View allAll Photos Tagged provocation
You don't think of anything bad and watch the new season of Mandalorian on Disney and suddenly the boy drops a coin right between my legs - of course he had to look very carefully with all the plush. I hope he doesn't use the coin slot!♥
Still Kinky loves! Thank you so much to the Kinky Event and all the amazing sponsors with their lovely and naugty stuff. Its always so much fun to show it to your cuties♥ here is the taxi to the Kinky
Items on Event in pic:
♥ [Provocation] Emma dress-Fatpack
♥ [Provocation] Emma Boots-Fatpack
♥ [Provocation] Emma gloves
... i am wearing it for legacy classic but its also made for: Reborn (juicy boobs) and Maitreya Lara cuties. love this dress ♥ take a look on event or here at the [Provocation]-Mainstore ♥
♥ moonwaii . boopy tape
♥ in use: moonwaii . booby tape #mine mine mine
ya can also check out her Mainstore for many more cute cute stuff! I know its a lil hard to see on the pic but take a look for it. i love it! ♥
... and for this pic i am in use of a pose by my beautiful sponsor -Extra-! I love her poses so much and if you like it too, you can take a look here in her -Extra-Mainstore ! Ya can also take a look in Mel's Marketplace ♥ and check out her poses!
♥ Pose in use: -Extra- Service
... comes of course mirrored, with face expressions and with props!
And my amazing gloss is made by TEAR! This and many more glosses you can find here at TEAR-Mainstore
in use: TEAR - P*ssy Moist! Set1 - my personal fav♥
also worn:
Head:
lel EvoX AVALON 3.1
[Heaux] Jurin - Browless - Blush *VE
identity faces - scars 9 //light// left
Stealthic - Riot (S Head/M Breast)
Body:
[BODY] Legacy (f)(1.6)
VELOUR x VENUS for LEGACY (BLUSH/ATHLETIC)
*KUNDALA* Abdominal Muscles BOM A19 (Legacy)
[theSkinnery] BodyScars Addon 7 light 50%
.STOIC. [ Legacy ] . GEL HEART NAILS [L]
Scene/ Decor:
FOXCITY. Photo Booth - Restored Loft (Backdrop + Trees) (Rez)
tarte. draped curtain (black & white)
:::ChicChica::: Pearl Chammy Dispenser
dust bunny . woodland dreams . head planter
dust bunny . folding fur chair
dust bunny . folding side table
Beware: Axis-HUD in use!
"ce que les hommes parle sur les femmes".
"lo que dicen los hombres de las mujeres".
"what men speak about women"
A provocation !!! Forgive me, everybody ||||
WINNER OF THE BEST FLICKR PHOTO OF THE DAY
In 2018, on our way to the Big Bend National Park from San Antonio, we drove through a small Texan town, which felt like a well-wrapped memento from another era that had somehow survived more centuries than it was designed for. Brick-buff buildings along the main street gave the town a rugged western look, which fitted in well with all the big trucks and SUVs on the road, a typical Texan arrogance about having nothing but the biggest. I recall slowing down to absorb the curious town a little more. People were unhurried and the place had a tidy charm. The town's name was prominently displayed on multiple banners and buildings, including the city hall and the municipal courthouse… “City of Uvalde”. ‘What a pretty name!’, I thought then.
There is nothing pretty about that name today. Uvalde is now a town of inept and cowardly cops, a profanity-spewing mayor, a bestial teenage gunman, and 78 stygian minutes of hell where 19 innocent children lost their right to live (which is not exactly a constitutional right but is granted to everyone nonetheless, at least in developed countries). But don’t guilt Uvalde, Texas. This scenario could have played out –and for hell’s sake, will again play out– in any American city or town, including the one you or I live in. There are mentally unstable people in most streets of every town, and in the USA –to rest of the world’s utter horror and pity– so are assault rifles. These rifles, if you didn’t know, spew high velocity bullets which pierce a human body so violently that they instantaneously shatter and mince up to six inches of tissue around their path. Guess how many such assault rifles are out there today? About 20 million. I will let you do the math of figuring out the odds of one of those assault rifles making its way into the classroom (or the mall, playground, park, cinema, or church) where your kid/grandkid(s) go(es) every day. Even with rudimentary math skills, one will know that the odds are not in favor of our little ones.
Now the question is, what are we doing about it? May I answer that question bluntly? We are doing N-O-T-H-I-N-G about it. Nothing! We march on the streets of Washington D.C. for every big and small reason, including our bodies and our wars, but no crowd has marched with similar urgency demanding our kids’ right to safety. Against gun violence, no one has crossed a Selma bridge yet. Not one parent has stood up on the mighty stairs of the Lincoln memorial and stirred the nation with a speech that may have begun with words like, “I have a dream…’. We have done nothing worth a mention. We are angry, but are squarely happy to put the blame on our politicians. While the politicians deserve every bit of the blame they get, but the important point is, they know how toothless we the public are. We let them gerrymander us. We let them provoke us in any way they see fit. And worst of all, they have somehow managed to make all of us care for our second amendment rights more than our beautiful kids. The shame is not on them. We –you and I– carry the shame! Columbine, Sandy Hook, and many hollow promises later, we have now shamelessly failed those Uvalde kids. Again. And we will fail more kids in days to come. We are a bunch of milksops. To stir our flaccid souls, perhaps we need live video streams of our kids slowly succumbing to bullet wounds. I worry, even such George Floydian provocation may not be enough to counter our apathy towards causing a change.
Where is your heart? Where are your tears? Where the hell is your anger? I do not give a damn about your political color if you do not care about our kids. Yes, we cannot rid every town of madmen in a hurry, nor should we take guns back from responsible owners, but there is room and means to completely disconnect madmen from assault rifles. Now, before one of those 20 million assault rifles –just one– makes it into the hands of a maniac in your town near your child’s school, will you PLEASE take a steely stance as a parent/grandparent so that none of our kids have to whisper and plead a 911 dispatcher from their school ever again? I don’t have to tell you what to do. Other than calling up your lawmakers and donating to organizations of youth mental health, you could also decide to go march in DC. If you so do, please drop me a line. I will come with you.
PS: The photo… if you are still reading and are interested… was shot on a morning when the sea-fog rolled in into the shy rays of a new sun at dawn creating this colorful brume.
William Eggleston Mystery of the Ordinary In the twilight, the shadows of the plants grow mysteriously along the wall of the house. In front of this shadow theater stands a metallic-lilac Cadillac, on whose lustrous paint the last rays of the sun dance. The brick-lined flowerbed, the shrubs planted in it, and the straw-woven blinds in the window front with their rusty colors complement this image composition, which at the same time radiates an eerie calm.
In a career spanning over five decades, William Eggleston has come to be recognized for almost single-handedly elevating color photography to the status of fine art. Along with Stephen Shore and Evelyn Hofer, Eggleston was one of the first photographers to recognize the distinctive power of color and its unique capacity to create pictures that continuously challenge the everyday. A blue bouquet on the door of a house, a colorfully tiled building façade, a ceiling painted glossy blood red: the intensity of the color alone, and Eggleston’s abiding sensitivity to it, was a formal and analytical provocation. Source: www.co-berlin.org/de/programm/ausstellungen/william-eggle...
✨ JUMO CRYSTAL Dress Outfit ✨
There are nights when I slip into something that doesn’t just embrace my curves—it commands the room. The JUMO Crystal Dress Outfit is that moment, that slow heartbeat before every gaze turns toward me beneath the shifting lights of a velvet-lined nightclub. The silhouette is sculpted to perfection: a serpentine hourglass cut that glides along the body, with deep side-swept contours and daring negative space revealing just enough skin to whisper dangerously close to desire. Its fabric—an iridescent mosaic alive with metallic threads—seems to shimmer between sapphire, rose, and onyx, responding to every movement like liquid light.
