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lordeasriel · 6 years ago

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fashion recap: his dark materials

hello there! once again i am procrastinating instead of doing things i should be doing, but nonetheless, i’m here today to rant about the fashion choices we’ve seen in the trailers so far. i am, by no means, a fashion expert, i’m more like an aesthetic enthusiast (and as a former literature major, i over analyse everything), and i’m just here to say some of my thoughts on the outfits in general.

i apologise for any definitions of outfits i may have gotten wrong, but writing in english about clothes is tough lol special thanks to @parslow and @cozcat for their help when getting some of the clothings names because my english knowledge does not fare that well.

also, a side note (two, in fact), i talk a lot about colour in here, but something i’ve noticed is that some of the editing makes the same outfit look differently in different scenes, so i’m just pointing out how i see the colours, so it can be divergent in some places and although i did some editing in the photos, i didn’t mess with saturation or vibrancy, only brightness and contrast. another thing, i did my best to make sure the detail were visible, but in some cases the quality of the images were reduced drastically, so sorry for that too. there’s also a chance the read more is broken on mobile, i did all that i could to avoid that, but it keeps on happening and i don’t know what else to do, i’m sorry. here we go:

LYRA’S FASHION JOURNEY

There has been this subtle similarity between the outfits Lyra wears in the show and the ones she wore in the movie, and I think that’s nice, especially how they drained away what they didn’t like about the movie outfits and stayed with what they liked, toning down so it matched their ambiance. The show is, by no means, pale, in fact, it is quite vibrant when we actually look at it, but Lyra stands out beautifully in her colours, be it blue, grey or red.

On Jordan, we see a casual and carefree Lyra, a child used to running around the campus and playing on the roofs, but a kid that was raised in a somewhat backwards society. In Lyra’s world, women do not wear pants under most circumstances, for example, and despite her extremely feral behaviour, Lyra’s fashion abides closely to the social rules.

She wears a red pinafore dress (very similar in tone, perhaps a bit less bright than movie!Lyra) that keeps her feminine label on, visually. Underneath, however, there’s this blouse in a very light sea-green, almost a neutral tone, with a very simple yet delicate print on it.

It’s almost like a coarse fabric, simple, we can see the folds it has and it’s a very large piece of clothing, if we consider it’s very loose on her arms and on her neck. She’s not portrayed as tomboyish (thankfully! the term in itself is very odd) and it’s clear she dresses to be able to play and to run wildly through Jordan in a way that’s comfortable.

We can’t see much, but she also wears white socks and boots or boot-like shoes. Her entire outfit feels as if her clothes were donated to her, such as the boots that don’t seem to be for children, the over-the-top large socks and the blouse; the only thing that seems to fit “correctly” in Lyra is the pinafore dress. Her whole look, even the short, messy hair, screams “neglected child raised by servants when they have time to look after her.” That’s a very Lyra-y mood.

We only see this outfit once, but I’m mentioning it here because it really made an impression on me. This is a dress she wears, apparently, for her dinner with the scholars and Mrs. Coulter. I’m guessing it’s a dress because they wouldn’t dress her any other way for a dinner of such importance. It’s a simple, very worn-out dress, in the most unflattering colour they could possibly find and it also feels like she got it from one of the servants, who got from one of their cousins, who got it from one of their siblings. Her hair is brushed and she looks tidy, in an unflattering dress that is buttoned up to her neck, which I think suits the whole thing (her mother is with the Church and is a fashionable woman, so they wouldn’t dress her in a way Mrs. Coulter could point out as disappointing or inappropriate, although the outfit wouldn’t be to her taste). It’s often pointed out how difficult it was to keep Lyra clean and tidy, and how much effort it was put to keep her good looking for Mrs. Coulter and I love what they’ve done here. Mrs. Coulter died a little when she saw her child in that outfit.

I love Lyra’s dress for the Arctic institute lunch, the patterns are beautiful and colorful, in pastel tones, but still inside the palette. It’s a looser dress, with shorter sleeves, and her hair still hasn’t been done in a more fashionista way, so this is a point of transition, where we still see Jordan’s Lyra while she slowly is falling into Mrs. Coulter’s Lyra and the way their outfits relate is just… it’s just so beautiful. I particularly like the collar, and I did some quick research, apparently it’s a peter pan collar but I can’t be a hundred percent sure of that. We see blues and light yellows/browns, dirty pale pinks but no reds, as if Mrs. Coulter is washing Lyra with bleach hoping to not make the girl a sinner (as in being a worldly woman, if that makes sense, not the fact that Mrs. Coulter wanted Lyra to kidnap children with her - that’s not sinful, that’s entrepreneurship lol).

For all that is worth, Lyra’s outfits tell great things about her as her story progresses. In London, she is slowly being shaped by Mrs. Coulter, turned into a doll and manipulated into her little pet project, and we see it on many levels, but mostly and more importantly, in the way she dresses. The blue satin dress is by far the most glamorous of Lyra’s outfits and it echoes Mrs. Coulter in many ways, from the colour to its cut. The fabric is similar to shot silk, producing a fierce iridescent aspect to it and much like Mrs. Coulter’s, her dress goes a few centimeters below her knee. It’s a high neck collar, and the sleeves go up to her elbows, it’s a demure look, almost church-like if it wasn’t for the flamboyant fabric. It’s like seeing Mrs. Coulter’s imprint all over her, twisting and tainting her child. Lyra never loses her childish appearance though; although the dress feels a bit mature, her shoes bring back a boarding school innocent-like aspect to her, the white socks that are up to her ankles adds to her looking young. She never seems to wear any sort of jewelry too, when compared to Mrs. Coulter who relies on extravagant rings and earrings, or delicate necklaces.

At this point, Lyra is already tired and worn-out, probably because of her confinement to a London apartment. Her hair is done in a tidy, classic way, in a style similar to Nicole Kidman’s Mrs. Coulter (and I did some quick research, it’s inspired on 20s/30s hairstyles), which gives her a certain air of… aristocracy? Maybe a certain flair? One way or the other, when we see her in the mirror, beside a reasonably dressed Mrs. Coulter, it’s easy to notice how she is being manipulated and moulded into her “employer’s” image. Because she is young, her hair is shorter than Mrs. Coulter’s (or the other women) and her dress is longer and definitely less revealing. She evokes the image of children who are forced to behave like tiny adults, you know? These traits in her outfit are opposites for Marisa’s green dress.

