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◈ Black Luxury Challenge ◈ (Couture)
Inspired in The Golden Globes 2018 and The #METOO Movement
MELINDA BAYN
DRESS:
Bound Gown Crow by Angy Kristan (angels.kristan)
CAPE, from The C* Nightfall Starshine Gown by Lyrical Bizarre (lyricalbizarre)
ACCESORIES:
*COLLAR, Bens Beauty - Desire Collar Silver by S n o w (snow.martiel)
*RING, *AvaWay* LILIAN_Ring by Avaway
*ARMLETS, *AvaWay* GEORGIA Armlets by Avaway
*BANGLES, [MANDALA]HARAMITA-season2-Bangle by 菊之介王子 (kikunosuke.eel)
*FLOWERS IN THE HAIR & THE CAPE, from The Black Luxury MVD 2018 Box, Called Rose MVD by Angy Kristan (angels.kristan)
MAKEUP:
*LIPSTICK, alaskametro♥ "Drama Queen" makeup - Lelutka by Alaska Metropolitan
*BLUSH, alaskametro♥ for Lelutka Powder Pack 03.2018 by Alaska Metropolitan
*EYESHADOW, S.E LELUTKA - RED CARPET POWDERPACK COLLECTION JAN by Studio Exposure (studioexposuremakeup)
*LASHES, w/LASHE#Colivati Beauty. January 2018 Pack - Lelutka by Colivati
*NAILS, [FORMANAILS] NAILS-BALLERINA COUTURETE-BENTO-MAITREYA by Ivi Bing
HAIR:
AVANT Hair VIRTUAL DIVA by Angy Kristan (angels.kristan)
"A Dark Spring"
Why did you choose that name for your gown?
I have baptized my dress as "A Dark Spring" because we are just in this beautiful season of the year, I did not conceive a more appropriate name. I love spring and I love its flowers. Which fill my version of this beautiful dress. And the dark thing is clear that it is in protest because I am one more #MeToo
What was your inspiration?
Thinking about the red carpet and that I must express my feelings in some way ... and with the resources of the MVD box, the first thing that made me open my eyes wide was the flowers.
So look for a long evening dress where the flowers were the protagonist.
And there was Angy's perfect dress, The Bound Gown Crow.
I have added a double skirt to which I have hand embroidered all the beautiful roses.
Roses in my hair.
Roses in my bracelets.
How not to call this dress "A Dark Spring"?
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Pictures: by Melinda Bayn de Raynott
Poses: by Angels Kristan called Red Carpet Poses Set MVD 2018
www.nytimes.com/1989/12/03/magazine/and-now-a-few-words-f...
The “Truisms” are actually much blander than a second series, known as “Inflammatory Essays,” that Holzer did from 1979 to 1982, and that she has described as “hot, flaming nasty things” which needed a more “underground” format, like the handbill. In them, she takes “extreme positions, some left, some right,” and their language tends toward deep purple: “SHRIEK WHEN THE PAIN HITS DURING INTERROGATION. REACH INTO THE DARK AGES TO FIND A SOUND THAT IS LIQUID HORROR...”
Drawing. Pen, black ink. c. 1980.
Ooit een lieve, verstandige baby
maar veel ging verkeerd.
Wat bestaan er toch een griezels.
Daar moet ik dan begrip voor opbrengen.
Het zijn ook mensen.
Is best moeilijk!
Zomaar een ervaring met griezels..
Een kennis nodigde mij uit mee te gaan
naar een cafeetje in de oude binnenstad.
Centrum van een saai, deels verkrot stadje.
Gewoon, zo'n beroerd bestuurde provinciestad.
Waar verder weinig te doen is.
Luisteren naar wat hij noemde een volkszanger.
Ik ging mee en stond er even in de volte.
Loeihard gezongen smartlappen, eentonig.
Trilharde luidsprekers produceerden het orkest.
Wegwezen, dacht ik, dit hou ik niet lang uit.