The PBR-enhanced HUD is a treasure chest of brilliance—each texture option refracts under the dance-floor glow, giving me 14 color choices that transform the mood from decadent midnight to glittering champagne dawn. Whether in the deep crimson of passion or the glacial sheen of moonlit silver, it’s as if each selection carries its own rhythm, its own pulse.
️ Inspired by the gilded glamour of 1970s Paris nightlife and the structured sensuality of Thierry Mugler’s early couture, the Crystal Dress celebrates the body as sculpture—part art, part provocation.
And beneath that dazzling hem, my legs are wrapped in the timeless seduction of VV Paris’s Liz Taylor Stockings—a delicate veil of sheer stretch lace from Calais, soft as whispered secrets. These stockings trace the leg with a vintage sensuality reminiscent of Hollywood’s silver-screen sirens. Available in twelve sumptuous hues, from porcelain ivory to deep rosewood, they shimmer like silk beneath the nightclub’s glow, evoking that ineffable "je ne sais quoi" of old-world Paris romance.
💗 Completing the vision are the Vesta Kila Heels, sky-high sculptural stilettos adorned with crystalline studs that catch every flicker of light. Their 100 % original mesh design, crafted for Legacy, eBody Reborn, and Lara X, offers fourteen brilliant tones—from coral to turquoise—each as irresistible as the woman who wears them. Every step in them becomes a dance, a statement, a surrender to rhythm.
In this look I become more than a woman—I become a story written in glass and lace, a reflection of beauty’s eternal rebellion.
All of these exquisite creations—the JUMO Crystal Dress, VV Paris Liz Taylor Stockings, and Vesta Kila Heels—are now exclusively available at the SWANK November “Fall into Autumn” Event 🍁
👉 maps.secondlife.com/secondlife/Swank%20Events/128/124/39
💎 “Fashion is the art of turning light, fabric, and form into emotion—and in that glow, we discover ourselves anew.”
Yes ,I agree that one can find beauty even in the ugliest things but this doesn't mean that we need to focus only on them. Many "fellow photographers and artists" prefer to show only this ugly kind of beauty and they call it a style . Some others are using "artistic" ways to kill innocence and joy just because they have been taught that making everything to appear meaningless and dirty is "cool." Art is not only to provoke. Propaganda art has very often served the dark side. Provocation always serves a purpose and spreading negativity with the excuse of making art seems very suspicious. I am not able to judge the photographic skills of a person but I can tell if a photo causes me heavy feelings and if it helps evil to be spread. We need to be very carefull with what we post and what we fav, always taking in consideration the impact that they may have on a fresh untouched soul...
ILD,my Sunbeam💕
[^.^Ayashi^.^] - Kinky Nurse Hair (Available at Kinky Monthly Event)
[Provocation] - Kinky Nurse Fatpack (Available at Kinky Monthly Event)
LM to Kinky - ->http://maps.secondlife.com/secondlife/Liberty%20City/47/126/32
In a time of rapid online stimulation, being cute is not only attractive but also a powerful tool for manipulation, comfort, or provocation.
In een tijd vol snelle online prikkels is Cute zijn niet alleen aantrekkelijk, maar ook een krachtig middel om te manipuleren, troosten of uitdagen
The Tarantula Hawk is a spider wasp that preys on tarantulas. They are some of the largest parasitoid wasps, using their sting to paralyze their prey before dragging it into a brood nest as living food; a single egg is laid on the prey, hatching to a larva, which then eats the still-living host.
Luckily they are relatively docile and rarely sting without provocation, but the sting—particularly is among the most painful of all insects, though the intense pain only lasts about five minutes !
I saw this colorful, large wasp near Tule Pond - initailly flying but then "walking" rapidly at the edge of the pond. Somewhat surprised to see at the Los Angeles County Arboretum - thought they preferred dry, hotter environments.
In a time of rapid online stimulation, being cute is not only attractive but also a powerful tool for manipulation, comfort, or provocation.
In een tijd vol snelle online prikkels is Cute zijn niet alleen aantrekkelijk, maar ook een krachtig middel om te manipuleren, troosten of uitdagen
These beautifully masked tiny birds are gregarious granivores. As the flock feeds on seedheads lower to the ground, a few birds stay high on the stems of taller grasses, seemingly as lookouts ready to sound the alarm at any perceived danger. They scatter quickly at the slightest provocation. Field marks for this native of Africa include the distinctive red eye mask. The common waxbill is one of the smallest birds in Hawaii.
I’m not sure that we understand the significance of this error: the human being, reduced to his biological and sociological antecedents, becomes a puppet, a marionette in the hands of “superhuman forces.” And thus there is no more “I.” The “I” is like a stone that is swept away by the current of these forces. The “I” as a personal, autonomous reality, with a capacity for freedom, able to act as a subject in history and circumstances, is no more, because everything is unloaded on antecedents of every type: psychological, social, or biological. Polito calls it the “opiate of de-responsibilization.” Without the “I,” without freedom—because everything is determined by these factors—what responsibility is possible in the face of reality’s provocations?
--Disarming Beauty ESSAYS ON FAITH, TRUTH, AND FREEDOM, JULIÁN CARRÓN Foreword by Javier Prades
/***************************
-Welcome To The Machine - Derek Sherinian (Dream Theater)
🎇Introducing the Kinky Nurse collection from Provocation, exclusively available at the Kinky event.
Choose your style with this versatile release! Each item – the dress, armbands, nurse headband, boots, and stethoscope – is available separately, or grab the mega pack at a discounted rate, including the complete nurse ensemble of dress, armbands, and headband, plus the boots and stethoscope. Additionally, enhance your look with the optional HUD boasting 40 color variations, allowing you to personalize your Kinky Nurse style to perfection.
Don't miss out on this mix-and-match opportunity, only at Kinky. Elevate your allure with Provocation!
💥💥GIVEAWAY ALERT! 💥💥
[https://www.flickr.com/photos/194462972@N05] & [https://www.flickr.com/photos/193839954@N08] 🎉🎉✨are the winners of this giveaway. ✨🎉🎉
💥💥💥
Sunday afternoon at the Kunstmuseum. “It’s a madhouse,” sighs the lady at the ticket check. Compared to the cheerful crowd she has to check in, her grey-blue uniform looks tired. Young and old have dressed up fashionably for the exhibition about Dior.
Uniforms should express authority, but how neutral do they have to be? “High time to put a good, preferably younger fashion designer in charge,” says an inner voice. A museum that - after many shows of famous designers - has developed into an epicenter of haute couture should surely have more courage. How else do you express the bond with ‘fashion’? A word that unites such a myriad of meanings – from cut to shape, from mannerism to creation – that everyone can identify with it.
LEFT OR RIGHT
In any case, at the top of the central stairs, a choice has to be made. Right to the ‘New Look’ by Dior – left to the ‘Night Animals’ by Spilliaert and Braeckman. We go left because that's why we came. In the dim silence that falls on us like a downy blanket, we focus our eyes on the introductory text. And on the image of a man descending a staircase in the semi-darkness. To be precise, we only see half a man. His face is barely visible, and his clothing reveals nothing special. Could that be a harbinger of what awaits us? Certainly.
Stairs are powerful metaphors. Up, down: life has its peaks and valleys. Platinum-blonde Hollywood stars made a great show of descending a staircase. A practice that Marcel Duchamp slyly commented on with 'Nu descendant un escalier'. In this sensational painting from 1912, a character strides down like an avalanche of cubist fragments. Naked? Down the stairs? The audience was stunned, moved by laughter and anger.
Admittedly, there was movement in the image. Or rather, that was suggested very nicely. Or was it a pile of firewood that came crashing down? The cartoons in the newspaper did not mince their words. The term ‘anti-art’ was used. Isn’t Braeckman’s intensification of the unfathomable also just a provocation? Yes, there is something in that… some photos are so black that you can only guess what you see.
(part of my review in Den Haag Centraal, October 31, 2024)
Thank (in advance) to you all, very much my friends!
