#silk white

[gordonstanheight]

literally can’t stop thinking about this ridiculous clip from all i want is you 2 (2023) like……. thank you tubi

[fashionsfromhistory]

Dress with Two Bodices & Matching Fichu

c.1865

France

The MET (Object Number: C.I.69.33.9a–e)

[nappi]

this movie is holding me hostage and making me draw fanart send help

[mustasekittens]

get his ass cindy

[creme-delacrem]

[sluttyambitions]

The Satin Fox

[a-state-of-bliss]

Eartha Kitt by George Silk (1955)

[diana-andraste]

Silk, Ruth Bernhard, 1968

[fashionsfromhistory]

Evening Dress

c.1900-1907

United States

New Canaan Museum & Historical Society

[benisbeaaaaans]

are you still planning on including the other Beasts in your au? If so, could you explain their dynamics with their respective Ancients?

thanks!

Since I have been getting a lot of questions about this, figured I'd give a proper and straightforward answer lol.

Yes! The other Beasts all have at least some bearing on their corresponding Ancient.

It's sort of like this; the Ancients were 'born' the same day that the Beasts were locked away, their bodies that the positive halves of the soul jam still controlled originally tasked with bringing them as far away from Beast Yeast as they could. This was also immediately after the battle between the Faeries and the Beasts, all of the Beasts having been injured in varying severities. I've already partially depicted this with Rock Salt Cookie(Silent Salt's original name in my au).

All of them survived, yes, but again, have varying levels of involvement in their 'children's' lives. Blueberry Milk Cookie is objectively the most involved, later becoming a close advisor to Pure Vanilla Cookie when he ascended to royalty. Silk Flour Cookie is a priestess in the Dark Cacao Kingdom, and holds so much influence that Affogato Cookie had to frame her to imprison her during his attempted coup, for fear of her finding out and letting slip to the cookie she raised that he was in danger. Cayenne Spice Cookie is similar to Burnt Cheese Cookie right now, guarding the mines, only a bit more lax and- well, alive, known for referring to Golden Cheese Cookie as "Little Bird". Crystal Sugar Cookie hasn't been seen in the Hollyberry Kingdom for centuries, but is spoken highly of by Hollyberry Cookie, apparently being a very soft and warm mother before her disappearance after the Dark Flour War. Rock Salt Cookie has been mute ever since he arrived in the Lily Village, something of a hermit, watering flowers at the request of the matrons, and smiling whenever White Lily Cookie is brought up. He does not know about Dark Enchantress Cookie's connection to his daughter.

[burntpink]

Angel Wisp set in Crème by Mirror Palais

[heavenpureheart]

[bebemoon]

autumn beach house .

alberta ferretti pearl-white silk dress, a/w 2oo1

chloé "sea treasures" shell minaudière in gold metal

la ma r ".o17" bay scallop two-pronged shell hair combs

giardino benessere "salaria" eau de parfum (kelp, sea breeze, myrtle, black currant, sea salt, italian lavender, calabrian bergamot, cuban cedar, musk, sandalwood)

the row white crochet fabric ballet flats, c. 2o24

[callie-dragons]

i saw this accent and IMMEDITALEY gened up a g1 I had lying around in my hibden. she suits it perfectly and I am obsessed.

[fashionsfromhistory]

Tennis Dress

1885-1888

United States

It gradually became more acceptable for women to participate in sporting activities throughout the second half of the 19th century. Clothing requirements for most sporting remained strict towards retaining foundation garments such as corsets and bustle, which were thought to stabilize women's frail and weak forms. This example would have been worn for tennis, yachting or general seaside walking. Striped textiles were fashionable for such activities, probably due to the nautical theme and their jaunty air which inspires vigor. Although the silhouette remained the same, with the exception of the shorter, more maneuverable length, the trimmings were reduced. This is a striking example of this type of dress, which is fairly rare in museum collections. The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.

The MET (Object Number: 2009.300.2477a, b)