#puffer legacy asks

[deathbypufferfish]

i looooove house renovation in legacies!! 😍 their house is looking so pretty. how are you 'making' them do it? like mods, subtracting money for repairs, how long it takes them...tell me the process! (i love to hear about behind the scenes nitty gritty like that in legacies!)

TYYYYYYY. okay okay so I've lowkey been inconsistent with it as I go because I want to keep it moving but here is some of the stuff I've been doing

I made every object I could broken or dirty with cheats + shift clicking

Added debug leaf piles indoors to "clean up" the overgrowth. Also puddles to "clean" the floors. I just want an action for it y'know.

Some stuff I subtracted money for like fixing the roof, fixing windows, etc. I just use arbitrary numbers for it. I think I did 5k for the roof repairs. I only mainly did this in the beginning though.

I make them paint at least one wall per room before doing it myself in build mode. I use the city living wall mural and just stop it once they cover it in white. And then I delete the additional wall grime as well.

once I set a rat trap I delete the holes because they piss me off lol

Otherwise I do a steady clean up in other rooms. Cleaning up cobwebs, old furniture, window grime, etc. I try and delete those with the destroy object cheat (UI cheat extensions + shift click) so I don't get any money back from it. All of that is just playing pretend lmao.

[cameronsbabydoll]

jap rafe.

okay HEAR ME OUT ON THIS !!!!

jap!rafe was born in a manhattan hospital overlooking central park and hasn’t shut up about it since. legacy baby. trust fund from birth. his hebrew name’s embroidered on everything from his baby blanket to his moncler puffer. bar mitzvah at the pierre. dj. sushi bar. ice luge. torah portion memorized, but don’t ask him to recite it—he’ll only do it if you’re cute.

he spends summers in the hamptons, winters in aspen, and “can’t really do miami anymore” because it’s “too much of a scene.” went to prep school where everyone’s last name was either on a law firm or a building. now he’s running one of his dad’s real estate branches “for fun” and only shows up to the office twice a week—just enough to call it work.

he’s got that smug, clean-cut charm. soft cashmere sweaters, perfectly styled hair, gold stat of david necklace resting on his tanned chest like it’s part of the outfit. always smells like something expensive and barely says “please” but somehow still gets what he wants.

and he wants you—even if you’re not his type, even if you didn’t grow up in his world. especially if you didn’t.

because nothing turns jap!rafe on more than the idea of corrupting something good.

[darkficsyouneveraskedfor]

Mad Season 5

Warnings: non/dubcon, social anxiety, chronic illness, and other dark elements. My username actually says you never asked for any of this.

My warnings are not exhaustive but be aware this is a dark fic and may include potentially triggering topics. Please use your common sense when consuming content. I am not responsible for your decisions.

Character: Bucky Barnes, Peter Parker

Summary: a class project gets messy. (short!reader)

Note: happy weekend.

As usual, I would appreciate any and all feedback. I’m happy to once more go on this adventure with all of you! Thank you in advance for your comments and for reblogging ❤️

The scalloped collar of your cardigan sticks out like a sore thumb among the tube tops and spaghetti straps. You don’t know how anyone can stand to wear skirts that short with winter looming around the next corner. Even as the dorm is filled with the heat of bodies, an open window lets in a frigid gust that has you shivering. 

It might help if you detach yourself from the wall. That would mean wading into the bodies and god forbid, talking to strangers. You cross your arms and sway as you search the crowded kitchen. There’s more in the front room and the bedrooms. The place is filled to the brim with tipsy co-eds. 

You stand on your toes as you try to spot your host. You haven’t seen Peter since you got there. He disappeared to help with a spill and just never came back. You figured that’s how it would go. You’re boring and it is his party. He can’t just be hanging out with you all night. 

As the voices grow to a furor and your head begins to spin with the wall of bodies, your chest tightens. You sidle along the wall, ducking and dodging away from drunken guests, and find your way to the door. You let yourself into the hall as you shake up your puffer. 

You take a deep inhale and let it out slow. It’s already better. The music and buzz of chatter courses through the wall but it isn’t deafening. You’ll stay out there for a while then find Peter and tell him you’re too tired. 

You pull out your phone to distract yourself. You could try texting. No, he deserves a real goodbye. He invited your after all. 

The door opens again and a couple bursts out, leaving it open in their stead as they hit the wall not a foot away from you. They don’t notice you as they tangle each other up in a sloppy make out sessions. You make a face at them and quickly flit away. You have no other choice but to go back to the party. 

As you weave around the other guests, your mind detaches and wanders back to that dark night on campus. You didn’t really believe Bucky at first but then again, how well do you know Peter? It’s completely likely that he’s brought other girls around. But would it matter? 

Like you told Bucky, you’re just doing a project. 

You hit the wall suddenly as someone collides with you from the side. You let out and oomf and grip your phone tighter. You turn as a splash of cold liquid leaks down your sleeve. The drunken girl doesn’t even apologise as she laughs and follows her friend down to the kitchen. 

You shrink down even further. It’s overcrowded and too loud and too much. Not only that but you plainly don’t belong here. You live in an off-campus property with a shady landlord and questionable roommates; this place is a premium all-inclusive dorm. The type legacies and trust funders live in. 

You manage to squeeze past a group of boys in varsity jackets arguing loudly. You dip into Peter’s room and take a breath. It’s not as bad as the rest of the house but there’s some girls on the bed giggling and talking about things that make you want to blush. 

You search around. Not necessarily for an escape, you’re not desperate enough to hop out the window, but just for anywhere to hide and catch your breath. Literally. You switch your phone for your puffer and put it to your lips. 

You cross to the bathroom and knock. You turn your ear to it and listen for an answer. Nothing. You turn the handle and push inside. 