(Do not use this image on any media, without my permission!)
From the series "Twisted horizon."
✨ Ginette by Oh! ✨
I slip into Ginette and immediately feel its spell binding my body and soul. This lingerie is not merely worn — it is lived, breathed, and savored. Its silhouette drapes over my curves with liquid ease, the micro-cut clinging where I ache to be held and fluttering away where mystery longs to remain. The neckline dips in a luscious plunge, daring eyes to wander deeper, while the hem teases the upper thighs, brushing against my flesh in the most decadent invitation.
The surface shimmers under light with its high PBR brilliance, each tiny perforation in the mesh a sensual constellation across my skin, framing the swell of my breasts and tracing the line of my hips like a whispered caress. When I arch back, Ginette glistens as if spun from wet silk — soft, glossy, impossibly seductive.
From a historical gaze, Ginette is the modern heir to the boudoir chemise of the Belle Époque, when women shed rigid corsetry to embrace freedom, satin, and allure. Yet here, it evolves into a futuristic piece — designed with precision mesh, responsive textures, and body-specific fits — proof that lingerie remains the eternal language of desire.
🌹 Compatible mesh bodies:
• Petitex
• Larax
• Lega
• Perky
• Bombshell
• Reborn
• Reborn Squish
• Waifu
• Nhuuma
• Lively
🎨 HUD & PBR finish:
Ginette’s HUD unlocks Blinn, Soft, and High PBR finishes, letting me shift from a luminous midnight sheen to a velvety softness or a radiant high-shine luster. Each look refracts light differently, ensuring I am never the same woman twice — sometimes a sultry goddess of shadows, sometimes a radiant muse untouchable in her glow.
I adore how the colors flirt between timeless black, romantic blush, and luminous white — each shade sculpting my presence into a new fantasy.
💋 Exclusive Release:
Ginette makes her debut at Black Fair
Event URL:
maps.secondlife.com/secondlife/Crystal%20Creek/107/129/3501
🌺 For more fabulous treasures:
Oh! Mainstore URL:
maps.secondlife.com/secondlife/Coast%20Town/136/132/22
Ginette is not just lingerie — it is a delicious act of surrender and a daring provocation. When I wear it, I am poetry in lace and light, a fantasy incarnate, and an unspoken promise that my body is the art, and Ginette is its frame.
MORE OF MY WOMEN SERIE:D
Patience is the state of endurance under difficult circumstances, which can mean persevering in the face of delay or provocation without becoming annoyed or upset; or exhibiting forbearance when under strain, especially when faced with longer-term difficulties. It is also used to refer to the character trait of being steadfast.
The UK's favourite bird - with its bright red breast it is familiar throughout the year and especially at Christmas! Males and females look identical, and young birds have no red breast and are spotted with golden brown. Robins sing nearly all year round and despite their cute appearance, they are aggressively territorial and are quick to drive away intruders. They will sing at night next to street lights. The robin is diurnal, although has been reported to be active hunting insects on moonlit nights or near artificial light at night.[17] Well known to British and Irish gardeners, it is relatively unafraid of people and drawn to human activities involving the digging of soil, in order to look out for earthworms and other food freshly turned up. Indeed, the robin is considered to be a gardener's friend and for various folklore reasons the robin would never be harmed. In continental Europe on the other hand, robins were hunted and killed as with most other small birds, and are more wary.[26] Robins also approach large wild animals, such as wild boar and other animals which disturb the ground, to look for any food that might be brought to the surface. In autumn and winter, robins will supplement their usual diet of terrestrial invertebrates, such as spiders, worms and insects, with berries and fruit.[27] They will also eat seed mixtures placed on bird-tables.[
Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking themselves: having seen their own reflection. [30] Such attacks sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas.[31] Robins may choose a wide variety of sites for building a nest. In fact, anything which can offer some shelter, like a depression or hole may be considered. As well as the usual crevices, or sheltered banks, other objects include pieces of machinery, barbecues, bicycle handlebars, bristles on upturned brooms, discarded kettles, watering cans, flower pots and even hats. The nest is composed of moss, leaves and grass, with fine grass, hair and feathers for lining. Two or three clutches of five or six eggs are laid throughout the breeding season, which commences in March in Britain and Ireland. The eggs are a cream, buff or white speckled or blotched with reddish-brown colour, often more heavily so at the larger end.[35] When juvenile birds fly from the nests they are mottled brown in colour all over. After two to three months out of the nest, the juvenile bird grows some orange feathers under its chin and over a similar period this patch gradually extends to complete the adult appearance.
Our last dog was a sooner. That’s as in sooner one dog as another, a full-blooded mutt. She was brindle in color with much the shape of a pitbull. Yet, there was something else in her genetic makeup that was made evident in her sweet character, shepherding instincts. She would get quite worrisome if we were not all gathered. Joyce and I don’t look much like sheep. Nobody does. Jesus compares us all to sheep, however. Obviously, adorable Spice dog took that to heart.
Sheep are known to follow the herd, sometimes off cliffs. They are prone to make bad decisions, bolt at the slightest provocation, and roam willy-nilly. We’re not like that are we? One of my favorite events at the local Scottish Highland Games are the sheepdog demonstrations. Watching these border collies working the sheep is always a treat. Just look at his intensity as he follows the whistled commands of his owner. In short order, he rounded up the sheep into their pen… home.
Christian comedian Ken Davis says that he doesn’t want to be a sheep. Raised on a farm, he knew sheep are stupid. Descriptively, he’d rather be a German shepherd, though he can’t find that anywhere in the Bible. That’s descriptive of Jesus, not us, as He draws us from the cliffs of life to a home with Him. That’s a Good Shepherd. I’m thinking my next dog should be an Australian shepherd, a smart dog that I can can enjoy training with. Should be fun.
Watch Ken Davis' Super Sheep here: www.youtube.com/watch?v=0Z12bZFkpHk&t=426s
With its bra’s center gore clasped heart, open midsection, exposed panties, ruffled mini skirt bottoms, and statement garter belts - this Linda Foodiboo Design’s Anouk Outfit oozes with sexual intrigue, provocation and desire.
Linda has put a great deal of thought into this outfit which is apparent by its stunning design, exquisite textures, and attention to detail.
Fashion is a form of expression, having confidence in your clothes and feeling comfortable in them. It is a balance between wearing clothes that fit you well, and that you enjoy.
Given your particular mood, it takes time to create your own personal style, the vibe you want to express, and what feels good. I checked all the boxes wearing this absolutely sensuous and beautiful two-piece Anouk outfit.
This LF Design Anouk Outfit fits:
-Erika
-Curvy
-Reborn
-Kupra + Kups
-Legacy + Push-up
-Maitreya + Petite
This sexy LF Design Anouk Outfit is premiered at Swank Winter Wonderland's December Sales Event. Look for free gifts as you browse the booths!
Swank Event LM:
🌿 Beneath the Pines — Episode: The Hydra Awakening
He always says I look most dangerous when I pretend to be soft.
Tonight, the air is warm with that honeyed hush that settles just before twilight, when the trees hold their breath and the world feels suspended between promise and memory. I stretch along the cushions, skin still warm from the sun, wrapped in the Hydra Set by adorsy — a piece that doesn’t merely clothe the body, it traces it like a lover’s fingertip. I can almost feel his gaze before I hear his steps, the way a woman senses a storm long before the first thunder.
This is resort seduction distilled — a modern siren’s uniform. Not beachwear, not lingerie, not quite ready-to-wear… something deliciously in between. A high-fashion swim couture aesthetic that borrows equally from Riviera glamour, 1970s jet-set sensuality, and the unapologetic body-confidence of contemporary luxury loungewear.
💧 Silhouette & Form
The Hydra’s cut is a study in tension — modest coverage colliding with daring exposure. The halter-style bodice gathers at the center with a sculptural rosette, drawing the eye to the sternum before plunging into a curved midriff reveal that elongates the torso like a classical statue reimagined in satin. The high-cut leg line lengthens every stride, every stretch, every slow shift of weight — a silhouette engineered to turn movement into spectacle.