When she finally runs away, the dress has some tweakings, around the neck and her waist. They’re frilly, childish and girly embellishments (?), further visual proof of Marisa puppeteering Lyra to shape into her model daughter, washing away any sights of common folk/servant clothings or less feminine pieces.

She is in the distance here, so we can’t sort out many details, but it’s a simple, navy blue/deep dark blue, with a spread collar. It looks very angular, we can almost see the folds with precision, and she wears the same shoes as in the gala dress, with the same white socks, so I’m guessing this happens after she tries on the gala dress (or they’re just using the same shoes, which further scenes seem to back up). Her hair, plus the rest of the outfit, make her look so tiny and childish, with its short sleeves showing what’s left of her carefree mindset, which is so pleasant because that way she fits so well in the large apartment, trapped there whether she knows it or not, slowly becoming something she is not, yet. The white bag contrasts nicely against her dark dress, it stands out. I loved how they mirrored Lyra and Marisa, how their colours echo each other, especially when they live together. It’s creepy. @parslow pointed out the same mirror pattern in her post about Lyra’s fashion in the movie, and it’s honestly the best thing they could do, not only because it makes sense that Mrs. Coulter and Lyra dress similarly due to Mrs. Coulter’s meddling, but also because it shows how they are similar in general. Even as Lyra leaves her mother, their colours and outfits still relate to each other.

The cut on the purple dress is, wow. Look at how we can see the wrinkles (?), how angular and super straight it is. That horrid peter pan collar is a monstrosity on Lyra, when we think of that wild girl running through Jordan, in loose and second-hand clothes, this outfit is a cage on itself. Now she looks like she frequents a Catholic school and it unnerves me. The collar is delicate and chaste, and quite a contrast with the dark purple of the dress. It’s possible to see she wears the same shoes with the purple dress, and there is also a white detail on her sleeves, that also go up to her elbows.

We’re working with partial imagery here, but there’s a lot to say about Lyra’s gyptian clothes. This is after Lyra leaves Mrs. Coulter and once she is with the gyptians, she returns to her original behaviour: proud, careless, picking comfort over glamour. The blouse makes a comeback in a nice pattern, and the red colour from the beginning. Note that she never wears red when she is with Mrs. Coulter, a colour that is often associated with sin and hell, but once she is away from her controlling proxy parent (lol James McAvoy), the red makes a comeback on this shirt and later on her hat/cap/hood.

She wears a blue, denim overall, but I’m guessing it’s another pinafore dress since she doesn’t wear pants or so we assume (I’m not revising all of this, but recent behind-the-scene photos showed us Lyra in very loose pants, so maybe she moves on from her conservative world in season 2, but it’s also possible she wears pants here). So this is a mix of her original look, in darker colours, with a deeper red in a more simplistic pattern. Her outfit comes from the gyptians themselves, who suffer a lot under the tyrannical gaze and influence of the Magisterium, so their fabrics are of lesser quality, their colours are darker but less saturated, their clothing is focused on practicality over extreme quality. Her hair is back to loose and messy, as it was before. Her shirt is just as loose on her neck as the green/neutral one was too, as if it’s borrowed from someone larger than she is (maybe it’s from Billy or Tony, or even some gyptian girl - it’s a tough guess).

I accidentally forgot about this outfit lol but there isn’t much left to say about it. This is Lyra’s uniform from Bolvangar, and this is likely the cabin scene because of the lighting (it’s the same as Asriel’s shots with the blue lighting and the evil talk). Once again, Lyra makes a change of outfits, and once she is back to her actual journey, she has another pinafore dress/overall. This is thinner and is clearly worn-out, but considering she left Bolvangar and got stranded n Svalbard, it’s interesting that they made the choice of giving her another set of overalls. This one matches in colour the blouse underneath, except it’s darker, and the cold tones maker her stand out in the warm lighting of the room.

LORD ASRIEL’S “LESS IS MORE”

I was joking recently about Lord Asriel and his one and only sweater, but truth be told, this isn’t a man who either can afford to or would like to have a varied wardrobe. Asriel is a man that worries about theories and philosophy, he couldn’t care less about what shirt he is wearing and the show seems to get that nicely, and he also doesn’t have much money. As far as we can understand, this is his arrival at Jordan, he has a large bag and an aviator-like jacket, that doesn’t look very formal or indicative of his title. His sweater and shirt are in dark tones, along with the jacket, but he wears warmer tones than the other scholars, who wear dark (if not black) but colder tones. (Except the master and his burgundy gown and that dude with the red stripe (?) like, please sir, I am trying to make a point!). Compare him to Boreal, for example, who is another Lord and the discrepancy is loud and clear, through fabric, cut and style.

He dresses more stoically and more adequately, but we can still see his entire outfit is a bit rough and messy, like Lyra’s. It’s possible to perceive how he stands out amongst the scholars, especially because in the books, he even says to Stelmaria, “There’s probably some ancient etiquette that allows them to fine me a dozen bottles for coming in here dressed improperly”. So although he still is well-dressed, he doesn’t fit in as he should.

Despite mocking his only sweater, he does change his shirt after what I’d say is post-meeting with the Master. He is agitated, eager to leave, and he now wears a light-blue shirt with a darker red tie; he either took a bath or it’s a continuity problem, either way he still has a sweater lmao but this time it’s grey and not a desaturated navy-blue (and closer to the one in his shots in the cabin). Something I noticed about the navy blue sweater scene is that the greys in his hair also seems blueish, so I’m willing to bet he doesn’t necessarily change his sweater and the colour difference is happening because of colour correction on that particular scene. I noticed that the sweater doesn’t look blue anywhere else, so it’s a possibility, but I’m still rolling as if he has two sweaters.

I’m not joking lmao I swear he has like two outfits, three if we take the winter gear into account, which is just him probably wearing a coat over - guess what! - his second (or his first, I don’t know anymore) sweater. He looks messier here, this is the grey sweater, but it looks darker than his second one, but also less blue. My theory is that he lost his clothes during the flood lol He does seem to be wearing a jacket over his sweater, but that seems to be made of the same fabric or something similar, and its collar is larger than the original sweater. It makes sense, though, since he is the middle of Svalbard.

