@achronalart
Alessandra Kelley - I make art. TTRPGs. She/her. Cis. White as Wonder Bread with mayo. Sophipygian. Postmodern Pre-Raphaelite. Black lives matter. Trans rights are human rights. I only repost images with ALT text.
keekat! 🩶
A pic of an adorable gray and white kitty cat asleep on a couch.
and introducing Wolf! -R
Charity livestream for UNICEF!
WERE GONNA BEAT UP OUR DAD (or die trying)
A preview image of tomorrow's video thumbnail showing several glowing orange skulls floating menacingly
Keeping my Mario Day plans nice and chill - we're gonna be breaking out of hell. Tune into the channel tomorrow for a fresh-file stream of Hades! (donations to the attached UNICEF fundraiser may or may not trigger shenanigans that make my game harder) -R
Return to a world of felt and feathers with @overlysarcastic.bsky.social Red as we set sail for Muppet Treasure Island (1996)!
The pod is available on all major podcast platforms or you can listen at: share.transistor.fm/s/98f4ee92
You all have to see it too.
Two Bastion brand pens, one bright blue and one black, on a grey woven deskmat. The pens are smooth solid metal, and in place of a clicker or cap they each have a bolt-action mechanism. It is very springy and satisfying to play with.
Chill Year has been going fantastic in casa Blue. So far I've:
1) Made the first few videos for the year
2) Recorded the Veneziad Audiobook
3) Finished draft 1 of an ENTIRELY NEW STORY OOOO
4) got these sick bolt-action pens
Yeah creating art is awesome but have you ever had a really cool pen??
-B
16 arches enter, one arch leaves – it's ARCH MADNESS.
youtu.be/2FcLArUd_74?...
-B
Jingle dress dancers held healing ceremonies on Feb. 1 in south Minneapolis at the locations where Renee Good and Alex Pretti were fatally shot by federal immigration agents in January. Both Good and Pretti were shot and killed while observing immigration enforcement action.
1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy has been protected, although it still shows signs of age. The paper has turned light brown, though it is otherwise in good shape, with no tears, stains, or spots. The colors have been warmed and yellowed by the ageing of the paper. The blue on the left looks entirely grey and the purple is less vivid than it once was, but the watercolor on the figures is clear and distinct.
1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy has been framed and displayed at some point in its history. You can see the marks of the frame at the edges where the paper is less browned. It also appears to have been glued down to a backing board. There are flecks and signs of chipping and diagonal folding damage. Overall the paper has turned a shade of dirty brown somewhere between a manila folder and a brown paper bag. This somewhat camouflages the color loss. There is no trace visible of the purple watercolor paint that originally colored the middle dress.
These are the original scans from the online collection of the MMA, showing their approximate real life colors after 150+ years of ageing paper and other knocks.
If you look at antique prints irl they will generally look more like these than anything as bright as the above.
🗃️🪡
#FashionHistory
Digitally restored copy of an 1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy was well protected from light and appears to be in excellent shape. It shows a woman in a blue-grey bustle dress with black velvet trim and another in a bright lavender bustle dress with dark golden brown trim and lining on the bodice. The girl is in a bright light blue bustle dress over a white blouse. A parlor environment is sketched in behind them and delicately colored in pale green, yellow and pink. The rug below them is richly patterned using the same colors, a little more intense but still delicate and paler than the dresses. The colors are intensified from their current state by the digital restoration, and he background is closer to white.
Digitally restored copy of an 1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy was evidently exposed to light for some time. The more permanent watercolors used on it, the blues and earth browns, remain, but the others are sadly faded. What was once a lavender dress now looks stark white, a strong contrast to the brown trim that has retained its colors The background has mostly lost its colors and the rug below is pale and muted. The colors are intensified from their current state by the digital restoration, and he background is closer to white.
This is why we do not display our antique fashion prints on the wall.
One of these 1871 fashion plates was protected from light, the other exposed to it.
(These are digitally restored copies, lightened and brightened. Actual what-they-really-look-like-irl to follow)
🗃️🪡
#FashionHistory
June 1857 fashion plate from the French publication “Journal des Tailleurs”. A footman, butler or waiter offers a tray of cookies to three small children while a young man, hands in pockets, watches. The three young children are all nearly identical, with shoulder-length blonde curls, and are all similarly dressed in tight little bodices, wide knee-length skirts and short drawers. The one on the left is wearing a red and white plaid dress, a straw hat with a bow and a feather on it, and blue boots with black toes. The one in the middle wears a pale pink dress with bright pink ribbons and black crisscross decoration, a hat decorated with lace and pink ribbon, and lace drawers and pink boots. The one on the right wears a white dress with a large lace neckline and sleeves, a dark pillbox-type hat with two feathers in it, and blue boots. The middle child *might* be a girl — but the conventions of 19th century children’s clothes do not guarantee it. The other two are definitely boys. Girls were never depicted with toy swords, for one thing.
1857 children's fashions. At least two of the small children here, possibly all three, are boys.
There's something you never see in Civil War epics.
Or, well, any media depiction of the 19th century.
🗃️🪡
#FashionHistory
circa. 1838 boy's suit. Light brown wool long sleeved knee-length tunic w/ leaf and acorn embroidery around the neckline and hem and at the cuffs of half-length trousers that go under it.
In the 1840s? He'd be wearing something like this plain wool suit from the collection of the MMA.
The fashion plate above was distributed to an American middle class market thirsty for the latest from Paris that it could adapt into plainer materials...