Paired with the delicate crochet shorts, the look softens into something teasingly domestic — as if I might pour wine, laugh softly, then disappear just long enough to make him follow. The open weave hints at skin beneath without surrendering to it, a tactile counterpoint to the sleek swimsuit fabric. It’s innocence and provocation stitched into the same breath.
🌺 Fashion Lineage & Influence
Designers have long worshipped the female torso as architecture — from Madame Grès’ sculptural draping to the Riviera swim couture of the 1950s and the fearless body displays of Helmut Newton’s muses. The central floral accent echoes vintage couture appliqué, while the cut-out construction belongs firmly to the modern era — a language of confidence rather than concealment. This is not clothing for hiding. It is clothing for being seen… or for choosing who gets to see.
🎨 The Hydra HUD Experience
Adorsy’s signature HUD transforms the set into a wardrobe unto itself:
✨ Swimsuit HUD — 65 options
Soft pastels, sun-washed florals, bold tropical prints, sultry dark tones, and luminous brights — each finish tuned to react beautifully under different lighting, from midday glare to candlelit dusk.
Crochet Shorts HUD — 55 colors
Natural linens, delicate neutrals, playful summer hues, and statement shades. The texture remains richly tactile, giving every color its own personality — demure, playful, or quietly dangerous.
👡 Shoes HUD — 45 colors
From sweet confection tones to saturated glam shades, allowing perfect coordination or delicious contrast.
💠 Floral accent customization
The sculptural rose detail can harmonize with or boldly oppose the main palette, becoming either a whisper or a focal jewel.
👤 Compatible Mesh Bodies
LaraX • PetiteX • Legacy • Reborn
You can acquire the Hydra Set by adorsy at the brand’s official locations below:
🌸 Adorsy Mainstore
👉 Teleport to Adorsy Mainstore
🌐 maps.secondlife.com/secondlife/adorsy
️ Adorsy Marketplace Store (Web Purchase / Delivery to Inventory)
👉 Browse Adorsy on the Second Life Marketplace
(marketplace.secondlife.com/stores/25730/adorsy)
🍷 Beneath the Pines — Intimacy
When he finally appears in the doorway, I don’t move. I let the fabric do the speaking — the curve of hip against cushion, the quiet rise of my breath, the way the rosette rests exactly where his eyes always linger. There’s power in stillness, in knowing he will cross the room without being asked.
“Stay,” he murmurs, though I never planned to leave.
In this moment I am not dressed for the world. I am dressed for the pause before his hand touches my waist… for the way desire sharpens when it must wait one heartbeat longer. The Hydra doesn’t shout. It beckons — patient, inevitable, impossible to ignore.
And beneath the pines, where secrets gather like fallen needles, I remember that seduction isn’t about revealing everything.
It’s about revealing exactly enough.
💫 “Fashion is the armor to survive the reality of everyday life.” — Bill Cunningham
oh, the joys of being young ... especially if you're a bear cub. Sure they have their tense moments when mom is defending them or perhaps they're getting a stern discipline by mom for not obeying, but for the most part, they're all about learning ... and of course, playing. When I watch them, they always seem to be having such fun and enjoying their sibling.
Pardon the harsher light on this pair of coastal brown bear cubs, but for me I can tolerate it because this behavior moment is so adorable. Of course, what you can't see in this image is mom further down the game trail unaware that her cubs are gleefully play fighting behind her. She normally likes to keep them quite close to her, as young cubs do have boars to worry about. Reminds me of when we were kids always provoking (or perhaps being on the recipient side of the provocation) with our own siblings ... you always waited until the parents weren't looking, right? LOL
Well, happy hump day everyone. It's almost summer already. All I can ask is how did that happen?
© Debbie Tubridy Photography
Gawn by small @ FaMESHed
The Gawn Dress by small exists at the edge of art and desire, where fashion history and modern provocation entwine. Its styling is unapologetically body-conscious, draping like liquid flame yet revealing with the audacity of lingerie. The cut is precise and architectural — sheer panels frame the body as though carved from shadow and light, while the high, merciless slit elongates the leg with an elegance both dangerous and divine.
Historically, Gawn borrows from the 1920s flapper revolution, when hems rose in defiance and women claimed their freedom in movement and flesh. It recalls the Dior New Look of the late 1940s, cinching and shaping with sculptural precision, then strips that propriety away with transparency more akin to the 1990s slip-dress revival, when satin clung to supermodels like a second skin. Gawn distills all of these legacies — the rebellion, the elegance, the eroticism — into one modern silhouette that feels both timeless and transgressive.
The BLINN & Soft PBR shimmer ensures every step is painted in light, as though my body were being spotlighted by desire itself. Each shift of fabric is a tease, a breath away from baring everything. In this dress, I am not waiting — I am anticipating, trembling on the edge of being undone, as if Gawn were cut not to be worn, but to be peeled away in fevered urgency.
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Every artist has the sense of provocation.
This piece of art was created together with 500px.com/heinzhagenbucher
Tarantula hawk wasps are nectarivorous [nectar-feeders]. Males can't sting at all. Females rarely sting without provocation but the sting is extremely painful. - San Felipe, Baja - Mexico
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, we are following Edith, Lettice’s maid, along with her best friend and fellow maid-of-all-work, Hilda Clerkenwell, who works around the corner from Cavendish Mews in Hill Street as a live-in maid for Lettice’s married friends Margot and Dickie Channon. It is Wednesday, and both maids have Wednesdays as a half-day off work and are free until four o’clock. The pair of maids head east of Mayfair, to a place far removed from the elegance and gentility of Lettice’s flat, in London’s East End. Thanks to Lettice’s Cockney charwoman*, Mrs. Boothby, who lives in nearby Poplar, Edith now has her own hand treadle Singer** sewing machine, and frequents a wonderful haberdasher in Whitechapel, Mrs. Minkin, whom she goes to on her days off when she needs something for one of her many sewing projects as she slowly adds to and updates her wardrobe. Before the General Strike*** paralysed London a few weeks ago, Edith had attended a jumble sale**** held at her family’s parish church of All Souls***** in Harlesden to raise funds for the underpaid Welsh coal miners****** whose plight is what started the general movement of workers to strike. She acquired a number of things at the sale, including some pretty floral fabric and lace trims, which she is using to make Hilda, who is far less fashion conscious than Edith is, a new summer frock.
Both girls like Mrs. Minkin’s haberdashery. The heavy wood shelves and bolts of various fabrics stacked up around the walls muffle the sounds of the noisy street outside and envelop them in a cosy material cocoon. The shop is like a hoarder’s stash, filled with the most amazing collection of treasures to please even the fussiest of seamstresses or milliners: exotic and brightly coloured silks from the orient*******, intricate thick satin brocades from France******** glittering Bohemian glass buttons and beads*********, satin, velvet and grosgrain ribbons********** in every shade and tumbling cascades of frothy white and ecru lace from Nottingham and Derbyshire***********. The shop not only feels comforting, it smells comforting too, with a mixture of natural fabric, Lux Flakes************ – a scent Edith knows only too well because of her mother taking in other people’s laundry over the years – lavender and cloves************. We find Edith and Hilda in one of the many nooks in Mrs. Minkin’s shop, in front of the drawers that contain spools of brightly coloured silk threads.
“How is your latest sewing project coming along, Edit.” eagle eyed Mrs. Minkin calls from behind the shop counter where she has just finished serving another customer, her pudgy finger decorated with a few sparkling gold bejewelled rings moving with dexterity as she tidies her glass top and fronted counter. “Are you looking for a particular shade, my dear?”
A refugee from Odessa as a result of a pogrom************* in 1905, Mrs. Minkin’s Russian accent, still thick after nearly twenty years of living in London’s East End, muffles the h at the end of Edith’s name, never ceasing to make the young girl smile, for it is an endearing quality.