MRS. COULTER’S FASHION ODYSSEY (I mean it)

If there’s a person who needs to be dressed appropriately, that person is Mrs. Coulter. From what we have seen, she arrives at Jordan during daylight in a silky trench coat-style, but there is also a darker scene where she is dressed the same way (from my point of view, I can’t really be sure it is the same outfit) and we can see the Master blurred when she is rising from her chair (I had to cut him out of the photo because of the zoom in, but he is there). I mean, we’re talking about a woman who would NOT wear the same outfit two days in a row, it’s why I’m guessing these happen in the same day, she probably intimidates the Master before having dinner with him and Lyra, because by the end of the dinner he is already aware she wants Lyra. We can see she wears a small, delicate gold necklace, in both these scenes, and I find her coat to be very slick and it has that silky glow to it that fits her so well. It’s flamboyant and nonchalant at the same time, if that is possible.

She comes in a very formal (I’m tempted to even call it frilly) and demure outfit, her heels look simple and humble, black (@cozcat pointed out they could also be navy) and basic, if there was ever anyone brave enough to call Mrs. Coulter basic. She wears a velvet/suede jacket over her silky dress and in the earlier teasers it was hard to notice it, but here we can see it. Then we have Marisa walking down the hall, and a much closer shot where we can see how ABSURDLY detailed the jacket is. There is a very, very flamboyant embroidery with tiny gems all over, in colours that vary from light-blue, turquoise, yellow/golden, and there is some hint of pink and purple, if not red and @cozcat also pointed out there is some beading in it. It’s a very detailed pattern, one that we can see from a distance and that screams “Extra” and “wealthy” from a woman who tries to dress in a very demure manner. It’s beautiful and classy.

The golden necklace, however, is gone or at least we cannot see it, but she wears the same jacket (it’s possible to see the embroidery slightly blurred) on the scene she is speaking to Lyra for what it looks like it’s the first time. There’s something so charming about the way the collar is set, the entire look is very Church-like in my opinion, and I think the colour is just so beautiful and it suits Ruth’s complexion perfectly. (There is also a divergency in colours here, in some scenes the outfits are closer to aqua blue/light teal and in other it’s closer to a deep, dark and saturated blue, but I’m guessing this has more to with lighting other than colour correction).

Here is likely moments before Lyra and Mrs. Coulter leave Jordan College, their creepy dialogue is about Roger, probably. Mrs. Coulter wears an actual trench coat, over her light-blue dress, and she is more earthy toned this time. It’s a very simple outfit, probably a change of colours to make her more relatable to Lyra before London. She still wears her wedding ring, apparently, we can see the gold band in that scene here and when she touches Lyra’s face. After some research, @cozcat found out widows tend to wear their ring on the opposite hand to indicate their status, so maybe that’s what they tried to achieve here, after all she still uses her married name, so it would make sense for her to wear her ring as a widow.

We can see the blue dress underneath the trench coat when Lyra and Mrs. Coulter arrive at her apartment (I tried zooming in, but I basically destroyed the image, so no pictures here). By what I could see, this is the same dress from the scene where she attacks Lyra, or it shares the same colours at the other one at the very least. It seems Mrs. Coulter is carrying a bag on this scene, perhaps they went shopping and this is their arrival, since Lyra wears the same outfit as she did in Jordan and we know a least a day passed between the dinner and their voyage to London.

This is a beautiful, simplistic and classy dress, with a low cut v-neck. Mrs. Coulter entire wardrobe has been toned down quite nicely as opposed her version in the film - hell, even her version on stage. This is a darker, slightly more down to Earth Mrs. Coulter (I’ve stated this multiple times, but it doesn’t hurt to say it again). She doesn’t need to exhale glamour here because her apartment does it for her; hence the softer fabrics, the lighter, pastelish colour, the modest pattern and the minimalist accessories.

Most of her dresses have been below-the-knee length, and I did some research, this is recurrent on 1940s fashion. I like how simple and straight this dress is, her delicate goldish watch (it looks like a watch, anyway) and the subtle necklace are beautiful additions to it all. She also seems to be wearing earrings, but it’s hard to say if they are also golden. Her shoes are also very simplistic, a high heel in snake skin in the most neutral colour she has worn so far. I like the pendant on her necklace, it’s delicate and it resembles a compass rose (or windrose or whatever it is called, I found multiple terms) which makes me quite happy. It’s an ode to her scholarly aspect, and despite her entirely demure and subtle outfit, her jewelry is made of gold. That alone speaks volumes.

I’d like to just make a remark on Mrs. Coulter’s dress in here, because we don’t see it again in the trailer: it’s about the same length as the others, with a slightly similar cut, her v-neck remains and so do the accessories. It’s so minimalist I find it insulting lol but it’s beautiful and very classy. Her sleeves are shorter here and with frilly details, though, and she has a thin belt in snake skin or something similar, that helps make the dress more shape-defining. Storywise, I believe this is the point where Lyra begins to distrust Mrs. Coulter, so they don’t have to conceal much of her nature. She seems less virtuous and demure, she shows more skin, even if she is just with Lyra and two random women. Actually, there seems to be an exponential situation when it comes to showing more skin as the story progresses: the closer we get to Mrs. Coulter’s reveal as “the villain”, the less demure she looks, the more skin we see, concerning her London appearances. (She can’t show her shoulders in the North because, you know, it’s cold).

The amount of thirst generated by the green dress is beyond human understanding lmao It’s honestly the most beautiful outfit Mrs. Coulter wore this far in the trailer, but I’m guessing this is the most Extra she is going for this season. A great deal of her outfits, as far as we’ve seen have a more classy, stoic and chaste approach, even though is all just a ruse to deflect people’s attention from Mrs. Coulter’s nature, be it her shameless seductive behaviour or her nasty temper. This dress has us all fucked up beyond all reason, says @cozcat, and I wish sometimes I could disagree lmao It’s a beautiful cut, the fabric in itself is gorgeous, it’s lustrous and reminds me of satin. The colour is beautiful, it really makes her pop, but I honestly think they should have made it copper or gold, it would really make her stand-out and as Ruth is a brunette, warm tones are just a beautiful match. But the green and gold are classic complementaries of each other, and the embroidery on her collar (?) is just one of my favourite things. It’s pretty yet very simple, and very similar in patterns to her blue jacket from the beginning.