You stop short. Inside, Peter’s against the wall of the shower, pinned by MJ as she nibbles on his lower lip. You gasp in surprise and gape. Oh gosh. 

You stand dumbly in the door. Move, you idiot. Before you can flee, Peter’s eyes open and he sees you. He winces and grabs MJ’s shoulders, moving her away from him. 

“Hey,” he tries to move past her but she tugs him back. 

You back out, cheeks burning, and spin away without closing the door. It’s not like it’s any of your business, you shouldn’t care, but it’s awkward. You shouldn’t have seen that.  

It’s just like you suspected. You’re crashing Peter’s party. He didn’t actually want to invite you, he was just being nice. Like always. He’s always so nice and patient and you’re so pathetic. 

Maybe Bucky is right. Maybe you’re just another girl. Well, so what? You’re just friends. Just lab partners. You don’t care, do you? 

You barely avoid the elbow of one of the frats slurping on a red cup and another group of girls blindly force their way by without making room. You press against the wall as you try to get free of the bustling space.  

God, why did you even come? You knew this was a bad idea. This is the last time you do anything just to be polite. What good has that ever got you? 

You finally get to the door and stumble out into the hall. You catch yourself against the wall and look over at the couple still grossly sucking down each other’s tongues. You grimace and shake your puffer. You suck on it as you head down the hallway. 

“Hey, wait,” Peter calls your name as the door once more lets out the cacophony of voice, “look, what you saw--” 

“It’s fine, Peter,” you rasp, “really. Parties aren’t really my thing.” 

“No, it’s not fine. I don’t want you to think I just ditched you. It’s just MJ, she was all over me. Really, I was trying to get away--” 

“Peter,” you gulp, “we’re just friends,” you turn to face him and he nearly trips as he skids to a halt. “I don’t care.” 

You smile, or try to. You might be lying. You’re not really sure yourself. 

“You... don’t?” He frowns. 

You stare at him. “Well, should I?” You laugh nervously. 

He deflates and his brows furrow, “I mean... I do. I really care about you and... I was telling MJ and she just jumped on me. She has this thing for taken guys. Kinda why we didn’t work out. But uh, I guess I messed it all up. I invited you because I... well, yeah, I guess it doesn’t matter now.” His shoulders slump and his eyes glisten, “so, just go. I messed it all up. Not like you could ever like me back, right?” 

You stare at him. You open your mouth then shut it. Like him? Like really like him? If that’s what he means... do you? 

💜💜💜

From this point, there will be two paths; both Bucky and Peter will appear in both but each will favour one or the other as end goal. 

[royaldaycare]

WELCOME TO MY BLOG!

Hello !! I'm Logan (or Johnny!) and welcome to my daycare! you can call me Logan, Lo, Johnny, big brother or dada! I also occasionally go by saint or my OC's callsign, Sparrow!

A little about me ! :

I use he/they/it pronouns as well as some neo's and xeno's too!

I'm trans, gay and asexual! I'm also questioning whether I am poly or not!

I am an age regressor and a caregiver! (my agere blog is @gh0stlyb34r !)

I'm 20 and my birthday is June 3rd!

I'm from the uk!

my anons! ;

💚 ,

I am a 100% sfw caregiver! any nsfw accounts will be blocked!

This blog is a safe space for regressors and caregivers alike! anyone that makes this blog an unsafe place will be blocked immediately

My rules!

dni ; nsfw, edsh, zionist, racist, homophobic, against Palestine, transphobic, ableist, trump supporters, anti agere, ddlg/abdl accounts, anti petre

boundaries ; keep all terms used for me either masc or gender neutral, do not flirt with me (even if it is as a joke or friendly), please keep all asks sfw.

My interests!

games ; call of duty, overwatch, resident evil 4, forza horizon, roblox (royale high, dress to impress, obby's and tycoons!), fnaf, poppy playtime, indigo park, red dead redemption 2, animal crossing new horizons, good pizza great pizza, hogwarts legacy, valorant, a little to the left, unpacking, mario kart 8, mario kart wii, just dance, the last of us

movies/shows ; deadpool & wolverine, deadpool, x-men, harry potter, fantastic beasts, atsv/itsv, marvel, star wars, the umbrella academy, stranger things, the batman, titains, heartstopper, young royals, criminal minds, fnaf, arcane, ghostbusters, barbie, oppenheimer, nimona, christopher robin

musicals ; les miserables, hamilton, waitress, the greatest showman, la la land, hairspray, dear even hansen, heathers, high school musical, lemonaid mouth, annie, descendants, beetlejuice, mama mia, tick tick boom, into the woods, mean girls, in the heights, little shop of horrors

youtubers ; pezzy, elasticdroid, puffer, grizzy, smii7y, gtlive, game theory, warn, frogger, aspen, beaplays, dawko, ethan nestor, blarg, thedooo, coleydoesthings, film cooper, dechart games, hthaze, james marriott

musicians ; james marriott, taylor swift, mcr, twenty one pilots, billie eilish, hozier, noah kahan, sleeping at last, the smiths, laufey, chappell roan, bruno major, paramore, novo amor, depeche mode, p!atd, daughter, djo, feels like july, florence the machine, frank sinatra, gerard way, ghost, lady gaga, lemon demon, lily allen, maya hawke, 1d, 5sos, mitski, micheal jackson, sleep token, taylor austen dye

misc ; books, dolls (monster high, lol, rh), pop figures, lego, posters, flowers, pin badges, jewellery, halloween, fall/autumn, deco pacis, colouring

DISCLAIMER ; I hold all of my faves accountable! I do not support jkr, noah schnapp ect!