“Thank you, Mrs. Minkin.” Edith calls cheerfully in reply. “I’m looking for Sylko’s************** Sèvres Blue*************** if you have it, Mrs. Minkin.”
“I don’t know if I have any Sèvres Blue at the moment, Edit my dear,” Mrs. Minkin replies as she scratches her scalp beneath her old fashioned upswept hairdo with the end of a pencil as she thinks. “It’s not a colour that is hugely in demand.” She steps away from her space behind the counter and bustles across the room, her frilly and high Edwardian lace jabot running down the front of her blouse, held in place at her throat by a beautiful cameo – a gift from her beloved and at the same time irritating Mr. Minkin – flapping in the breeze as she moves around displays of haberdashery and notions**************** towards the two maids. “I am sure I will have somethink lovely in these drawers, dear Edit, which will be equally suitable if I don’t. Now let’s see.”
“Thank you Mrs. Minkin.” Edith replies gratefully as the woman begins to fossick through a set of wooden drawers of cotton spools emblazoned with a cotton manufacturers on each individual drawer.
“Oy vey iz mir*****************!” Mrs. Minkin exclaims with exasperation. “What is wrong with you Anglit******************?”
“What’s the matter, Mrs, Minkin?” Hilda asks as she sees the proprietoress withdraw a black spool from the drawer she is rifling through.
“Is England not a country of well-educated people, Hilde?” Mrs, Minkin asks with a pained look as she holds up the thread spool that is causing her offence.
“Well of course we are, Mrs. Minkin.” Edith replies quickly.
“I think that was a rhetorical question, Edith.” Hilda whispers under her breath to her best friend.
“What’s that when it’s at home, then?” Edith whispers back.
“A question that doesn’t need an answer, Edith.”
Seemingly not to have heard the two maids’ conspiratorial hushed conversation, Mrs. Minkin goes on, “Can no-one read? “Narishe froy!*****************! Can they not read? Black belongs in here!” She irritably yanks open a drawer marked ‘black’ in bold ink stencilled letters and slips the spool in with other black reels of cotton. “There are bound to be colours in there too, no doubt.” she sighs heavily. “I’ll get to it soon enough.” She returns to the colours drawer and keeps looking. “meanwhile you didn’t answer my question, Edit my dear.”
“And what question was that, Mrs. Minkin?” Edith asks politely, seeking clarification.
“What project are you working on now? It must be very special if you particularly want Bleu de Sèvres.”
“Oh, sorry Mrs. Mikin,” Edith apologises earnestly, raising her right hand to her chest. “I must have been concentrating so hard on finding Sèvres Blue cotton that I mustn’t have heard you.”
“Is it special? A new frock perhaps, , Edit my dear?” the older woman asks tentatively as she pries. “I’m sure I have some lovely Gablonz glass buttons that would go with something in the vein of Bleu de Sèvres.” she says as she tries to tempt Edith.
Edith likes the Jewess proprietoress. She always has a smile and a kind word for Edith and Hilda, and her generosity towards her has found Edith discover extra spools of coloured cottons or curls of pretty ribbons and other notions in the lining of her parcel when she unpacks it at Cavendish Mews. Mrs. Minkin always insists when Edith mentions it, that she wished all her life that she had had a daughter, but all she ever had were sons, so Edith is like a surrogate daughter to her, and as a result she gets to reap the small benefits of her largess.
“It is rather special, yes.” Edith replies, casting a glance at Hilda and smiling. “It’s a new frock for Hilda.”
“Hilde!” Mrs. Minkin stops fossicking and glances at the two maids. “You are making a frock for Hilde, Edit?”
“Yes Mrs. Minkin.” Hilda replies. Noting the older woman’s startled look which matches the tone in her voice, Hilda goes on, “Is that such a surprise?”
“Oh well!” Mrs. Minkin reaches up and clasps her cameo at her throat and coughs awkwardly. “No, of course not Hilde. I mean, it is a surprise, but a nice one. How lucky you are to have such a good chaverah tovah******************** in Edit, my dear Hilde, to make you a frock.”
“Well, she needs it, Mrs. Mikin.” Edith pipes up joyfully.
“A meydele, can never have too many frocks, Edit my dear.” Mrs. Minkin replies sagely. “Which is why I’m in business.” She smiles broadly as she opens her arms expansively and gesticulates proudly to all the beautiful things in their immediate surrounds.
“Well Hilda definitely needs a new frock, since she’s started stepping out with a nice young man, finally.” Edith giggles girlishly.
“Oh Edith, don’t!” Hilda defends, swatting at her best friend as her cheeks flush with embarrassed colour.
“What’s this?” Mrs. Minkin exclaims with excitement. “Hilde? Is this true?”
Hilda’s blush deepens as she replies. “It’s early days yet, Mrs. Minkin.”
“But it’s promising, Mrs. Minkin.” Edith interjects excitedly. “He boards with my Frank, you see, and he’s ever such a nice chap.”
“Mazel Tov*********************, Hilde!” the old Jewess grasps, clapping her bejewelled hands in delight. “This is wonderful news!” She reaches out her careworn digits and envelops Hilda’s fat, sausage like fingers and squeezes them, giving her a beaming smile of genuine happiness for her. “You and Edit are like my daughters, Hilde, since God only thought to bless Soloman and I with sons, so you must keep me informed.” She nods affirmatively, making the dainty gold droplet earrings hanging from her lobes dance about, glinting as they catch the light. “I take it he isn’t Jewish?”
“No!” Hilda laughs, surprised at Mrs. Minkin’s question. “He’s C of E**********************, like me, Mrs. Minkin.”
“Nu, shoyn***********************,” Mrs. Minkin replies with a shrug and a sigh. “It would be better if he was, Hilde my dear, but as you Anglit say, we cannot have all that we would want.”
“I think you mean, ‘you cannot have everything you want’, Mrs. Minkin.” Hilda corrects her older woman politely.
“That is what I say.” Mrs. Minkin replies with a determined nod.
In order to deflect the conversation away from her buddling relationship with Frank’s best man, John Simpkin, Hilda begins, “I’ve been meaning to ask you, Mrs. Minkin,”
“Hhhmmm?” Mrs. Minkin murmurs as she returns to sorting the spools of colourful threads in the drawers whilst helping Edith to find the shade of cotton she is seeking. “Ask me what, Hilde?”
“That sign advertising Weldon’s************************.” Hilda points to the poster of a Weldon’s Ladies’ Journal cover pinned to the papered wall.
“What about it, Hilde?” Mrs. Minkin asks without ceasing her task, her fingers moving deftly through the drawer’s contents.
“Well, it just seems like such an anomaly.” She pauses for a moment as she realises that her choice of words might be a little too academic for her best friend, who she doubts would have been exposed to the word, and the old Jewess, for whom English was not a first language. “An oddity. It doesn’t fit in.”
“What are you saying, Hilda?” Edith retorts. “Of course it does. I buy Weldon’s from here every month. I mean, it’s a bit out of date.” She glances at the edition, which states that it is from September 1910.
“That’s what I mean.” Hilda replies. “Mrs. Minkin, you always have the most up-to-date and fashionable fabrics and notions, yet this is over fifteen years old.”
“Ahh.” Mrs, Minkin notes with a wistful sigh as she pauses in her task, allowing her fingers to rest in the colours drawer atop the lines of round spools. “I see what you mean.”
“Surely you realised that it was pinned up there, Mrs. Minkin?” Edith queries. “You know all the stock in your shop.”
“Except maybe whether I have a spool of Sylko Bleu de Sèvres.” Mrs. Minkin chuckles before continuing, “Yes, I know it is there, Edit. And yes, I do know it is very far out-of-date.” She takes a deep breath. “But you see, September 1910 is a very important date for me.”
“What happened in September 1910?” Edith queries.