We can’t see its length, but I’m betting on below-the-knee length, as the others, and while talking to @parslow we thought that dress seems to be open in the back. This is the most revealing outfit so far, and if it really is open in the back, even if just slightly, there’s a nice contrast to the long and loose sleeves; it’s a way of her compressing her true intentions and nature. This Mrs. Coulter conceals herself in her wardrobe, plain and simple. Her hair is just as it was before, and there is no necklace here. Instead, she trades her gold watch and necklace for a very big middle finger ring (which I love, by the way, it’s one of my favourite ways to wear rings) and it’s dark gold, similar in saturation and brightness to the embroidery on her dress, and so it’s her earring. For all her simplicity before this moment (this is likely the scene where Lyra runs away), this entire outfit is a change of personality in how Mrs. Coulter is translated to the audience. At this point, Lyra knows she is no saint, in fact she is quite the opposite, so she dresses in a more flamboyant way (also for the party), with lustrous fabrics and exuberant jewelry, honestly, Iorek Byrnison saw that earring from where he was, I can tell you that. Her colours are darker, more vibrant, including the nail polish that becomes a rich dark red as opposed to her vibrant red one when she tells Lyra children just disappear. (They don’t, Marisa, mind your business.)

Now for the red sweater, I have to say, I’m eager to know what kind of pants she is going to wear, because I doubt that outfit is a dress and I doubt they are going to make her wear a skirt in the snow. In the movie she wears a long dress and boots, but they favoured fashion over realism, and the show seems to be going the other way around. It’s why it makes sense for her to wear pants, in my opinion. Mrs. Coulter in red is just sinful, literally and metaphorically; it just suits her to wear red. I love the turtleneck style, and it looks like the sleeves are up to her elbows too. There’s just something beautiful in portraying overly sensual women in demure outfits, because it shuns away that idea that someone needs to be revealing to be sexy and that’s nonsense. And adding to Mrs. Coulter being an agent of the Church, it just fits her character to dress in a more chaste way and still fuck around like she does. Her entire persona is a façade and it can be read through her fashion. We can see the gold ring on her finger again, and she also wears golden earrings, I couldn’t identify if they’re the same as the other ones she wear, but it’s possible. (Except for the green dress one, since that one is bigger).

Lastly, it’s the Royal Arctic Institute outfit, I see it as either a two piece suit or a dress and a matching jacket (would that classify as a two piece? I don’t know, I did some research but found nothing conclusive). This whole scene is beautiful, the colours all harmonise with each other, and Marisa’s light blue, almost teal, it’s breathtaking, I really love that colour on its own, but on her it just… glows. There’s a slight shimmer to the fabric and the fluffy collar gives her an air of quirkiness and sweetness it feels uncanny for someone who knows her entire arc, but translates beautifully how she is seen by most people.

PAJAMA PARTY

Here’s one of my favourite things so far: from all the teasers and trailers, we get to see Mrs. Coulter twice in pajamas, different ones at that. The first one is the white, silky pajamas that she wears in the teaser. It has a strip/ribbon around the waist, tied in a similar way to the blue one, but this one feels more angular, as we can notice on her shoulders and how her arms feel like straight lines from the cut of it. She mirrors Lyra’s pearl pajamas when it comes to fabric, but her outfit seem more like a nightgown, as opposed to Lyra, who wears a two-piece pajamas, with buttons and a spread collar. Her pajamas also feels like a robe, I like how slicky it is.

The second pajamas Mrs. Coulter wears is the dark blue one, in the same fabric or similar to the white one, slightly lustrous. This scene is probably after Lyra left, so her colour palette is consistently getting darker and with more vibrant colours. She seems to fit better in this one, which is a simpler piece of clothing than the white nightgown and it’s just visibly more comfortable, and more suitable to her personality. It’s as if she is finally allowed to be herself at her own home because Lyra is no longer there.

THE WINTER GEAR

We can see almost Lyra’s entire outfit from all of the scenes and it is bulkier than the movie version, clearly intent on keeping her warm in the North, which is, you know, the point. The red colour goes to her hat and gloves, in deeper tones, but not as saturated, yet quite visible and these two items are what make her stand out in Trollesund’s white ambiance. She wears a yellow scarf, in a very mustardy tone, and her coat is similar to Mrs. Coulter’s, as in the same details and the same colour, I dare say even the same cut. Asriel’s seems a bit darker, but it’s probably also the same beige, neutral colour. But Lyra’s coat resembles John Faa’s coat more, especially the clasps (?) in front, while Mrs. Coulter’s coats relies on buttons and a thick belt, which is a more feminine choice.

As Lyra goes to the North, saturation is left behind, traded for darker colours and neutral ones, as if to blend in with the landscape, but the colorful items really make her pop and it’s a nice way to identify your main character without trying too hard. She wears a very robust pair of boots, and we can see she has very thick socks (?); her pants are also very thick and of second-hand fabric, but it looks warm. Her red gloves have nice, colorful patterns, and underneath her coat we can see she wears some sort of blue sweater or maybe a cardigan (we can the tip of her sleeve in the square).

There’s nothing special about Asriel’s or Marisa’s winter gear, they both seem to wear similar coats, Asriel’s is a bit more rustic, but probably because it’s tailored for a man or because he got it in the North instead of Brytain. He also has goggles, which is honestly too cool for me.

A REMARK ON HAIRSTYLES

Taking into consideration what we’ve seen so far, Marisa’s hair stays the same throughout the first season. It’s a beautiful hairstyle, very classy and demure, but it’s the same. Asriel’s hair changes in length but I wouldn’t say it changes much in style. Lyra is the only one who suffers from a change during her time with Mrs. Coulter, then she returns to her old Jordan style. They seemed to have gone opposite to the movie: while Mrs. Coulter had shorter hair there, indicating maturity and she also had a constant 20s/30s hairstyle of a glamorous woman of that time, and Lyra had longer hair, curly and loose all the time, the show goes the other way around. Mrs. Coulter has longer, more voluptuous hair, that takes longer time to get done and it’s always done in an impeccable hairdo, while her daughter has a shorter, playful and childish hairstyle, that it’s easier to wash, brush and to keep tidy for her uncle’s visits, whenever necessary, because it is a necessity.