My faves !

celebs/authors ; pedro pascal, hugh jackman, ryan reynolds, ali hazelwood, kit connor, oscar isaac, hayden christensen, ewan mcgregor, tom hiddleston, andrew garfield, tom holland, aiden gallagher, eddie redmane, aaron tveit, erik j brown, david tennant, josh hutcherson, david harbour, wynina ryder, natalia dyer, maya hawke, matthew gray gubler, thomas gibson, aj cook, barry sloane, neli ellice

characters ; John 'Soap' MacTavish, Simon 'Ghost' Riley, Captain John Price, Kyle 'Gaz' Garrick, Robin Buckley, Spencer Reid, Aaron Hotchner, Penelope Garcia, James Potter, Sirius Black, Remus Lupin, Loki, Logan Howlett, Scott Summers, Obi-Wan Kenobi, Anakin Skywalker, Luke Skywalker, Han Solo, Leia Organa, Ben Hargreeves, Luther Hargreeves, Newt Scamander, Din Djarin, Deadpool, Steven Grant, Marc Spector, Danny Zuko, Jean Valjean, Ben Florian, Flynn Rider, Aziraphale, Crowley, Nick Nelson, Charlie Spring, Diego Hargreeves

My kins !

I kin a LOT of characters (and sometimes genuinely believe I am them) so I decided to add a list of them here!

DISCLAIMER ; Please do NOT try to make me believe I am not the characters I specify I believe I am! I am aware and know that I am not physically them! The characters I believe I am will be displayed in a different colour than the rest of the text (not black/green).

Johnny 'Soap' MacTavish, Logan Howlett, Simon 'Ghost' Riley, Newt Scamander, Viktor (arcane), Steven Grant, Lydia Deetz, Spencer Reid, Penelope Garcia, Remus Lupin, Flynn Rider, Charlie Spring, Crowley, Percy Jackson, Draculaura, Mercy, Prince Wilhelm, Nightwing & more

dividers by @/chewtou , Lydia banner by @kodaswrld , bj banner

[definitelynothim-notalex]

Bonus Epilogue: “Crowned Twice”

*Vibe: Legacy, sassier than ever, chaotic mentorship, maternal menace, spoiled royalty 2.0*

*Warnings: Blood, bad attitudes, over-the-top glamor, and sharp fangs with sharper tongues*

---

Ten years later.

The cave was still yours.

More velvet, more mirrors. You added a chandelier made of bones—just for fun. The boys came and went like shadows, still loyal, still wild. Dwayne stood beside you like he always had, arms crossed, eyes dark and loving. You were no longer the brat. You were legend.

And then *she* showed up.

---

You found her at the boardwalk—alone, lip-glossed, chewing bubblegum and side-eyeing tourists like she wanted to set them on fire.

Pink puffer jacket. Platform boots. Glitter under her eyes. Eyes that looked far too much like yours.

“She’s got an attitude,” Paul said, watching her steal a hotdog from a vendor without blinking.

“She’s got *potential*,” you said, smirking.

Dwayne raised a brow. “She reminds me of someone.”

“She reminds me of me.” You turned. “And I think it’s time for a protégé.”

---

You turned her that night.

She didn’t flinch. Didn’t cry. Didn’t even *ask* to be saved. She just held out her neck with a raised brow and said, “Make it quick, queen. I’ve got things to do.”

You bit her. She didn’t even *blink*.

Her name was Vanity. Fitting.

---

Vanity was chaos.

She flirted with David. Pranked Paul with glitter bombs. Called Marko a “grunge raccoon.” Dwayne… she left alone. (Smart girl.) But you? She followed you like a fangless kitten, mimicking your strut, stealing your lipstick, and one time, wearing your jacket without asking.

You threatened to stake her.

She smiled sweetly. “You’d miss me.”

…You would.

---

One night, she stood beside you on the cliff, heels wobbling slightly, fake fur coat blowing in the wind.

“You still think you’re the queen?” she asked, lips stained cherry-red.

You turned to her, raising a brow. “Do *you*?”

She smiled. “Not yet.”

You laughed. “Good. Stay hungry.”

She looked at you like you were the moon. “When you die—”

“—*If* I die,” you corrected.

“…If you die, can I have your throne?”

You stepped closer, cupped her cheek.

“No, baby vamp. You’re not gonna have my throne.”

Vanity frowned.

“You’re gonna *build your own*.”

---

And just like that, the next era of glam, blood, and bratty royalty was born.

Two queens. One kingdom.

And not a single man in Santa Carla was safe.

The End… Again.

---

[plumbbobtoggle]

Thank you for the ask @potential-fate and @landgraabbed ♥️♥️

1. Promesa by Rosalia & Rauw Alejandro (this one finally caught up to me a year later. I want to eat cherries with you? and climb every mountain? and swim naked and then sleep on the beach? and DRY YOUR HAIR AND EAT YOUR FACE?? AND TO REMEMBER ALL OF IT FOREVER?? 😭 I will never be over that relationship/artistic partnership)

2. Rhubarb crumbles (I'm going to try making a cobbler tmr)

3. The heatwave (I love the sunshine and the warmth I'm sorry! 😔)

4. sims 4 legacies? I've been reading Soju save and the Puffer legacy lately and they're so cute! They remind me of the OG s2 legacies from the 2000s. Truly we walked so that they could run

5. My aunt's fat lil dog

[real6lacktony]

Version:1.0 StartHTML:000000245 EndHTML:000072833 StartFragment:000051989 EndFragment:000072758 StartSelection:000052220 EndSelection:000072719 SourceURL:https://www.ssense.com/en-za/editorial/fashion/user-experience-moncler-mexico-city User Experience: Moncler Mexico City | SSENSE                           User Experience: Moncler Mexico City

Why an Equatorial Location Makes Sense

Text: Rebecca Storm

Photography: Rebecca Storm

In Milan in the early 80s, a fashion subculture emerged called the Paninari, the fulcrum of which was as much the sandwich bars the members frequented as it was the Moncler puffers they popularized. A panino is a fitting symbol for the Paninari—representative of hyper-consumerism, and the disintegration of slow, sit-down traditions in favor of fast consumption. A mainstay in the Paninari uniform, Moncler was the French seasoning to a wardrobe that otherwise demonstrated an allegiance to Italian heritage brands (Fiorucci, Armani, Superga) punctuated by emblems of Americana (Levi’s 501s, cowboy boots).

