prize to strive for. I’d rather see you poor men’s wives, if you were happy, beloved, contented than queens on thrones, without self-respect and peace.”

LESSON #2: NEIGHBORS HELPING NEIGHBORS — In many wonderful displays, these are noble and generous people who care to hear and tread in the stories and needs of others despite their personal wants. Furthermore, respectfully knowing the arduous realities present keeps them from being truly ungrateful for what they have. That level of empathy will remain in them into their own families. When rewarded, their own pulled-up bootstraps will transform how “pretty things deserve to be enjoyed.”

LESSON #3: TO PINE, OH WHAT IT IS TO PINE — Nevertheless, even with a giving heart, the longing for deeper wants is hard to truly curb. We have multiple characters in this melodrama that pine for love, marriage, position, dreams, or freedom within their unfortunate and trying situations. The definition of “pine” reads “to yearn intensely and persistently especially for something unattainable” followed by “to lose vigor, health, or flesh.” So much of Little Women, is this languishing pursuit towards personal and emotional fulfillment.

LESSON #4: THE STRENGTH OF FAMILIAL LOVE — To borrow this time from the Greeks and a dollop of The Bible instead of the Fab Four, the level of “storge” love in this saga is exquisite. When family is in need, the annoyances and competitiveness of these sisters go away and bonds are renewed. As they say in the dialogue, “life is too short to be angry at sisters.” Once again, thanks to Gerwig’s tonal choices, you see it, plain as day, in the way the cast in character interacts. The emotional wreckage that results is incredibly genuine.

The performances of this exceptional cast make this journey of pining sacrifices and kindred challenges palpable. Saoirse Ronan accomplishes the quick wit and stubborn strength of the lead role without making it a Katharine Hepburn imitation. Timothée Chalamet uses his smiling charm at full wattage where his piercing gaze and strong words can convey soulfulness under the rude, edgy, and volatile arrogance of his romantic catalyst. Laura Dern flips the privileged acid of her Marriage Story lawyer role to play uncompromising earnestness here with complete and utter grace. Lastly and hugely, Florence Pugh is the spinal cord to Ronan’s backbone. She makes the nerves and savage passion of her tug-of-war middle daughter position stunning.

More and more, there is a pep here higher in this eighth adaptation of Alcott’s novel compared to its predecessors. Springing its winter steps, this Little Women strolls rather than plods. French Cinematographer Yorick Le Saux (Personal Shopper, A Bigger Splash) captures the textured array of period ambiance created by production designer and veteran Coen brothers collaborator Jess Gonchor. Le Saux’s framing choices are absolutely perfect and the slow-motion occasionally employed to freeze time in happy, blissful moments adds even more impact to its ravishing cinematic layers.

LESSON #5: A WOMAN’S TOUCH IN ALL THINGS — This task to recreate Little Women for the 21st century landed in the right hands, namely HER hands. Greta Gerwig’s elevated her work from Lady Bird in sweeping, grander fashion without losing any of her keen and insightful voice for humanistic commentary. To have this epic tale of powerful gender-driven truths that still resonate in the present day move with such whimsy and gumption is extraordinary and important.

And there’s the best word of all: important. The timelessness of Little Women matters. Gerwig matches the dreams of Alcott’s quote stating “Writing doesn’t confirm importance, it reflects it.” Her stewardship and screenplay deserves every compliment that can be paid. She brings forth the full vigor possible of this story and now owns the poignant love it expresses as much as Alcott.

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[fashiontrendin-blog]

5 Self-Respecting New York Women Wearing Scrunchies

http://fashion-trendin.com/5-self-respecting-new-york-women-wearing-scrunchies/

5 Self-Respecting New York Women Wearing Scrunchies

The scent of revolution is impossible to miss. It’s like a cross between the metallic tang of an unspent penny interspersed with notes of freshly mowed grass and Stormi Jenner’s forehead. In other words, it smells like newness in its most intense and promising form.

I caught a whiff of it in the aisle of a Duane Reade in March 2017, but I couldn’t tell from where it was coming. I sniffed it again on the headrest of my chair in a movie theater the month after that. Mysterious! It wasn’t until the beginning of May that I finally detected its source after inhaling a particularly strong gust via my Instagram feed, where an image of Frederikke Sofie washing her face had popped up on my screen. The top of her head practically pulsed with the aroma, and when I looked closer I saw it: a scrunchie.

After that I smelled it everywhere and every day, but that’s probably because I started wearing scrunchies on the regular and thus the back of my ponytail became a mobile diffuser. I felt bold and filled with conviction, like a pioneer tilling soil except instead of turning over dirt I was turning over misconceptions.

In the years since Carrie Bradshaw sentenced scrunchies to the purgatory of fashion faux pas with her fateful proclamation in Season 6, Episode 4 of Sex and the City that no “hip downtown” New York woman would be caught dead wearing a scrunchie, the humble fabric-coated hair elastic has been living in shadow…until now.

Scroll down to witness five New York women who would gladly be caught dead OR alive wearing a scrunchie. Like I said, the scent of revolution is in the air. It’s time to breathe it in. -Harling Ross

Leandra Medine, Man Repeller Founder

“Back when the only people I could communicate with were two ESL parents, they referred to the scrunchie as a “toka,” which you have to say like this — tttttoe-kah, to understand the full impact. When I got to kindergarten, I was trying to make new friends and complimented another girl’s toka. She had no clue what I was talking about but taught me how to say scrunchie. We made fast friends and, from that day forward, I knew my mission as a wearer was philosophically tied up in teaching fellow users about the merit of the toka’s ability to generate companionship.