A boy's dress of almost-plaid material with strong vivid horizontal stripes of red, browns, dark blue and white, and faint vertical stripes of browns, greys and whites. It buttons up the front and has short puffed sleeves and two big pockets on the wide gathered knee-length skirt. White lace shows at the sleeves and skirt hem. Boy's Dress England, circa 1865 Costumes; !Primary Wool plain weave with cotton plain weave with cotton thread embroidery and metal and mother-of-pearl buttons Center back length: 23 7/8 in. (60.64 cm) Gift of Helen Larson (AC1997.191.16) Costume and Textiles Not currently on public view
This is an 1860s middle class boy's dress from the collection of the LACMA. Young boys were put into dresses for most of the 19th century... And it was a respectable aspiring middle class thing. The fancy French fashion plates were aspirational.
collections.lacma.org/node/185686
In response to frequent discourse about Bernadette Banner, I went over her corset myths video and found that ... it's actually fine and completely in line with historical scholarship. 🗃️🪡 www.tumblr.com/mimicofmodes...
Reading the Pillow Book of Sei Shonagon - I like that most of her posts (this is what they are) are so short and then she gets to “HATEFUL THINGS” and is like RIGHT THEN and goes on for five pages
“Trying to live under the radar”
My transness isn’t something I should need to hide. I refuse to feel shame for something innate, usual and human.
Trans+ people living proudly as themselves is not what is causing our persecution.
Display in the National Museum of African American History and Culture of the 1939 wedding ensemble of Lollaretta Pemberton, who married Dr. Grover Allen in 1939 in Texas. It is a long 1930s style dress with almost-elbow length sleeves and a bodice gathered down the front, giving it a modest V neckline and an inverted V waist, very chic for the 1930s. The display also includes a lace-edged veil spread under the dress and a pointed Tudor-style headpiece, as well as a wedding photo of the artist and other documents.
Detail of the bodice of the 1939 wedding dres shandmade by Lollaretta Pemberton and now in the collection of the Smithsonian, in the National Museum of African American History and Culture. The dress is made entirely of strips of creamy white lace, about one and a half inches wide, eyeballing it. The sleeves are gathered and softly puffed at the shoulders, then snug on the upper arms. The bodice is made of eight horizontal strips of lace gathered in the center to draw the neckline down and the waistline up into gentle Vs. The skirt is made of long vertical strips of lace snug at the waist and flaring out at the floor-length hem. (We only see the top of the skirt in this detail)
1939 wedding dress made by Lollaretta Pemberton of Texas (moved to California after her marriage) entirely out of lengths of lace, now an exhibit in the Smithsonian Museum of African American History and Culture, which is celebrating its tenth anniversary this month.
🗃️🪡
#NMAAHC
#FashionHistory
1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy has been protected, although it still shows signs of age. The paper has turned light brown, though it is otherwise in good shape, with no tears, stains, or spots. The colors have been warmed and yellowed by the ageing of the paper. The blue on the left looks entirely grey and the purple is less vivid than it once was, but the watercolor on the figures is clear and distinct.
1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy has been framed and displayed at some point in its history. You can see the marks of the frame at the edges where the paper is less browned. It also appears to have been glued down to a backing board. There are flecks and signs of chipping and diagonal folding damage. Overall the paper has turned a shade of dirty brown somewhere between a manila folder and a brown paper bag. This somewhat camouflages the color loss. There is no trace visible of the purple watercolor paint that originally colored the middle dress.
These are the original scans from the online collection of the MMA, showing their approximate real life colors after 150+ years of ageing paper and other knocks.
If you look at antique prints irl they will generally look more like these than anything as bright as the above.
🗃️🪡
#FashionHistory
Digitally restored copy of an 1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy was well protected from light and appears to be in excellent shape. It shows a woman in a blue-grey bustle dress with black velvet trim and another in a bright lavender bustle dress with dark golden brown trim and lining on the bodice. The girl is in a bright light blue bustle dress over a white blouse. A parlor environment is sketched in behind them and delicately colored in pale green, yellow and pink. The rug below them is richly patterned using the same colors, a little more intense but still delicate and paler than the dresses. The colors are intensified from their current state by the digital restoration, and he background is closer to white.
Digitally restored copy of an 1871 fashion plate from the collection of the Metropolitan Museum of Art Fashion Institute, from "Magasin des Demoiselles", a Paris-based publication, engraved from an original watercolor by Adele-Anaïs Toudouze. Two blonde white women and a girl stand in a parlor-like environment. This copy was evidently exposed to light for some time. The more permanent watercolors used on it, the blues and earth browns, remain, but the others are sadly faded. What was once a lavender dress now looks stark white, a strong contrast to the brown trim that has retained its colors The background has mostly lost its colors and the rug below is pale and muted. The colors are intensified from their current state by the digital restoration, and he background is closer to white.
This is why we do not display our antique fashion prints on the wall.
One of these 1871 fashion plates was protected from light, the other exposed to it.
(These are digitally restored copies, lightened and brightened. Actual what-they-really-look-like-irl to follow)
🗃️🪡
#FashionHistory
we'll be back once I get chapter 8 looking all nice and pretty!
comicaurora.com/aurora/2-6-28/
It is an odd sensation to read a book from the 1990s with otherwise impeccable science and the author keeps talking with deadly seriousness about "the population explosion"
Remember when that was an issue? Remember when folks were wailing about population going up as a bad thing?
bsky.app/profile/achr...
It is an odd sensation to read a book from the 1990s with otherwise impeccable science and the author keeps talking with deadly seriousness about "the population explosion"
Remember when that was an issue? Remember when folks were wailing about population going up as a bad thing?
On this episode of the Overly Sarcastic Podcast: Italy's #1 political manipulator plays a nice friendly game of "Ruin Your Opponent's Life" aka league of legends ranked competitive. Niccolò leaves no survivors.
(The OSPodcast is available on all podcast platforms!)
-B
She's her own steel chair!
When you know the reason W.K. Kellogg invented cornflakes, it's even more hilarious...