Traditionally regarded as a utilitarian garment, the Moncler puffer was implemented by the Paninari as pure aesthetic. Cropped, lacquered, and in vivid colors, it was the archetypal Moncler silhouette still so covetable today. Bold enough to celebrate their own cultural stalwarts while mixing in international brands, the Paninari—insofar as the realm of fashion—were making small steps toward a globalized fashion identity. Today, this ideal has become an increasingly aspirational goal for brands, in a fashion climate where doing one thing well has gone from a specialization, to a limitation.

When I arrive at the Moncler Store in Mexico City, the entrance is not flanked by the same greenery or cacti unwieldy in their abundance in the downtown core and its nearby neighborhoods—Roma Norte, La Condesa, Hipódromo. The neighborhoods where people who shop at Moncler in 2019 might choose to stay for an “authentic experience” in Mexico City. Instead, the Moncler store is in an upscale outdoor mall on the outskirts of the affluent neighborhood Jardines del Pedregal, a nearly 40-minute drive from downtown if you’re lucky enough to avoid the city’s notorious rush hour. The mall, Artz Pedregal, features fastidiously manicured gardens of grasses, rosemary and monstera deliciosa, with one escalator servicing all three levels of luxury shops. Everything is transported here for the purpose of convenience, rather than integrated into the surrounding civic landscape. Instead of an upgrade, it’s an add-on to the already affluent neighborhood.

The concept of a mall in 2019 verges on the absurd—seemingly a constructed utopic space that isn’t really rooted. In today’s infrastructure of commerce, it feels particularly like a space between spaces—an airport, or a platform at a train station. Nowhere anybody wants to be for long. A specter of retail. It’s all here, but do I need to be? Brands don’t need to be any particular place in order to sell, most especially if they aren’t offering any type of immersive experience, which Moncler in this case, isn’t. I enter the store and only then begin to question my decision to wear socks with my sandals, an endeavor to be “ready for anything” in a city of unfamiliar weather. Moncler echoes my attempt at versatility, with footwear, eyewear and clothing padding their selection of puffy coats, all of which I had little idea the brand manufactured. With a legacy hinging on consistently delivering one product well—the down puffer—the plethora of other options feels like an afterthought.

Moncler (a portmanteau for Monestier-de-Clermont, a mountain village near Grenoble) was established in 1952 by René Ramillon. In 2003, Moncler was bought out by the Italian entrepreneur Remo Ruffini, current president and creative director, instrumental in the brand’s makeover and its recent Genius Project. Moncler refers to itself as a “symposium.” The mystique of the lone creative director is pushed to the wayside in favor of multiple, this year featuring Simone Rocha, Hiroshi Fujiwara, 1017 Alyx 9SM’s Matthew Williams, Valentino’s Pierpaolo Piccioli, and Craig Green, among others. “The whole idea of Genius is to have many diverse voices under one roof—to talk to many different generations and groups, and to be inclusive,” reads the press release, titled “One House, Different Voices.” In this instance, inclusivity seems more conceptual, more in reference to the creatives designing the merchandise, rather than those it is marketed to. A paradox in which inclusivity becomes exclusive. The same could be said of the outdoor luxury mall. It’s easy to claim inclusivity through universal accessibility in an open-air space, even if the walls are high enough to block out the sun.

Eddie Bauer patented the quilted down jacket in 1940, after he nearly died from hypothermia on a fishing trip. Not traditionally an everyday staple, it has become one, even for those living in mild climates. Moncler originally manufactured sleeping bags exclusively—workers at the mountain factory in the early 1950s were the first to adopt something similar to a wearable sleeping bag to protect themselves from the cold. This caught the attention of mountaineer Lionel Terray, who was instrumental in popularizing the down jacket, collaborating with Moncler to test and perfect the garments over the course of the 50s. Finding myself in the house responsible for creating the Platonic ideal of the down jacket, I try one on, in a Paninari-style cranberry red.

“That’s the last one available in Mexico,” the salesperson tells me, “Maybe even in all of North America.” He asks that I try one on in “the same color as the sea,” and brings me a turquoise puffer, as vibrant as the ocean from a beach I will never wear it to. I am instantly cozy in my bag of feathers, but mildly bothered by the velvet material spread across the shoulders—a hindrance to its functionality. Of Remo Ruffini, the Moncler website says, “The strategy of the global down jacket is his brainchild.” I wonder what type of strategy leads one to set up luxury shop in a mall, in a country’s most affluent neighborhood, as an attempt at globalizing a jacket. It is the same strategy that condones a velvet applique on a garment meant for enduring the harsh elements. Perhaps it is simply an indictment of heritage brands bending over backward to create immersive retail experiences that aren’t exactly necessary. Sitting at an elevation a third the height of Mount Everest, Moncler’s seemingly absurd geographic location for this store should technically make sense. But what sense can we make of it from a cultural standpoint, beyond a fervent need to be accessible?

For the Paninari, synthesizing Moncler with Italian heritage brands lent itself to the curation of a global fashion identity: a regional representation of cosmopolitan knowledge, of world-wide influence. Just as Moncler Genius—with its many rooms, each housing a different creative—disintegrates tradition, in favor of bolstering its versatility and its expansion. The more markets Moncler aims to please, the further it gets from where it began. A display case near the front of the store contains a tiny metal sled, strikingly similar to the rudimentary sculpture by German artist, Joseph Beuys. Consisting of a sled carrying a folded wool blanket, flashlight, and lard, Beuys’ sculpture carried only what he deemed crucial for survival—where Moncler’s sled carries a pair of expensive sneakers. The sculpture points to the gap between heritage brands and their history of utility, the dissonance that occurs in a globalized model, as products are divorced from their design origin, from their function. If you relate to everything, you are nothing, just as that which is found everywhere is nowhere.