“That was the month and year I opened my haberdashery here in Whitechapel.” Mrs, Minkin replies, a wistfulness entering her voice as she speaks.
“But I thought you said that you left your home in Russia in 1905.” Edith remarked.
“We didn’t leave,” Mrs, Minkin replies with bitterness replacing the wistfulness. “We were driven from our homes by Bloody Nicholas************************* and his supporters**************************!”
“I beg your pardon, Mrs. Minkin.” Edith apologises.
The steeliness that has possessed the old Jewess’ face and hardened her gaze dissipates a little as she turns to Edith and smiles sadly. “It’s alright Edit my dear. You are not to blame for the persecutions my Soloman and our children suffered. We were good people. We were fabric merchants. We even employed Goyim*************************** to work for us. Other merchants refused to employ anyone who wasn’t Jewish, but we wanted to employ local people.”
“So, you came to England to start over again?” Hilda asks, tentatively.
“Oy vey, Hilde!” Mrs. Minkin raises her hands and casts her eyes to the ceiling above. “How could we? Mr. Minkin and I had to leave so much behind, not least of all our business, and all the fabrics Mr. Minkin had to leave in the warehouse. We had a few paltry bags of belongings between us, and that included food, for we were unsure what kind of reception or hospitality we would receive as we fled.”
“But you found safety, here in England, Mrs. Minkin.” Edith says, but even as she speaks the words, they almost come out like a question, rather than a statement.
“Oh yes, Edit,” the older woman pauses. “Eventually.”
“Eventually?” Edith ventures.
“England was not so willing to take poor and destitute émigrés such as Mr. Minkin and I. We had to prove that we would not be a burden by showing that we could support ourselves with money****************************, but we had none. We had to rebuild our business to support ourselves, and that took five years.”
“So, what did you do?” Hilda asked.
“We went to France*****************************. They didn’t care that we didn’t have a sou between us******************************!”
Edith gasps as she realises something. “That explains why you use French terms, Mrs. Minkin.”
“We arrived via a third class ticket aboard a locomotive that pulled into the Gare de l'Est along with many others after travelling through Germany*******************************. Mr. Minkin and I set up a small haberdashery export business in the Pletzl in the Le Marais neighbourhood******************************** and slowly built up our business. It was never ging to be what we had back home in Odessa, but it was enough to prove that we would be able to financially support ourselves.”
“I’m sorry it’s not like the kind of life that you led back in Russia, Mrs. Minkin.” Edith remarks kindly.
“Nu, shoyn, Edit my dear.” Mrs, Minkin says with a shrug. “We are here. We are alive, we are not persecuted and my sons and our business thrive. What more can I ask God for? Eh?”
“How about a reel of blue thread so that Edith can finish my frock, Mrs. Minkin?” Hilda says with a cheeky glint in her eye as she tries to brighten the atmosphere and conversation.
Mrs. Minkin delves her hand back into the colours drawer of the spool cabinet and continues her search.
“Ahh!” she says at length, before holding up a single spool of Sèvres Blue. “D110, Bleu de Sèvres!” She smiles proudly as she presents it to a grateful Edith. “Ask Him, and God shall provide.”
*A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
**The Singer Corporation is an American manufacturer of consumer sewing machines, first established as I. M. Singer & Co. in 1851 by Isaac M. Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. In 1867, the Singer Company decided that the demand for their sewing machines in the United Kingdom was sufficiently high to open a local factory in Glasgow on John Street. The Vice President of Singer, George Ross McKenzie selected Glasgow because of its iron making industries, cheap labour, and shipping capabilities. Demand for sewing machines outstripped production at the new plant and by 1873, a new larger factory was completed on James Street, Bridgeton. By that point, Singer employed over two thousand people in Scotland, but they still could not produce enough machines. In 1882 the company purchased forty-six acres of farmland in Clydebank and built an even bigger factory. With nearly a million square feet of space and almost seven thousand employees, it was possible to produce on average 13,000 machines a week, making it the largest sewing machine factory in the world. The Clydebank factory was so productive that in 1905, the U.S. Singer Company set up and registered the Singer Manufacturing Company Ltd. in the United Kingdom.
***The General Strike in Britain occurred between May the 3rd and May the 12th, 1926. It was a nine-day nationwide stoppage called by the Trades Union Congress (TUC) to support coal miners facing wage reductions and worsening conditions. Roughly one million, seven hundred thousand workers went on strike, primarily in transport and heavy industry.
****A jumble sale is a British community event, often held in church or village halls, where donated second-hand goods are sold to raise funds for charity or local organisations. Common items sold include used clothes, books, toys, and bric-a-brac at very low prices.
*****The parish of All Souls, Harlesden, was formed in 1875 from Willesden, Acton, St John's, Kensal Green, and Hammersmith. Mission services had been held by the curate of St Mary's, Willesden, at Harlesden institute from 1858. The parish church at Station Road, Harlesden, was built and consecrated in 1879. The town centre church is a remarkable brick octagon designed by E.J. Tarver. Originally there was a nave which was extended in 1890 but demolished in 1970.
******Following a post-war slump, market downturns, and the government’s return to the Gold Standard, coal mine owners demanded substantial wage cuts in 1925, threatening to remove the national minimum wage. In some cases, proposed wages were lower than unemployment benefits. Owners sought to increase the working day as well, which would have meant more time in hazardous conditions for less pay for the miners. Mining was fraught with danger, with over one thousand two hundred miners killed annually across Britain and many more suffering life-altering injuries and industrial diseases. When mine owners, backed by the British government, threatened to terminate the 1924 wage agreement in July 1925 (known as Red Friday) a nine month government subsidy was paid to keep mines open. This was not a victory for the miners, but rather a temporary delay that allowed the government to stockpile coal and prepare for the inevitable showdown. The fear of the workhouse or absolute destitution was a constant pressure on mining families in the Valleys. Employers were already implementing harsh conditions, forcing miners into a position where they felt they had no choice but to fight for the right to work. These conditions, compounded by the eventual withdrawal of the subsidy and the subsequent lockout in May 1926, created a deeply entrenched, desperate situation for Welsh communities before the General Strike of 1926 occurred.
*******In the 1920s, Britain primarily sourced its raw silk and finished silk fabrics from China and Japan who were global producers of silk at the time. Britain sourced vast quantities of raw silk from East Asia to feed its own regional weaving centres in towns like Macclesfield, Congleton, and Braintree. High-end woven silk fabrics and chinoiserie-style textiles were also widely imported from China.
********Famous for its fashion and luxury textile industries, France (particularly Lyon) remained a primary source for highly sought-after, intricately woven satins, brocades, and finished fashion garments.
*********In the 1920s, Britain sourced the vast majority of its glass buttons and beads from Bohemia (specifically the industrial glassmaking region around Jablonec and Nisou). Following the Great War, this region became part of the newly formed republic of Czechoslovakia, and British traders and designers widely referred to the area and its imports by the German name, Gablonz. Following the collapse of the Austro-Hungarian Empire, the German-Bohemian glassworks in Gablonz dominated the global costume jewellery, button, and bead markets. By the late 1920s, Czechoslovakia was the largest exporter of beads and jewellery in the world.
**********"Grosgrain" is commonly used to refer to a heavy, stiff ribbon of silk or (in the 1920s) manmade silk or rayon, woven via taffeta weave using a heavy weft, which results in distinct transverse ribs. Historically, grosgrain was made from wool, silk, or a combination of fibres such as silk and wool or silk and mohair. When a combination of fibres was used, the result was sometimes given the name grogram, silk mohair, gros de Tours or gros de Naples.
***********Throughout the 1920s, Britain sourced most of its commercial lace from the East Midlands, specifically Nottingham and Derbyshire, for local supply. Nottingham was undisputed global hub of the machine-made lace industry, famous for producing fine fabrics and lace curtains. Towns like Long Eaton and Ilkeston in Derbyshire, experienced major industrial expansion after the Great War, becoming vital mass-production centres for Leavers lace. Pockets of traditional handmade lace — such as Bedfordshire lace, Buckinghamshire (Bucks Point) lace, and Honiton lace from Devon — were still produced on a smaller scale by preservation groups and rural workers, though they had sharply declined.