I worry that the history of the scrunchie has been co-opted because of characters like Full House’s Kimmy Gibbler, particularly because she had a tendency to wear the hair piece recklessly and futilely. Frankly, the scrunchie brings an important value to the table in that it efficiently holds your hair back without creating creases in it. They’re much softer than standard hair ties and obviously add a flair that regular hair ties just can’t. Call them an instant-accessory, whatever. Philosophically, to me, they’re still tokas and a cornerstone of platonic intimacy.

I’ve mulled how scrunchies make me feel quite a bit, and I think the simple answer is effervescent. Suffice it to say I disagree with Carrie’s assertion and in fact have grown to resent it.”

Imani Randolph

American Apparel scrunchie — similar here styled with vintage coat

“I started wearing scrunchies last year, when I realized they weren’t hideous. I think what originally turned me off were the white, red, and navy sets of cotton ribbed ones they would sell at my local Dollar Store in upstate New York. They were puny and lackluster. To me, scrunchies didn’t seem like a stylistic choice; they were more like the absence of any sartorial sense. It may sound harsh, but back then, there was nothing appealing about them to me. I just couldn’t understand them. How wrong I was.

Everything changed this winter when I bought an oversized, baby pink, suede puffer jacket, the kind of marshmallowy outerwear that demands accessories that are equally carefree and lush. After I bought the puffer, I darted back to my dorm to borrow my best friend’s gold scrunchie — I believe she got it from American Apparel for a Halloween costume, or maybe just for shits and giggles. Nevertheless, a look was pulled.

The goal of looking good, chic or sexy has often made looking cute seem like a consolation prize. But that day I realized that, with the right styling, scrunchies have the ability to make you look and feel goddamn adorable and there’s no shame in that. No shame at all, no matter what Carrie Bradshaw said. People say you’re not a real New Yorker until you’ve lived here for 10 years; I’m about halfway there, technically speaking, but I’d wager I’m even further thanks to my scrunchie.”

Harling Ross

“My hair isn’t full of secrets, it’s full of scrunchies. They’re soft, they’re practical, they’re unique — a safety blanket in miniature form. Each one is a memory unto itself, from my puffy velveteen number that was handmade in France to the pack of tiny polyester ones I ordered on Amazon Prime. I considered building a glass display case above my bed, but I prefer sleeping with them like stuffed animals instead for ultimate grab-and-go companionship.

I’ve traversed the streets of Manhattan for 26 years, thrown snowballs in Central Park, climbed to the top of the Statue of Liberty, retrieved a fallen Swedish Fish out of a Lexington Avenue trash can and eaten it, handed out brochures in Times Square, changed in the back of a taxi cab, dislodged approximately 16 sticks of gum from the bottom of my shoes, moved into four different apartments and danced on precisely one tabletop. I am a New York woman, born and raised, and I wear scrunchies. In fact, they make me feel like New York royalty.”

Amelia Diamond

“Scrunchies are like tutus for your hair.

I didn’t give them their due credit for years, which is a shame, and I think about this with some sort of remorse every single day. The truth is that while scrunchies used to remind me of face washes and sleep buns, they also reminded me of the time I modeled in a Limited Too fashion show at my local mall in San Francisco and was gifted a pink-and-white striped scrunchie to pair with a pink-and-white striped hoodie as a thank you. I lost the hoodie a few months later, got in trouble as a result, was haunted by the presence of the scrunchie that stuck around, and for the years that followed I had a hard time looking at scrunchies — any scrunchie — without being reminded of that formative moment in my childhood.

As the eighties began its recent resurgence in the fashion industry, however, I began to soften toward the soft hair accessories. They made me nostalgic. I longed for my youth and the carefree attitude that comes with the scrunchie’s fluff, not to mention the lack of crease I’d never forgotten.

I finally purchased a pack while on a hair tie trip to CVS, began using them whenever my hair needed a hug, and I’m happy to report I haven’t looked back since.”

Haley Nahman

“A wise man once told me, ‘You can realize a lot in a moment,’ which perfectly defines how I feel about my core-shaking discovery of scrunchies. A friend let me borrow hers when I was in a hair tie pinch. It was rendered in faux fur, soft enough to snuggle with. I initially found it adorable, maybe even a little funny, but as soon as I placed it around my thick ponytail, the veil lifted on my ignorance. I immediately bought five.

How could I have missed the utility, the beauty, the utter versatility of the scrunchie? They make buns, ponytails and wrists look like chic party animals; they are accessories unto themselves, like bangs; they hold my mop back better than any wimpy hair tie ever did; and they never cause a kink. I can wear them in the morning while I wash my face, to lunch, to work. If I ever got invited to a gala, I’d have no qualms about wearing a scrunchie to it.

The possibilities are infinite, really, and that’s quite a feat considering all I needed to seize them were the five America dollars I used to purchase a pack on Amazon. I’m never looking back. Except, of course, to show off my scrunchie.”

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Photos by Edith Young