Een deel van het publiek:
platinablonde vrouwen in tijgerprint, dik opgemaakt
en mannen met gouden halskettingen en zware diamanthorloges,
vijf overhemdknoopjes open, borstharen.
Gezichten grof goedig, ontspannen.
Er kwam zo´n griezel naast me staan.
Vormloos dik, wanstaltig, wiegelend loopje.
Gezwollen gezicht met heel kleine oogjes,
ingebed in kwabben, paarse wallen.
Hij pakte een lok van mijn haar
tussen zijn worstvingers, mompelde
te dichtbij in mijn oor:
"Ik heb nog wel een kamertje voor jou".
Wrrrrgggg..
Gruwen, die ogen, stukjes dof glas.
Dit is dus een pooier.
Ik heb hier geen humor voor. Het bestaat.
Waarom die angst opeens. Dat gruwen.
Gevaar. Was er gevaar?
Ze kunnen iets in mijn glas doen? Welnee.
Ik was ook niet alleen, daar.
Ik droeg gewone kleren, sportief, 50+ .
Ik zag er niet uit als een hoer.
Ik zag er uit als een mevrouw.
Het is hun wereld, niet de mijne.
Hun amusement.
Gewoon het verkeerde cafeetje.
Die mensen zoeken daar verdoving.
Dat wordt hen zo verschaft.
En er is voor hen niet veel.
Vrouwen verdienen er wat bij.
Deze man zo ook.
Ja, ik heb erover gelezen.
Maar achterbuurten ontstaan niet zomaar.
Hoe gaat het fout?
A simple translation mostly with the translator
(It does not have all the fine nuances of the rich
English language):
Once a sweet, intelligent baby
but a lot went wrong.
What there are still a creeps.
There should I sympathize, understand.
They are people too.
Is quite difficult!
Just an experience with creeps ..
A friend invited me to go
to a cafe in the old city.
Center of a dull, partly dilapidated town.
Just one of these bad governed provincial towns.
Not much happens there.
Listen to what he called a folk singer.
I went and stood a moment in the full room.
Tearjerkers sung lowing loud, monotonous.
Hard vibrating speakers produced the orchestra.
Get out, I thought, I do not bear this long.
Part of the public:
platinum blondes in tiger print, thick make up
and men with heavy gold necklaces and diamond watches,
five shirt buttons open, chest hair.
Faces coarse good-natured, relaxed.
There was such a freak next to me.
Formless thick, misshapen, swaying gait.
Swollen face with very small eyes,
embedded in lobes, purple walls.
He grabbed a lock of my hair
between his sausage fingers, mumbled
too close in my ear:
"I still have a room for you".
Wrrrrgggg ..
Horrified, those eyes, dull glass pieces.
So this is a pimp.
I have no humor for this. It exists.
Why suddenly this fear. That horror.
Danger. Was there danger?
They can do something in my glass?
Of course not.
I was not alone there.
I wore regular clothes, casual, 50+ .
I did not look like a whore.
I looked like a neat Ms.
It is their world, not mine.
Their amusement.
Just the wrong pub.
These people find some sedation.
It is produced for them.
What else exists for them.
Women get a bit of money.
This man too, this way.
Yes, I read about it.
But how are slums created?