***********Before the invention of modern liquid detergents, Lux Flakes revolutionised hand-washing. Because the flakes were pure and mild, the brand marketed heavily to women, positioning itself as a safe way to care for fine lace, knitwear, and hosiery. Lever Brothers first produced "Sunlight Flakes" out of their factories in Port Sunlight on the Wirral Peninsula in 1899. "Sunlight Flakes" were an innovative product made from thin sheets of Sunlight soap that could easily dissolve in water. By 1900, the product was officially renamed "Lux." The brand expanded into the US market by 1906. In 1925, the company launched Lux toilet soap, shifting the brand's focus heavily toward beauty. By leveraging celebrity endorsements from Hollywood icons, it quickly became famous as the soap of the stars. Lux Flakes solidified its position as the ultimate gentle cleanser for delicate fabrics, woolens, and lingerie in the post Second World War era, and is still available today, although it no longer trades as Lux Soap Flakes since the brand of Lux has shifted globally to beauty soaps. The laundry tradition of pure soap still survives under trade names like “Softly Pure Soap Flakes”.
************People placed lavender and cloves amongst their linens primarily to repel fabric-eating insects (like moths) and to naturally freshen stale-smelling fabrics. Historically, before the invention of synthetic chemicals, these botanicals were a safe, chemical-free way to keep stored bedding and clothing in pristine condition. Insects loathe the chemical compounds naturally present in these plants. Lavender contains oils that naturally repel clothes moths and silverfish, while cloves act as a powerful deterrent for a variety of household pests.
*************Pogroms in the Russian Empire were large-scale, targeted, and repeated anti-Jewish rioting that began in the Nineteenth Century. Pogroms began to occur after Imperial Russia, which previously had very few Jews, acquired territories with large Jewish populations from the Polish–Lithuanian Commonwealth and the Ottoman Empire from 1772 to 1815. The 1905 pogrom against Jews in the Odessa region was the most serious pogrom of the period, with reports of up to 2,500 Jews killed. Jews fled Russia, some ending up in London’s East End, which had a reasonably large Jewish community, particularly associated with clothing manufacturing.
**************Sylko cotton threads were produced in a dizzying array of colours and shades by Dwehurt’s. Belle Vue Mill, commonly known as Dewhurst’s, was built by Thomas Dewhurst in 1828. It opened in 1829 as John Dewhurst & Sons and was one of Skipton’s largest spinning and weaving mills. The mill’s position next to the Leeds Liverpool Canal meant that raw cotton could be shipped in by boats from Liverpool. Finished goods would then be sent back the same way ready for distribution. Coal to power the machine’s steam engines was also delivered by barge. In 1897 Dewhurst’s was bought by the English Sewing Cotton Co. It continued to produce Sylko, one of the mill’s most famous products. It was produced in over 500 colours and sold throughout the world. Sylko cottons are still available at haberdashers today, albeit under a different branding.
***************Sèvres Blue (Bleu de Sèvres) is a signature deep, inky-cobalt colour developed by chemists at the renowned French porcelain manufactory in the 1750s. Associated with luxury, it became an international symbol of royal prestige, famously paired with 24-carat gold and used in diplomatic gifts for European monarchs. Dewhurst’s produced a Sèvres Blue shade of cotton before the Second World War. It was dye shade number D110.
****************In sewing and haberdashery, notions are small objects or accessories, including items that are sewn or otherwise attached to a finished article, such as buttons, snaps, and collar stays. Notions also include the small tools used in sewing, such as needles, thread, pins, marking pens, elastic, and seam rippers.
*****************“Oy vey iz mir” is the most famous Ashkenazi Jewish expression for a sigh of mild despair, exasperation, or "drat".
******************“Anglit” is Hebrew for English.
*******************“Narishe froy is Yiddish for “stupid woman.”
********************“Chaverah tovah” is Yiddish for a good female friend.
*********************“Meydele” is the he affectionate Yiddish diminutive for a "little girl" or "young girl".
*********************“Masel” Tov is the most common and widely understood way to say congratulations in Yiddish. It is usually used for birthdays, weddings, new jobs, and graduations, but can be used for any celebration.
**********************The abbreviation "C of E" began as a practical administrative and journalistic shorthand during the rapid industrial expansion of the Nineteenth Century. It became widely used in public records, timetables, and census documents by the mid-1800s to quickly reference the English state church.
***********************“Nu, shoyn” is the closest direct Yiddish equivalent to "oh well," "so be it," or "whatever happens, happens." It is used when shrugging off a minor inconvenience.
************************Created by British industrial chemist and journalist Walter Weldon Weldon’s Ladies’ Journal was the first ‘home weeklies’ magazine which supplied dressmaking patterns. Weldon’s Ladies’ Journal was first published in 1875 and continued until 1954 when it ceased publication.
*************************Tsar Nicholas II earned the name "Bloody Nicholas" primarily due to his regime's violent suppression of peaceful protests during Bloody Sunday in 1905, and his government's bungled response to a deadly stampede at his coronation in 1896 which became known as the Khodynka Tragedy. Just days after Tsar Hicholas’ coronation, a massive public festival was held in Moscow where free food and souvenir mugs were being given out. Due to rumours that there wouldn't be enough gifts, a catastrophic stampede broke out. Nearly 1,400 of his subjects were crushed to death. Nicholas attended a ball that same evening, which the Russian public saw as deeply callous, staining his early reputation. On January 22, 1905, tens of thousands of unarmed, peaceful workers marched toward the Winter Palace in St. Petersburg to present a petition for better working conditions and political reform. Without provocation, the Imperial Guard opened fire on the crowd, killing and wounding hundreds. Although the Tsar was not physically in the palace, he was held ultimately responsible, turning public sentiment sharply against him.
**************************The Odessa Pogrom of 1905 erupted from a volatile mix of political revolution, economic tension, and government-backed antisemitism. When Tsar Nicholas II issued the October Manifesto promising civil liberties, pro-tsarist and conservative groups (the "Black Hundreds") were furious. They scapegoated the Jewish population, claiming Jews had forced the Tsar's hand, and violently attacked Jewish neighbourhoods in an effort to suppress the Russian Revolution of 1905. Jews were heavily represented in the opposition movement demanding an end to autocratic rule. Consequently, pro-government mobs targeted them as political enemies of the Russian state. Rapid modernisation and industrial downturns fostered intense job competition, particularly among unskilled, non-Jewish day labourers. This fuelled deep economic resentment, as many non-Jewish workers viewed Jewish merchants and professionals as the cause of their financial hardships. Local authorities, the police, and the military deliberately turned a blind eye or took belated action. By refusing to intervene, the Tsarist government tacitly allowed the ethnic violence to distract from broader social discontent and to crush revolutionary sentiment.
***************************In Hebrew and Yiddish, “goy” is a term for a gentile: a non-Jew. Through Yiddish, the word has been adopted into English also to mean "gentile", sometimes in a pejorative sense. Goyim is the plural variation of the word.
****************************Immigrants entering England in the early 1900s needed to arrive at an approved port, pass medical and financial inspections, and prove they were not criminals or likely to become a burden on the state. Under the Aliens Act 1905, those who failed these inspections were denied entry. Immigrants needed to prove they had the means to support themselves. Those deemed destitute or likely to become a charge on the state were refused entry.
*****************************In the early 1900s, unlike entering Britain, crossing into France was relatively informal, with minimal paperwork. Immigrants simply arrived and moved about freely. However, rising nationalism leading up to World War I, followed by massive post-war labour shortages, prompted the French government to enforce standardised passports and strict police registration requirements. However, in 1905 when the Minkin family escaped the Russian pogroms, there were no such regulations.