BOLVANGAR’S COLOUR PALETTE

This is just a quick note; the nurses all wear aquamarine blue and white caps, while the children wear light-teal pajamas, in soft and thin fabric. Lighter tones, especially blues, tend to mean innocence and purity, which is why all of Bolvangar’s victims wear variations of blues and light colours (light teal for the actual victims which is the children, darker blues for the brainwashed nurses who are also victims, in a sense). We can’t see the doctors, but I’m guessing they wear grey or black, which is a neutral position, underneath the white coat (that means purity, in this case a false purity to cover their darker, shady intentions), while Mrs. Coulter wears a deep red outfit, which is a colour associated with sin, wrath and hell, as I mentioned before, but also fierceness, passion and lust. A quick reminder that Mrs. Coulter also only wears red after Lyra is gone, and she also wears red in a Magisterium building, like, come on, that had to be intentional. They put a sinner dressed in red in the middle of a religious building where everyone is dressed in black (she is also besides a priest lol).

I also wanted to talk about Mrs. Coulter and her red outfit, but because it’s so distant, we can’t see much, so I’d rather wait for better footage than just ramble about her red hat now lmao.

And this is it. I only focused on the main trio because they have more footage and I’d rather have more on Lee and the gyptians to have more to talk about. Sorry for the long ramble lmao give Lord Asriel a new sweater 2k20 (please make him wear a linen shirt with rolled up sleeves, i never asked for any fucking thing).

#his dark materials #bbc his dark materials #fashion recap #this accounts every outfit for the main trio in every trailer and teaser #i left out lee and the gyptians bc there's little footage #and lee wears mostly leather i didn't have much to talk about it #i liked it but it was very nonchalant #but i intend on talking about him and the gyptians and even boreal and the church once we have more footage #i'm sorry for the long post #if you've read it i hope you enjoyed it #i welcome comments and all of that i really like talking about the meaning of colours and stuff #also when we have the show i will gif all of this so lmao

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behind-the-screen-of-bangtan · 5 years ago

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Concept photo for Map of the Soul 7

← Back to Map of the Soul 7

Release date: 10-13 February 2020

Facebook albums: version 1, version 2, version 3, version 4

Instagram posts: version 1, version 2, version 3, version 4

Twitter: version 1 (x, x), version 2 (x, x), version 3 (x, x), version 4 (x, x)

Episode of the Jacket shooting sketch

Photo Sketch #1, Photo Sketch #2, Photo Sketch #3

Outfits and accessories: Jimin in version 1, Jimin in version 4

Bangtan bombs filmed on the sets:

3J Unit Photo Shooting behind

For the first time, the jacket photos in this album are not in a book but in the form of a pile of sheets of paper, folded in two. First, there are group pictures, then solo pictures accompanied by one picture of a subunit and a group picture again on the last page. Version 4 is a bit different, you can find the details below.

Version 1

According to the press release, this concept represents “the white swans’ ‘desire for perfection’” (src).

White feathers float around the boys. There are 14 in the group photo and some in the solo photos:

4 feathers: V (he has one more on his outfit), Jimin

3 feathers: Jin, SUGA, RM, Jung Kook

2 feathers: j-hope

In their solo pictures, some of the boys are exactly at the same place: Jin and RM sit at the same spot, same for SUGA and j-hope.

In the album, the pictures appear in the following order: group - JH - RM - SG - JK - JM - J - V - group. The subunits are JH/RM/SG, JK/JM, and J/V.

There’s one solo picture in which the members have a supplementary accessory:

SG, RM: thorn collar

V: thorn bracelet

JM: white branch

J, JH: feather

Version 2

This time the concept illustrates “black swans with an ‘unquenchable thirst’” (src).

In the album, the pictures appear in the following order: group - JH - RM - J - SG - JK - JM - V - group. The subunits are JH/RM/J, SG/JK, and JM/V.

There’s one solo picture in which the members are on different sets

J, SG, JH, JK: cobweb and strings

RM, JM, V: black liquid, V also has heavy black makeup around his eyes

Version 3

“A sense of calling and will” is the theme of version 3 (src).

In the album, the pictures appear in the following order: group - JH - JK - JM - RM - SG - J - V - group. The subunits are JH/JK/JM, RM/SG, and J/V. However, the subunit picture next to RM solo pictures shows RM, Suga, Jin, and V together.

The set for this version reminds still life paintings. This type of paintings could be seen in the VCR of the 5th Muster, Magic Shop.

Version 4

With this last version, BTS “show their true selves” (src).

Version 4 has the particularity to have two kinds of subunits:

Subunits on the same page as the solo pictures, with the boys hugging: JH/JM, RM/JK, J/SG/V

these pictures are in black and white, with one color: red for j-hope and Jimin, yellow for the others

Subunits with the boys playing together: JH/JM, RM/V, J/S/JK

The members appear in the following order: JH - JM - RM - JK - V - SG - J. The different subunits pictures and the group pictures are mixed in between the solo pictures.

#BTS #Map of the Soul 7 #Concept photo

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marienela · 5 years ago

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Courtesy Of CHANEL

Chanel dazzled an eager crowd with its Fall/Winter 2020 collection. Fashion patrons that covet the brand’s dazzling designs and sumptuous materials have, since the passing of Karl Lagerfeld, held their breaths for change. Would it be warranted? Exciting? How would the new Creative Director Virginie Viard infuse change? It’s been a few seasons since then, but for the first time, it appears we’re seeing a new direction woven into the brand’s historic DNA.

Upon arriving at the Grand Palais, guests followed winding, tiered paths of white seats with black trim. Once the attendees were seated, models jaunted down a mirrored floor and around the bending pathways, parting through light footpaths of fog. The first of several pieces in the new line seemed to be born of pure romanticism—something out of an edgy, feminine fairytale.

“A very simple, very pure momentum. Romanticism but without any flourishes. Emotions but without any frills,” jotted Viard in the collection notes.

Luxe looks of jockey silks, jodhpurs, and suits were all punctuated with eye-catching jewelry. Collar and chunky chain necklaces featured a new cross design, dangling with colorful gems and the brand’s iconic logo. Brooches adopted a similar style, and belts and notable neckless matched other accessories’ colors with chains and woven leather.