-bắt đầu tuần này là thi r` huhuhu...học bàj mệc xĩu ...hqa thức tớj 12hméj học bàj...đã z. còn ngũ hk đc nữa chứ huhuhu...zừa chọp mắt tớj 2h bị a tí cêu z. đóng cữa đễ yk lên bv cậu 3 bị cướp té chãy máu qá chừn...cáj đóng cữa lạj nằm zõng mún ngũ mà ngũ hông đc huhuhu ((...r` chọp mắt đc tớj 4h àk káj d. lấy bàj ra ôn lun ...ság zô fãj chào cờ ngồj mệc deeeeeee cêu...r` tiết 3 thi gdcd học bàj hết trơn nhưn câu 2b bõ huhuhu ko nhớ ...nhưn cũn trên tb hiii :*:*
-mai thi công ngệ mà h chưa chử nào zô đầu :))))..làm biến học deeeeee...học zuj thjuệt nhưn thi w cữ mệc fết đc...môn toán thi mà dướj tb chắc chốn w a dương minh kì nun qá :(
-kòn môn hoá w môn anh nữa (...môn hoá hỗng hĩu dì hết ko fãj riêng tuj mà là nbguyên 1 lớp chĩ zàj ba đứa là bíd đc chút chút...kòn môn anh thì còn đỡ ko bíd káj dì bđánh lụj kũn có điễm môn hoá kô bíd thì ((...làm cách nbào đễ hĩu hoá đây tr` (...dướj hoá chắc hs yếu nun qá...chắc năm nay ỡh lạj môn hoá qá huhuhu...
nammôadiđàphật phù hộ cho con zượt qa kì thi này còn chĩ cần 1 môn con trên 5, thôi :") nammôadiđàphật :")
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-chút các family bé nhõ cũa shy thi tốt trpng kì thi nẻy nhé hehe ♥♥♥ :*:*:*:*:*:*
Playing around with things a bit... So to speak. No, this not #MeToo.... Although the forks do complain rat/her vulgarly at times , a bit like the O-Man!
La ubicuidad de la arquitectura contemporánea 'de autor' -o de firma- junto con la ubicuidad de las grandes tiendas y marcas: ¿homogeiniza el paisaje de las ciudades?
# # #
The ubiquity of 'author's' contemporary architecture, together with the ubiquity of the big stores and brands: homogenizes the landscape of cities?
*
Part of Food sensitivity series.
Damn, I must be bothering today, if even my reflection turns his back on me...
EDIT: Just found out that _rebekka had this idea long before me. Thats why I renamed the pic into a tribute.
Zhang Gaoli from U.S. Department of State flickr (State Department photo/ Public Domain) and Peng Shuai taken by sirobi www.flickr.com/photos/16732597@N07/48306194556/
האמנות של מירית בן נון מתקיימת בתוך ומעבר למציאות.
היא מתרחקת מהמציאות באמצעות צבעוניות אגרסיבית צפופה שחושפת עדות פנימית אודות קיום מאויים של נשים.
הקווים, הנקודות והצורות לא משחזרים עובדות אלא מדגישים את המטען המיוחד של התמודדות רגשית.
מירית בן נון מפגינה רוח מרד ומנסה לגעת בדברים לא באמצעות שלמות אלא תוך חיפוש אחר ההבעה והביטוי שלהם.
היא חוקרת זהות אישית ומנסה להגדיר באמצעותה את האמנות הראויה לה ובעזרתה להמחיש את העולם ואת טבעה של התרבות האנושית.
היא מתמקדת בממד ההבעתי בגלל החשיפה שמקנה הרגע הבלתי נשלט שמשפיע כה רבות על החיים בעולם גלובלי מגוון המשתנה במהירות .
השיח בין העולם הפנימי למציאות המתהווה הוא היפר-אקטיבי ומחולל אצל בן נון רצף אינסופי של עבודות.
מעומק התחושות, החלומות, החרדות וההבעות עולות משמעויות קיום נוקשות ומסעירות שעיקרן מבטא אי-שקט וחוסר הסתגלות.
In 2018, as #metoo movement gained steam, Senator Heidi Heitkamp and other politicians came out saying they were exposed to sexual harassment earlier by fellow politicians.
Size: 8 x 10 inches
paintings for sale: www.shawnshawn.co
Newsletter: www.shawnshawn.co/contact.html
Code: RL082064
Movie advertisement for "The Moon and Sixpence" from Life Magazine's October 12, 1942 issue.
"Women are strange little beasts!
You can treat them like dogs. (he did!)
- beat them 'til your arm aches (he did!)
... and still they love you (they did)
But in the end they'll get you and you are helpless in their hands."