[jessicakehoe]

Canada’s Latest Fashion Exhibition Celebrates the Legacy of Retailer Milli Gould

I’m standing in front of a mirror wearing a bright pink silk Rochas top with a bow the approximate size of a giant corpse flower blooming from the right shoulder over sleek Akris trousers. It’s a far cry from my typical uniform of thrift store dresses paired with chunky boots. The woman responsible for the uncharacteristic outfit, clad in a stone grey puffer jacket with fitted black slacks, is Milli Gould. “I think you’re quite dramatic for such a tiny girl,” she explains.

Gould expertly removes the belt from the pants and arranges it on top, adding a second Dries Van Noten rope belt for an effect that’s not unlike Ikebana. Then she tops the outfit with a jacket-cape hybrid by Dice Kayek (it looks like something a sexy vampire might wear to the opera) and the effect is jaw-dropping. I look authoritative and powerful, artfully arranged but not fussy. Everyone in the room oohs and aahs at the transformation. I’m shocked that she’s managed to channel my entire essence through an outfit, having met me less than an hour before. “This is how I’d get you hooked. We’d start with the pants, and then the next time you would come and buy something else until you get an outfit. Then you come and want to buy the whole store,” she says.

This, right here, is the secret to her success. Fifty-five years ago, Milli Gould opened her eponymous retail shop in Hamilton, Ont., with a unique edit of hard-to-find European designers. (A Toronto location opened in 2004.) At the time, a handful of independently owned Canadian boutiques, such as Creeds and Ira Berg, dotted the Southern Ontario retail landscape. Today, Milli is one of the last remaining holdouts. As such, she’s the subject of a new exhibition at the Art Gallery of Hamilton titled Milli: A Celebration of Style, which honours Milli’s contribution to the Canadian fashion industry as well as her undeniable impact on many of her customer’s lives.

Walking through the exhibition is like taking a quick stroll through the last five decades of fashion history; a blaring sequin pantsuit from the ‘70s is juxtaposed nearby an austere grey skirt suit from the ‘90s. (Many of the garments on display are accompanied by delightful anecdotes about their provenance.) Curator Nolan Bryant hopes the exhibition will inspire people to realize that “fashion is something more than just what we cover our bodies with.”

Curator Nolan Bryant

Milli: A Celebration of Style is unique in that it’s the first museum fashion retrospective dedicated to a retailer rather than a specific designer. Bryant says that’s because, “Once an item leaves a store, its kind of just out there. What sets Milli apart is she is in constant dialogue with all of her clients.” He’s not wrong. According to her son Ben, Gould would sometimes would attend weddings or Bar Mitzvahs with her clients in order to make sure the outfit looked just right.

At age 86, Gould is the very picture of understated elegance, her still-chestnut hair pulled back in a dignified chignon, her long fingernails painted a tasteful shade of ballet pink and ears bedecked with diamond studs so large one wonders whether they’re costume jewellery or actual carats. Up until the very last moment before we sit down for an interview in the plush bohemian interior of her Yorkville store, Gould nimbly flits around the store, picking out items for a longtime customer. It’s clear that she’s in her element communicating through clothing as opposed to answering questions from a pesky journalist. Gould’s adult son Ben, who runs the day-to-day operations of the store, as well as Jane Apor, Milli’s director of retail strategy, are on hand to to help the famously reticent Milli answer questions.

Gould started her store in the wake of tragedy; she was pregnant when her husband and infant daughter perished in a house fire. Soon after, she opened her shop more or less out of desperation. “I needed money. My children were babies, we needed to have an income,” she said. She later remarried, to the business savvy Allen Gould, who was instrumental in the store’s success.

“In the early days I waited on almost everyone. So we would have a conversation, ‘how many children do you have? What do you do with your life?’ By the time they left for home, I knew which one cheated, which one didn’t.” Gould quickly amassed a dedicated client base who couldn’t get enough of her sharp, forward-thinking edit, not to mention her legendary restraint. “She’d come home from time to time saying, ‘I can’t tell you what happened today but I know more about everybody than you would actually want to know.’ She’s like a psychiatrist,” Ben adds.

Milli Gould and her son, Ben

Many of her customers made the trek to Hamilton from Toronto just to shop at Milli. Shopping was often a full-day affair for her white-gloved customers, so she served lunch on delicate Fornasetti plates, which are included in the exhibition. Over time, some of Gould’s customers became her closest friends.  Sandy Waldman, a lithe, well-dressed older woman (who ran the Sandylion sticker company from 1982-2010 with husband Lionel) who happened to be shopping at the store when I arrived to meet Milli says,  “Not only was Milli somebody I bought beautiful clothes from, she became a very dear friend.”

Coincidentally, the first dress Waldman ever purchased from Milli is one of the hallmark pieces in the exhibition: a gloriously ‘80s dalmation-dotted Peter Keppler number she wore to her son’s wedding in 1987. Milli used extra fabric from the alterations to cover a pair of shoes so Waldman would have matching pumps to compliment the dress. “The alteration charge was a lot of money, and I wasn’t happy about that. However, after I wore it, I realized: you can buy a dress anywhere, but it’s not everywhere they tweak the style of it so its perfect for you,” she says. “This afternoon, I’ve had the best time. Its not just the clothes, it’s the cameraderie. Milli is one in a million.”