The new collection also presented looks fit for the effortless woman who has her pulse on what’s been cool for ages, and what’s cool right now. A of black wide-leg leather pants with snap side closures is paired with a black sweater featuring a cross made of blush pink, deep red, chalk white, and green “gemstones” in various textures. Above, a cross necklaces dangled in the same colors, overlapping what appears beneath in.

The matching tweed jacket and skirt combination returns, this time with an elongated ruffle bib collar up top and a high slit on the below-the-knee skirt down below. Black boots are folded over, revealing a brown leather lip on the other side; large black bows hold the hair in a half-up-half-down style; and a handful of new necessities and accessories—including tights, hats, bags, and the aforementioned belts and jewelry—complement all looks.

In celebration of the new line, the Dutch photographer duo Inez & Vinoodh created three short films to highlight the elevated looks. Starring Margaret Qualley and Rianne Van Rompaey, the films show the subjects’ faces fading in and out of light, playing with transparency and the allure of Chanel.

“I love Chanel so much, this collection could only be a new ode,” added Viard.

Courtesy Of CHANEL

CHANEL Fall 2020 Chanel dazzled an eager crowd with its Fall/Winter 2020 collection. Fashion patrons that covet the brand’s dazzling designs and sumptuous materials have, since the passing of…

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stoweboyd · 7 years ago

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Left versus Right Becomes Up versus Down

The global political order, based on neoliberal global trade, derrgulated markets, and disintegrating social supports is falling off the rails. Instead of a basic dynamic of left versus right, the people most disenfranchised by the past thirty years of inequality -- the 'left behinds' -- are rejecting the dichotomies and dialogue of the past, and we see the emergence of a pre-revolutionary polarization of the rural versus the metropolitan, the have nots versus the haves, the downs versus the ups. Even Thomas Friedman sees it:

Thomas Friedman, The End of Europe?

The core challenge for both the U.S. and the E.U. is the same: These rapid accelerations in technology and globalization have brought many more immigrants into many more remote corners of their societies — public housing in Paris today is dominated by immigrants — at the same time as many long-frozen social mores have changed — like acceptance of gay marriage and transgender rights — and as average work no longer returns an average wage that can sustain an average middle-class lifestyle.

The middle classes that powered the growth of the U.S. and the E.U. in the 20th century were built on something called a “high-wage, middle-skilled job.” But robotics and artificial intelligence and outsourcing and Chinese imports have wiped out a lot of middle-skilled routine white-collar and blue-collar work.

Now there are high-wage, high-skilled jobs and low-wage, low-skilled jobs. But high-wage, middle-skilled jobs are vanishing, leaving a considerable cohort of people with stagnant incomes and burning resentments at the globalized city slickers who they think look down at them and have mastered the nonroutine skills required for a high-wage job today.

When you simultaneously challenge all these things that anchor people — their sense of home, their job security, their prospects for growth and the social norms that, for better or worse, defined their lives — and then amp it all up with social networks, you can get a really ferocious blowback, as France’s president, Emmanuel Macron, saw across his country.

Friedman still thinks Macron's policies were sound, that he 'dared to do the right things to unlock growth in France, at the right time', instead of being a tin-eared and aloof technocrat with no sense of the situation in la France périférique, peripheral France, the country out there beyond the big cities where the EU is a threat not a rallying cry for unity.

Christophe Guilluy is a political theorist who has advanced the concept of peripheral France -- and in really, the concept of the peripheral class across the West -- and suggests that we will see the emergence of populist leaders who have no legacy in the left or right, who declare the necessity to align down versus up.

In the US, Alexandria Ocasio-Cortez has openly described this shift, and the Yellow Vests in France, Brexit mess in the UK, austerity pushback in Italy, all of these presage the rise of a 'from the bottom' popoulist who can coallesce the frustrations and anger of the Peripherals. But in the meantime,

France today has a leader with no followers and an opposition with no leader | Michael Mandelbaum.

When that opposition -- in France and elsewhere -- finds that leader, what will happen?

#commentary #politics #the peripherals #up versus down #right versus left #yellow vests #macron #france #France périférique #christophe guilluy

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roxi-rose · 6 years ago

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Personal style

Dear roses, I have fashion news from Femmeluxefinery.co.uk

Below are my picks (click on the images to shop them) or simply follow the article:

Grey Side Split High Neck Ribbed Knit Dress – Tara

Add some sleek style into your new season wardrobe with this Grey Side Split High Neck Ribbed Knit Dress. Featuring white contrasting sleeves and collar to make this block design ultra cool and relaxed…

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mycryptoposts · 3 years ago

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Singapore Police Probe Hodlnaut for ‘Possible Cheating and Fraud’ #cryptoposts #crypto #usa #business #money #success #cryptomarket #money #bitcoin #forex #investment #millionaire #wealth #invest #trading #cryptocurrency #investing #finance #forextrader #financialfreedom #crypto #investor #blockchain

#BITCOIN

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outfitandtrend · 3 years ago

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[ad_1] As POPSUGAR editors, we independently select and write about stuff we love and think you'll like too. If you buy a product we have recommended, we may receive affiliate commission, which in turn supports our work. Jennifer Lopez is manifesting summer with looks that exude a sense of freedom. On Sunday, the singer stepped out in a short, navy-blue denim dress for lunch with her fiancé, Ben Affleck, and her mother, Guadalupe Rodriguez, in Malibu, CA. The leg-baring style was Gucci's Denim Mini Dress ($2,100), which was instantly recognizable from the silver horsebit hooked under the collarbone — a code of the Italian fashion house. Made from cotton, the design features a preppy polo collar decorated with enamel buttons and a box-pleated skirt. Lopez styled it with tan-colored, open-toe platform heels featuring clear straps, adding height to the ensemble, as she is known to do. Her wavy hair was parted in the middle, falling past her shoulders to clearly display her silver hoops and sunglasses with purple-tinted lenses. As for her other accessories, a silver watch and a large Christian Dior Book Tote ($3,800) — embroidered with a latte multicolored astrology motif — finished her semidressy designer look. Meanwhile, Affleck looked a bit more formal in a white button-down shirt worn under a black blazer and styled with black jeans. Lopez's mom, who sported white jeans and a palm-print blouse, accessorized with a white Chanel lambskin quilted bag and held onto a Gucci shopping bag. A few days before, Lopez showed off another summer-ready look in a white nap dress for a mother-daughter lunch outing with her 14-year-old, Emme. She styled it with the same Dior tote bag, suggesting this could very well be her new bag of the season. With its pastel color scheme and spacious structure, it's not hard to see why the actress would wear it on repeat. Scroll to see Lopez's latest street style moment and to re-create her look on a budget. window.fbAsyncInit = function() FB.init( appId : '175338224756', status : true, // check login status xfbml : true, // parse XFBML version : 'v8.0' ); ONSUGAR.Event.fire('fb:loaded'); ; // Load the SDK Asynchronously (function(d) var id = 'facebook-jssdk'; if (d.getElementById(id)) return; if (typeof scriptsList !== "undefined") scriptsList.push('src': 'https://connect.facebook.net/en_US/sdk.js', 'attrs': 'id':id, 'async': true); (document)); [ad_2] Source link