******************************A sou is an old French coin or a slang term for a very small, insignificant amount of money.
*******************************Fleeing the 1905 Russian pogroms, Jewish refugees traveled westward overland by rail and on foot, exiting the Russian Empire via border checkpoints in Brody (Galicia) or across the German frontier. From there, they traveled through Central Europe, primarily entering France by train through northeastern border crossings such as Belfort and Lunéville, arriving in Paris at the Gare de l'Est or Gare du Nord. Trains traveling from the Russian Empire and Central Europe (passing through major transit hubs like Berlin or Leipzig) into Paris typically terminated at these two northern stations.
********************************Arriving exhausted via the Gare du Nord and Gare de l’Est railway stations, Russian Jewish refugees fleeing the pogroms of 1905 clustered in specific areas of Paris due to the availability of cheap tenement housing and existing community networks. The Pletzl (in the Le Marais neighbourhood of the 4th arrondissement) centred around the Rue des Rosiers, Place Saint-Paul, and Rue Ferdinand Duval. This area became a bustling, Yiddish-speaking immigrant enclave reminiscent of the shtetls (Yiddish word that literally means "little town") they left behind in Russia. The neighbourhood was deeply impoverished, with families crowding into old, subdivided mansions, but it offered a robust support network of communal kitchens and small synagogues.
This corner of Mrs. Minkin’s cluttered haberdashers filled with an assortment of notionsand spools is not all it seems to be at first glance, for it is made up of pieces from my 1:12 size dollhouse miniatures collection.
Fun things to look for in this tableau include:
The two sets of spool drawers and hand made and stencilled by miniature artisan Carlotta Rossi, who runs her miniatures business Cinen out of Bologna in Italy. The miniature compartmentalised wooden display featuring cards of buttons, needle packets and mending threads on cards was also made by her. The quality of her pieces and the fine details they display make these real artisan pieces.
The wooden spools of cotton in their varying shades and sizes I acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom and several online suppliers of miniatures via eBay.
Edith’s and Hilda’s handbags in the foreground are handmade from soft leather and are part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
The poster featuring the very Edwardian cover of the September 1910 Weldon’s Ladies Home Journal was a gift to me from my friend Sharon in Dorset, with whom I have an affinity over beautiful haberdashery pieces.
The wallpaper is an authentic, rather garish, Edwardian pattern that was sourced and printed by me.
Strange wall formations take hold but seem frozen in time.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
An abandoned corner shell that once housed a Blockbuster Video, then a rotation of short‑lived tenants. The colours are newer than the memories, but the geometry still carries the shape of Friday night rentals and return‑slot rituals.
Now it sits empty again, a relic of formats gone, and uses tried on and discarded. A small study in reuse, decline, and the quiet after a franchise disappears.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
The rear of buildings hold more interest for me than the front, often.
The best still lives are often simply "found".
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
A bare tree stands alone in an open field, its branches stretched wide under a slow, heavy sky. At its base, a scatter of discarded fabric and debris sits in the grass, unmoving, as if the ground has collected what the air no longer wants. Overhead, aircraft occasionally trace their paths toward the Tullamarine, carving invisible lines through the cloud cover. A landscape caught between human passage and human neglect.
Another picture made during the Covid Pandemic, in the brief times we were allowed outdoors.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
A bedraggled Halloween decoration seems locked in a contemplative gaze out of a loft window. I had finally carried this creation into storage but happened to glance back over my shoulder as I made my exit. In that moment I saw not the chicken wire, cheese cloth and cheap mask, rather the figure of a woman bereft and alone. I was overwhelmed by a feeling of sadness. My emotion triggered by the striking visual, but woven from real life. Christmas has a way of doing that to me. This seasonal melancholy is not solely based on Yuletide. It's more an accumulation of the worst aspects of past years that all get unleashed at the end of December. Christmas is more the conduit than the cause. Life often feels confining this time of year, being cooped up indoors most of the time with few of the outlets for activity provided by the warmer months. These sensations are heightened by the incessant darkness this time of year, the colorless landscape and coldness. December hints at finality; the close of another year of precious life, and the inevitable and often dark reflections arise with even the slightest impulse or provocation. In my case the ghost of Christmas sprang forth from the least likely source. A human contrivance but with a very real spiritual association.
Introducing the alluring Madlen set by Provocation, exclusively released for the Kinky event. This sexy costume features a tantalizing top and shorts combination that will ignite your senses. In the fatpack option, you'll discover even more allure with a stylish blazer and 10 additional colors, allowing you to create endless seductive looks. Embrace your sensuality with the Madlen set, available now at the Kinky event!
!!!Please TRY DEMO FIRST and be careful before you purchase!!! Refunding or exchanging is NOT possible.
This product has 3 different packs:
NATURAL:
Top+Shorts;
!!!Blazer NOT include!!!
Natural pack HUD (15 colors)
for each element;
5 colors for metal;
Materials on/off.
COLOR:
Top+Shorts;
!!!Blazer NOT include!!!
Color pack HUD (15 colors)
for each element;
5 colors for metal;
Materials on/off.
FATPACK :
Top+Short+Blazer;
Fatpack HUD - mix&match:
40 colors for each element;
5 colors for metal;
Materials on/off.
[https://www.flickr.com/photos/196956618@N08] & [https://www.flickr.com/photos/187208250@N02] 🎉🎉✨are the winners of this giveaway. ✨🎉🎉
Attention all lingerie lovers! We're excited to announce the release of our newest outfit, Leila special for Kinky event. This sexy lingerie set includes a sultry top, lacy panties, garters, and bracelets. The Leila outfit is not only gorgeous but also incredibly sexy, making it the perfect addition to your date night wardrobe.
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antonio iacobelli's provocations have reached an intolerable level, i'm preparing myself for war.
my jelly bears army is marching towards bari. i'm going to attack him with caries.
135/365
explored #62
In 1998, I undertook a long and personal journey, from Melbourne to Whyalla. I flew to Adelaide and onto Whyalla, hired a hire car and spent about a week driving around. I made my home for the week in the caravan park at Whyalla. I spent most of each day driving and photographing. I blogged about it on my blog in 2023
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Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Geolocation is approximate, very.
In 1998, I undertook a long and personal journey, from Melbourne to Whyalla. I flew to Adelaide and onto Whyalla, hired a hire car and spent about a week driving around. I made my home for the week in the caravan park at Whyalla. I spent most of each day driving and photographing. I blogged about it on my blog in 2023
______________________________________
Use your arrow keys on your keyboard to navigate to the next picture.
______________________________________
One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Late Winter Flocks. © Copyright 2023 G Dan Mitchell.
Huge numbers of sandhill cranes and several varieties of migratory geese in late winter.
Yes, another “sky full of birds” photograph! You may think I am sharing a lot of these… but not anywhere near all of them. And that, of course, brings up one of the great “secrets” of photographing birds: for every good image that “works” there are dozens of others that never see the light of day. Landscapes don’t move (much), so they are more predictable. But most of the time birds are in motion — at least when they are doing interesting things — and it is impossible to control or predict everything that will happen. You can improve your odds over time… but there is still an element of chance.
These fields were full of late season birds — mostly various kinds of geese, but also lots of sandhill cranes and even a few egrets here and there. At this time of year — just before the long migration back to the north — they seem to become extremely active. At the least provocation huge numbers of birds will suddenly and noisily take to the air and circle before finally returning to the field for a while… and then repeating the process a bit later.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
“These are the few ways we can practice humility:
To speak as little as possible of one's self.
To mind one's own business.
Not to want to manage other people's affairs.
To avoid curiosity.
To accept contradictions and correction cheerfully.
To pass over the mistakes of others.
To accept insults and injuries.
To accept being slighted, forgotten and disliked.
To be kind and gentle even under provocation.
Never to stand on one's dignity.
To choose always the hardest.”
― Mother Teresa, The Joy in Loving: A Guide to Daily Living
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