From Left to Right: Sandy Waldman, Milli Gould, Unknown

Perhaps another element that may have contributed to Milli’s success were her rather unique marketing tactics. “When I would go out socially, a lady would say, ‘I love that suit you’re wearing.’ So I said, ‘Come on into the washroom, I’ll take it off, and you can have it.’” Gould says she spent many an evening dressed in her overcoat and nothing else.

Almost everyone I speak to, from the PR who arranged the interview to her son Ben, suggests that Milli is far less comfortable holding court in interviews than she is working in the store, which is why I’d asked her to pick me out an outfit. The Rochas and Akris outfit she’d first put me in comes off, and the next item she picks out is a lacy pink lacy babydoll dress that’s very Sharon Tate, which I have on for less than 10 seconds before for Milli commands her assistant to remove it. The offending pink dress, which I kind of liked but defer to Milli’s judgment, is swapped out for a long white Grecian sheath dress paired with an elephant printed cocoon jacket; it’s gorgeous, but doesn’t feel quite right. The third piece she brings out is an Antonio Marras dress that mixes three different floral prints and a plume of leopard print fabric protruding from the hip. It’s completely hideous on the hanger, but the transformative effect is instantaneous. Suddenly, I’m no longer a frumpy journalist prone to wearing baggy sack dresses; I’m a quirky artistic genius on her way to pick up a check from her high-profile gallerist.

To use a phrase from Sandy Waldman, I feel like ten million dollars.

Milli: A Celebration of Style

The post Canada’s Latest Fashion Exhibition Celebrates the Legacy of Retailer Milli Gould appeared first on FASHION Magazine.

Canada’s Latest Fashion Exhibition Celebrates the Legacy of Retailer Milli Gould published first on https://borboletabags.tumblr.com/

[rodrigohyde]

I Tested Out The Vincero Chronograph

I’m sitting in my favorite coffee shop the other day, nursing an oat milk latte, and banging away on my laptop, when this guy starts asking everybody—including the barista—if anyone wears a watch with Google Wear OS. ”I need to talk to somebody who wears one for a story I’m writing,” he says. Looks like I’m keeping good company, at least; but I couldn’t be of any help because I tend to lean towards “old fashioned” analog watches. It’s not that I have a problem with smart watches, but I like to wear my timepieces as expressions of personal style, swapping them out to suit my outfit or my mood. I figure I can always wear a heart rate monitor when I workout if I really need to know how I’m progressing with my VO2 max and just about everything else is already on my phone, so...what’s the point?

Related: I Tested Out A Boot Built For The Streets

That said, I’m pretty picky about what I wear on my wrist everyday. I like matching the strap or bracelet to my shoes or work bag . Like a lot of guys, I do have a sort of “uniform” that I wear all the time—white, navy, gray, or black with black bags and accessories. When asked if I wanted to test out a timepiece from Vincero, I picked The Chrono S in matte black because it stands out the way it’s supposed to: it’s sophisticated and modern, and minimalistic in a way that makes a luxurious design statement.

Vincero Chrono S in Matte Black

Vincero Watches

$159.00 at VinceroWatches.com

The Review

Pulling the Vincero out of the box felt pretty good right away. The weight was substantial, but not heavy . The case was grand without being gratuitous. You know what they say about first impressions, so we’re off to a great start.

I wore the Chrono S out the first day to an agenda full of meetings and a business dinner where I had to be dressed a little more on the formal side. The chronograph looked great with my classic white dress shirt, navy blazer, and dress pants...a great complement to my black leather folio. I definitely felt like I was holding my own against some of the guys in the room who were working Rolexes and Apple Watches.

The next day I was back to the coffee shop and had a few more casual appointments, so threw the watch on with a navy T-shirt, jeans, and a puffer jacket, where it proved to be a sporty match. What was also awesome was that I could use the stopwatch function at the gym to time my rest between sets, and it looked great with my usual black shorts and a tank top.

What Stood Out

The watch face is impressive. I was initially struck by the handsome watch face and case. The matte black finish is clean and refined, combined with silver and white markings that make it quite easy to read. The date window is placed at an unexpected, almost playful angle on the face.

There are nice options for the band. The top-grain Italian leather band maintains the graceful good looks, with a rich, textured effect. There is also a matte black steel bracelet, and mocha or tan leather straps to change up the look that can be purchased separately.

It’s got a hidden inspirational message. Before I put it on, I flipped the Chrono S over to reveal a hidden surprise: the back of the watch includes Julius Caesar’s famous quote in Latin, “Veni. Vidi. Vici. ” a nice thing to keep in the back of my mind as I start each day. Vincero’s brand message, “Live your legacy,” is also inscribed for further inspiration. A slice of historic Italian marble incorporated into the case is a final, exquisite touch.

My Verdict

I’m impressed. Vincero manufactures its watches in small batches, like a fine whisky, so the team can hand check every unit. That kind of care showed through the final product, and yet with that quality and attention to detail, the price is still quite accessible. The Chrono S features a Citizen Miyota Quartz movement, a sapphire coated crystal face, and is water resistant up to five atmospheres. I didn’t test that out because I didn’t want to hurt the leather band, but would love to take it into the pool if I get the steel bracelet.

I also just liked the Vincero story. Like a lot of people their age, the founders found themselves graduating into the worst recession in years, so they went to China and started a watch company . After learning some lessons, they turned their focus to creating uncompromising value, offering a luxury experience at a reasonable cost. In this watch fans opinion, they’re doing a great job.

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from Style channel http://www.askmen.com/style/watches/i-tested-out-the-vincero-chronograph.html

[deathbypufferfish]

wait, help, I forgot who Emi is! is she Haru's bestie?