#FASHIONSTUDIO

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cherrytoss · 7 years ago

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“ y’kiddin’ me --- right?! ” The younger male asked, trying his damnedest not to stomp his foot on the ground like a toddler. It was childish, but he was just SO annoyed. “ Apologizing every two seconds ain't gonna get you anywhere --- in fact I’m even MORE pissed at’cha now ! ” Shoving his hands in his pockets, he let out a quick tsk before muttering, “ Fuckin’ white-collars. ” // @melancholicuss sc

#melancholicuss #🎲 || IN THIS TWISTED GAME OF LIFE ; IC.#this is really vague but I hope it works for you h #if you need anything fixed let me know

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eiway2003 · 7 years ago

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Is Fraud Part of the Trump Organization's Business Model?

Is Fraud Part of the Trump Organization’s Business Model?

What, precisely, is Donald Trump’s the same old thing? The Trump Organization is strange in that it doesn’t seem to do a similar thing for long. It was a manufacturer of condos for the lower white-collar class, at that point a developer of extravagance structures and lodgings, at that point a gambling club organization, and, most as of late, a brand-permitting firm, pitching its name to anyone…

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#Donald Trump #Trump #Trump Organization #Trump Tower

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giagomez · 4 years ago

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메이저사이트추천 - How To Win Using the Shimmy

If it is possible to play Caribbean Stud Poker in multi-player table (live or on-line) then the opportunity to peek other players’ cards can affect strategy decisions and reduce the house edge a little bit. However the optimal strategy in this situation becomes very complicated and the casinos usually forbid exchanging information between players. https://en.search.wordpress.com/?src=organic&q=우리카지노계열 Casino-goers come from all groups of the population -- 55 percent have some college education; 45 percent have white-collar jobs, 25 percent blue-collar; 17 percent are retired. To win the jackpot, you’ll need to get dealt a royal flush in any suit. Should you be so lucky, you’ll immediately win 100% of the jackpot. If you get a straight flush, you’ll get 10% of the jackpot. Vegas being Vegas, the city turned the horror show into a business opportunity, promoting the detonation times via official Chamber of Commerce calendars touting Atomic Bomb Parties and offering special "atomic cocktails" at casino bars.

Still standing as a cinema classic, Rain Man features blackjack, casinos, Vegas and card counting all-in-one. Half the suits use reverse ranking for their pip cards. There are many motifs for the suit pips but some include coins, clubs, jugs, and swords which resemble later Mamluk and Latin suits. Caribbean Stud Poker is a lot of fun, and usually the other people playing at the table with you are social and some of them are even inebriated. It’s a game worth playing if you like slow, social card games where you don’t have to compete with the other players at the table. This bet can give the house as much as a 26.5 percent edge. Stick to the optimum strategy for the best chance to get ahead of the game and walk away when you find yourself up 10 winning hands or more.

Tips seem less frequent at the roulette wheel. If a player folds anything less than A, K, J, 8, 3, they can expect to give up a 5.3 percent house edge. Other common strategies include raising when one of the dealer’s up-cards matches (5.3% house edge), raising on a pair or better (5.4% house edge), raising on A, K or better (5.7% house edge). The Player pick up their cards and decide if they wish to ‘Bet’ or ‘Fold’. The Player are reminded that they are not permitted to talk or communicate while looking at their cards. In number ranges from 1 to 10 and 19 to 28, odd numbers are red and even are black. In ranges from 11 to 18 and 29 to 36, odd numbers are black and even are red.

That is, a $10 hard six both ways means the player is betting $5 for himself and $5 for the dealers that two threes will come up before a seven and before any other six. The core difference between the more traditional variants of poker and Playtech’s Caribbean Stud Poker generally surrounds the deal structure and the setting. There is a structural difference between UK and US experiences of Caribbean Stud poker. The single biggest difference between Playtech’s Caribbean Stud poker and the traditional variants of the game surround the betting edges.The house edge, defined by the game, is 5.224% whilst the marginal edge is a 2.3% advantage towards to the objective of winning through an Ace/King card hand. The players' disadvantage is a result of the casino not paying winning wagers according to the game's "true odds", which are the payouts that would be expected considering the odds of a wager either winning or losing. For example, if a game is played by wagering on the number that would result from the roll of one die, true odds would be 5 times the amount wagered since there is a 1 in 6 chance of any single number appearing, assuming that the player gets the original amount wagered back. However, the casino may only pay 4 times the amount wagered for a winning wager.If you think that your hand will beat the Dealer and you must make another bet that is double your original Ante. If you do not want to play the hand, you must Fold by placing your cards face down on the table and the Dealer will take your Ante Bet.

63 card pack: in addition to the usual 52 cards, all suits have 11's and 12's and red suits have 13's; the 63rd card is a joker These cards are made in Australia and the USA for playing the 6-player version of 500. The expectation can be calculated for a single decision or for an entire strategy. Other states that have legalized VLTs in racinos are Delaware, Rhode Island, Louisiana, New York, Ohio, and West Virginia.At any time, a player may wish to take any bet or bets out of play.

This has led some to start collections of pachinko balls with various designs. Unlike old-fashioned pachinko machines that offer a full payout or a kakuhen for any type of jackpot earned, these machines require players to hit a kakuhen jackpot with a certain probability in order to get a full payout. Its technique was established by Aimé Gabriel d'Artigues. Many of its workers under Mr. Roland-Gosselin in the 1950s were awarded the title of Meilleur Ouvrier de France. 우리카지노 A large number of these casinos were located in off-shore tax havens such as Antigua and Gibraltar, and many have been criticized for their lack of supervision by any regulatory authorities.

As the number of rounds increases, the expected loss increases at a much faster rate. This is why it is impossible for a gambler to win in the long term. It is the high ratio of short-term standard deviation to expected loss that fools gamblers into thinking that they can win. These are typically "Place Bets to Win". From when to take your turn in any given game to what to wear to what’s acceptable and what’s not, casino etiquette is an art in itself, and there’s a casino subculture with its own set of rules.The true odds are 17:1 and 35:1, resulting in a house edge of 11.11% and 13.89% respectively.

All of Japan's pachinko parlors were closed down during World War II but re-emerged in the late 1940s. Pachinko has remained popular since; the first commercial parlor was opened in Nagoya in 1948. The Labouchère System is a progression betting strategy like the martingale but does not require the gambler to risk his stake as quickly with dramatic double-ups. If the player requests the Come odds to be not working ("Off") and the shooter sevens-out or hits the Come bet point, the Come bet will be lost or doubled and the Come odds returned.The alleged "World's Smallest Casino" doesn't even have an address.

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stoweboyd · 11 years ago

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Pew releases AI, Robotics, and the Future of Jobs

It's been quite a few days.

The Pew Research Internet Center released their AI, Robotics, and the Future of Jobs report this week, where we were asked this question:

The economic impact of robotic advances and AI---Self-driving cars, intelligent digital agents that can act for you, and robots are advancing rapidly. Will networked, automated, artificial intelligence (AI) applications and robotic devices have displaced more jobs than they have created by 2025?

I was prominently quoted on the first page:

The full quote is this:

Stowe Boyd, lead researcher at GigaOM Research, said, "As just one aspect of the rise of robots and AI, widespread use of autonomous cars and trucks will be the immediate end of taxi drivers and truck drivers; truck driver is the number-one occupation for men in the U.S.. Just as importantly, autonomous cars will radically decrease car ownership, which will impact the automotive industry. Perhaps 70% of cars in urban areas would go away. Autonomous robots and systems could impact up to 50% of jobs, according to recent analysis by Frey and Osborne at Oxford, leaving only jobs that require the 'application of heuristics' or creativity...An increasing proportion of the world's population will be outside of the world of work---either living on the dole, or benefiting from the dramatically decreased costs of goods to eke out a subsistence lifestyle. The central question of 2025 will be: What are people for in a world that does not need their labor, and where only a minority are needed to guide the 'bot-based economy?"

I've been interviewed several times about the report --- by the AP, various newspapers, and others --- and its been quoted all over, as in the NY Times, Fortune, and Forbes. Here's an example from CIO:

Steve Rosenbush, The Morning Download: Facebook,Yahoo Developing New Models for Data Protection

AI, robotics, and the future of jobs. With Watson angling for the corner office, no job is safe from automation. Are the robots coming to take our jobs? The Pew Research Center recently asked nearly 2,000 technologists what the employment landscape will look like over the next decade, as artificial intelligence and robotics continue to gain ground. The experts, who included CEOs, tech journalists, Internet pioneers and researchers at tech vendors, are divided almost 50-50 on whether AI applications and robots will displace more jobs than they create. Some foresee more income inequality and more blue and white-collar displacement. "The central question of 2025 will be: What are people for in a world that does not need their labor, and where only a minority are needed to guide the 'bot-based economy?" wonders Stow Boyd [sic], lead researcher at GigaOM research. Others are more optimistic, citing humanity's ability to bounce back. "Technology will continue to disrupt jobs, but more jobs seem likely to be created," said Jonathan Grudin, principal researcher for Microsoft MSFT -0.30% Corp. So the short answer is that the jury's still out on whether we're heading towards a breakdown in social order or a new era of techno-based entrepreneurship. Someone should ask Watson what it thinks.

Interesting that the business publications, like Forbes and Fortune, were more interested in my predictions about robot sex partners than the impacts on work:

Robotic sex partners will be a commonplace, although the source of scorn and division, the way that critics today bemoan selfies as an indicator of all that's wrong with the world.

One thing that has been made clear in the fallout since the report was published: there is a sizable contingent who --- like me --- are convinced that increasing automation will lead to a large reduction in employment, and there appears to be an equally vocal group that believe that either new work will arise that only people can do or governmental controls will be put in place so that people will be employed whether we need them to be or not.

The authors of the report, Aaron Smith and Janna Anderson, characterized the various positions of the hopeful (52%) and the concerned (48%):

Key themes: reasons to be hopeful

Advances in technology may displace certain types of work, but historically they have been a net creator of jobs.

We will adapt to these changes by inventing entirely new types of work, and by taking advantage of uniquely human capabilities.

Technology will free us from day-to-day drudgery, and allow us to define our relationship with "work" in a more positive and socially beneficial way.

Ultimately, we as a society control our own destiny through the choices we make.

Key themes: reasons to be concerned

Impacts from automation have thus far impacted mostly blue-collar employment; the coming wave of innovation threatens to upend white-collar work as well.

Certain highly-skilled workers will succeed wildly in this new environment---but far more may be displaced into lower paying service industry jobs at best, or permanent unemployment at worst.

Our educational system is not adequately preparing us for work of the future, and our political and economic institutions are poorly equipped to handle these hard choices.

I've been asked by Aaron to appear at the Pivot Conference this October to speak on this theme.

At the time that the telephone switch was being developed, projections showed that all the women in America would have to be telephone operators in the next 20 years to handle the growth of telephone use. Now the number of telephone operators is functionally zero. Yes, those workers transitioned from that work to other occupations. If 85% of other occupations are either eliminated or disrupted out of existence, and all that remains is a narrow suite of domains where AI and robots can't play because of insufficient creativity or human emotion --- like improvisational jazz, playing Go, or nursing the sick --- we will hit a wall.

It's hard to imagine that our economy can respond to this challenge as quickly as our technologies can make it a reality. We're still living in a world where women are paid 87¢ for every $1 that men make, and women have been in the workforce for a hundred years. Culture is slow but technology's fast.

I tweeted earlier this week:

Or, how will unemployed people eat? The level of unemployment we have now is the new normal, not temporary @mertinsantos @pewresearch

--- Stowe Boyd (@stoweboyd) August 6, 2014

#writings #robots #ai #the future of work #pew research

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