Yes! She's his day one bestie 😋🤞

[titoslondon-blog]

New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.co.uk/martin-margielas-paris-exhibitions-celebrate-his-personal-legacy-and-skill/

Martin Margiela’s Paris exhibitions celebrate his personal legacy and skill

An elegant camel coat is pitted against a white wrap-dress, stained with shocking-pink blotches. The alliance between the noble French house of Hermès and the disruptive Belgian designer Martin Margiela seems an unlikely combination. But in Paris, two separate exhibitions—at the Musée des Arts Décoratifs and the Palais Galliera— are looking at the iconoclast from Antwerp.

The decision to show Margiela’s work at the Musée des Arts Décoratifs, newly shortened to MAD, was encouraged by Pierre-Alexis Dumas, artistic director of Hermès and president of the museum. “We want to make the museum more exciting and appealing, especially for the new generation,” Dumas said, as he stood amid the crowd of visitors, looking at the ripe fruit of a six-year design relationship between the noble French house and Margiela, from 1997-2003.

The iconoclastic designer, who has never shown his face to the fashion world, is known as the king of the undone and the recycled—and a revelation of what lies beneath. His exceptional skills can be seen in Margiela: The Hermès Years, which runs at MAD until September 2, after transferring from the Mode Museum (MoMu) in Antwerp, Belgium. His talents also tell a fascinating fashion story—especially in relation to a simultaneous Paris exhibition at the Palais Galliera, curated by the “invisible” designer himself.

At this exhibition, the 20 years of Margiela under his own label are not only displayed, but each procedure is explained by the designer, with the support of the museum and its outgoing curator, Olivier Saillard. An example of the Belgian designer’s work are the ‘Tabi’ shoe-boots he created with two toes, and an entire collection in 1997, literally built exclusively on his Stockman dressmaker’s dummy.

At MAD, the most dramatic effect is the colour, that juicy orange of Hermès shown against the white of Margiela, who painted every item in his studio stark white—from floor to ceiling—and even asked his staff to wear white lab coats.

But the noble brand and the imaginative designer are not always so far apart. Using the deep ‘V’ neckline of the Vareuse—once a French sailor’s jacket—the designer’s work for Hermès can look streamlined, graceful and well-suited to the women of a certain age, who appear in videos as lively exhibits.

Some of Margiela’s Hermès pieces look almost like haute couture, for example, coats with a semi-transparent silk cover flowing over fine wool for protection. Other offerings have the bizarre Margiela touch, as in a ‘glove story’ using nothing but unmatched pairs to construct a slender dress. In a similar way, the designer used a collection of engagement rings worked in thread to make a silvered gown.

Margiela never speaks publicly. But having talked to him at length when the exhibition was first presented at MoMu in 2017, I still had vivid memories of what he said—especially when he told me that he wanted to show work that had languished for years in cold storage at Hermès. “The memory was lost,” he told me, explaining that his two decades of creation, 1989-2009, just missed the smartphone and the internet era.

Now that there are two ways to look at the designer’s work, at MAD for his Hermès period and at the Palais Galliera for 20 years of his own creations, I have to ask the question: will the real Martin Margiela please stand up? And I am not even starting to think about the fact that John Galliano has now taken over at Maison Margiela, playing with the same issues of plastic, at its most fantastic, and the entire subject of what lies beneath those sheltering clothes.

The story of Margiela’s Hermès is easy to define. It is about a modern elegance, de-sexualised, with a fresh take on traditional French style. “Fluid is a word we often used—it had to hang off the body,” Margiela told me. And the effect of oversize, which he started around 2000, is evident in his own work.

Critics of the time felt that Margiela could and should have grown Hermès faster and further. During his tenure, he took the iconic Hermès’ hand-rolled scarf and used that technique to edge blouses and tunics. He also played artfully with logos and identity, creating in 1997 a way of button stitching that produced the subtle ‘H’ motif.

Yet he never experimented with the famous Hermès patterns on headscarves and neckties, although he played with hand-printing in his own label, extending the patterned effect on legs and arms.

Spread over a generous space, the MAD exhibition includes short films of the Martin Margiela shows—including the famous 1990 presentation held on scrubland on the outskirts of Paris, where local kids joined the parade. Only just after he had left his job working for Jean Paul Gaultier in 1987, Margiela already showed symbols of his personal style. Clothes apparently worn inside-out and his early use of transparent plastic were in stark contrast to the glamorous style of the over-the-top 1980s. Margiela was clearly forging his own fashion path—a full seven years before he started designing for Hermès.

Kaat Debo, director of MoMu, who was instrumental in the original exhibition, rejoiced in its move to Paris. “I am proud and very thrilled to have this show in Paris, the fashion world’s capital,” she said. “It’s an honour to have Martin’s oeuvre here. I really think he deserves it. And for us at the museum, it is always a joy to travel and see it in a different place and different context.”

“But if you really want to understand Martin, you have to see both shows,” Debo continued. “At Galliera, there is an excellent overview of his own brand. And here at MAD, we see how he translates his DNA for another house.”

The second exhibition, Margiela/Galliera 1989-2009 (on view at the Palais Galliera through July 15) is unique—and not because his name is scribbled in ink at the entrance to the grand building. It is rather the words printed on the exhibition pamphlet: “Artistic Director Martin Margiela”, it reads, above the name of Alexandre Samson, the director of Contemporary Collections.

In an exceptional collaboration, the Belgian designer was in a position to write his own history—or rather to show how he developed his fashion aesthetic in direct contrast to the extravagant 1980s, when he started his career working with Jean Paul Gaultier. From his early training at the fashion school of the Royal Academy of Fine Arts in Antwerp, he used his knowledge to deconstruct garments, revealing the hidden sewing skills behind linings, stitching and shoulder pads. He even had his mother knit an openwork sweater using broom sticks, adapted dolls’ clothes to create giant Barbies, and produced oversize clothes so enormous that they were twice the normal shape.

“He never used the word ‘recycling’—it was giving life to pieces he liked, and he loved vintage,” Samson said. “We chose the silhouettes together to make the collection he loves.”

That included a huge American mannequin from 1936, which Margiela used as the foundation of his oversize collection. Other original moments in the 1990s included the artisanal dress made from four separate 1940s outfits, and for autumn/winter 1994 when he selected five groups of garments to show in shop windows in France, Japan and New York. A later elaboration in the new millennium was to have two trench coats assembled to have four sleeves.

Having attended Margiela shows in the weirdest places—one in a ghostly, abandoned underground Paris metro station, where I never managed to open the entrance door, and had to view the clothes afterwards—I have many memories and an understanding of what made the designer so utterly original.

Margiela took us to extraordinary venues, from under an ephemeral cover in the wasteland on the outskirts of Paris to a Salvation Army depot. In 1992, the ‘set’ was not one, but two divided areas; one where everything was shown in white, the other in black. The passion with which Margiela’s followers collected his clothes is shown at the Palais Galliera in reconstructions of the compact apartments of Japanese fans who dedicated their small living spaces to their idol.

Looking at the exhibition leaves the impression that Margiela pioneered great things. In 1999, he made an entire collection out of old duvets—anticipating by a decade the fashion for padded puffer coats. His oversize outfits appeared just at the fashion moment devoted to skimpy, body-clinging outfits.

Saillard, the former director of the Palais Galliera, was the instigator of the exhibition back in 2017, when, he says, an interest in Margiela had blossomed again because of the work of Demna Gvasalia, another alumnus of the Antwerp school, who led the design team at Maison Margiela before launching anti-fashion brand Vetements and then designing for Balenciaga.

“When I met Margiela, the idea was to do an exhibition through an exhibition—showing the clothes from each collection as a personal and fashion retrospective,” Saillard explained, saying that the only designer who had shown the same passion for a museum show was the late Azzedine Alaïa.

And from Saillard, a final wise comment, as we looked at Margiela dresses cut horizontally, instead of vertically: “Young people coming here should understand that the problem of creating new fashion is not about a lack of money, but of imagination.”

1/10 Martin Margiela autumn/winter 1995 collection inspired by dolls (left), Hermès (right)

Image: Getty

Martin Margiela autumn/winter 1996 show

Image: Getty

Martin Margiela autumn/winter 1997 collection

Image: Pierre Antoine

Martin Margiela autumn/winter 2000 collection

Image: Pierre Antoine

Maison Margiela spring/summer 1992 collection

Image: Pierre Antoine

Martin Margiela autumn/winter 1989

Image: Palais Galleria

Martin Margiela spring/summer 1993 show

Image: Getty

Martin Margiela spring/summer 1998 show (left), and on display at the Palais Galliera (right)

Image: Getty

An installation of Martin Margiela's spring/summer 2009 collection at the Palais Galliera (left); runway look (right)Martin Margiela spring/summer 2009 show (left), and on display at the Palais Galliera

The post Martin Margiela’s Paris exhibitions celebrate his personal legacy and skill appeared first on VOGUE India.

[deathbypufferfish]

why did ilya and haru decide to move to henford on bagley?

A couple reasons!

They are both quite introverted, especially Ilya, and are more comfortable having a small group of friends, so the small town life made sense for them.

Ilya has always had a passion for plants and flowers. I didn't show it well enough, but he had a lot in his dorm room. They hope to open a floral business together 😁

Haru is making money by being a freelance composer. Which is going terribly for me since songwriting is BROKEN in this fucking game. So it didn't matter for his career. He basically moved to Henford for Ilya 😭

Eventually they want to expand the flower farm and buy this old, dilapidated farmhouse. Also because they are already planning on having a big family. (Fucking guess what number of kids I rolled. GUESS.)

Also I forgot to show their current house so I'll post that later too weeee

[deathbypufferfish]

42 & 47 for the ask game 💕☺️

42. Do you have a playlist for them? Gimme??????

Heheheh YES. But it is very much outdated since I made it in the beginning of their relationship.

47. How did they meet?

Haru hit him with his bike 💗

[deathbypufferfish]

📩 Simblr question of the day: It's time to appreciate the small things! What's a small detail from one of your posts that you love? Could be a small tattoo on a sim, specific clutter in a sims' room, a little detail in a render or screenshot, whatever is applicable to you

I'll do a couple things! :

Sibel used to wear this shirt of Oscar's as pajamas

Miyu's orange tattoo on her leg is meant to match with Nina's strawberry tattoo

Sibel and Marinella still wear their friendship bracelets

Naz and Nina were born in the 80s, and Naz is from Tartosa!

[deathbypufferfish]

Waiittt, Haru is doing the bending? but I thought-

HELLP

It's true, Haru Terzi is a switch. Plus it was Ilya's first time so Haru took the lead. Haru likes to take care of Ilya and Ilya loves to be taken care of. Someone tuck that guy into bed and give him smooches fr 💗

[deathbypufferfish]

Hiiii puffer!!

14, 15 and 22 for Ilyaru please 🤗

14. How does their personal styles differ? Do they share clothes?

Haru wears a lot of dark academia-esque stuff still but with more of a country feel to it now. Ilya dresses a lot more practically and prefers basics. Haru steals Ilya's shirts to sleep in all the time but Ilya wouldn't fit in any of Haru's clothes lmao

15. How do their past relationships (or lack thereof) affect their current relationship?

Haru had a lot more experience than Ilya when they started dating since Ilya hadn't dated anyone for real before him. He had all his firsts with Haru. Also in my own canon Haru slept around a lot more than we saw in my gameplay LMAO.

It definitely affected their relationship more in the beginning, since Haru slowed down a lot for Ilya, but having that special bond makes their relationship really strong. Slowing down was special for Haru too.

22. What do they bring out in each other?

The worst 💗 JUST KIDDING. Ilya definitely softens Haru's personality a bit and Haru makes Ilya more confident and outgoing!