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rogue-rook · 7 years

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many highlights from The Eleventh Hour from a first-time TAZ listener

featuring bits from Lunar Interlude III: Rest and Relaxation

oh god is this lunar interlude a goddamn ASMR experience

are carey fangbattle and killian dating?

i’m almost 100% sure griffin said “fisticups” instead of “fisticuffs”

griffin: “okay, you spend the next few weeks learning from carey” oh, okay griffin, i see, we’re taking the LAZINESS route on this campaign now. maybe there were some good snorlaxes to catch on that route or something, but now we’ll never know!

a semi-incomplete list of words that griffin has made up during TAZ: “cruft, geezers creezers, and scrumbled” except scrumbled was stolen from justin

my first thought when i realized taako and sweet ango were going to be spending this interlude together was “oh no taako is about to just bully the goddamn earwax out of sweet ango”

I JUST REALIZED ANGUS MACDONALD IS 10 GODDAMN YEARS OLD. where are his parents??? he had a grandpa who died, right? who’s taking care of him? did lucretia kidnap him to illegally “employ” THIS LITERAL CHILD at the bureau of balance??

WAIT IS LUCRETIA HIS MOM?

taako just called sweet ango “agnes”

THE UMBRA STAFF JUST TOOK CONTROL AND BLASTED “LUP” INTO THE WALL AND IM LIKE LUP!!!! ITS LUP!!!

the Hole-Thrower is a goddamn genius object but i wish it wasn’t just for “non-magical, non-living” things bc i wanna see taako throw a hole into an enemy

magnus: “i want a black mastiff” griffin: “but you know, theres’s no dogs on the moon!”

the grubby grifters went over budget at the fantasy costco and griffin's voice like animorph-style changed into garfield the deals asshole‘s voice and im like. uncomfortable

travis: “i’m now a level 8 fighter and a level 2 rogue” “which i think makes sense for magnus bc you’re a protecting guardian but you’re also kinda a nasty boy on that battlefield”

the grubby grifters are the only bureau employees not to be super choked up about boyland’s death and im like “hey maybe you assholes shouldn’t have tried to desecrate his crystalized corpse”

WIVES AND HUSBANDS AND STUFF

if the voidfish is either nice or neutral, then it singing to magus is adorable

if the voidfish turns out to be evil, then it singing to magnus is super super ominous

the director: “avi had to miss boyland’s rites of remembrance” merle: “i didn’t know that was an option"

names suggested for the woven gulch before griffin decided that: dry bones, gucci gulch, the taint, the devil’s taint, ravine, gulch, the blasted lands, the not-blasted lands, the flavor-blasted lands, the grandd canyon (not a typo), the taco bell grande canyon, the arid waste, tattoine

all the grubby grifters: “SUMMER LOOKS! SUMMER LOOKS! SUMMER LOOKS!”

taako: "thanks garfield, can we leave now?" "I WISH YOU WOULD"

sweet ango has to launch the grubby grifters down to the woven gulch and he’s so terrified and im like ango, they should be more nervous, they’re yOUR BULLIES!!

magnus: “we don’t have to mean EVERY time!” okay, magnus, that’s rich coming from you, seeing as you’ve been the worst to angus

travis: “you as the DM didn't remind your players” griffin: “oh i didn't know this was a baby game for CHILDREN”

magnus: “what it we just didn't attack them this round and just saw what they did?” merle: “WHO ARE YOU??”

griffin: “it's kind of rustic” magnus: “FINALLY, MY RUSTIC FOLK HERO THING WILL WORK AND PEOPLE WILL LIKE ME!!!”

“by their sacrifice, our home is made safe” WHAT THE FUCK!

griffin: “where the robe it, it has been stained or oxidized, turning it a bright crimson red" "oh.....like...the bad guys...” YALL THAT’S SO. THAT’S SOME SHIT. THAT’S SOME MYSTERIOUS SHIT

taako: “okay, cool, I’m not into labels either” yooooooo

i googled the map griffin made for the town of Refuge and hot damn, that’s a well made map

magnus: “i rolled a 10 [on a perception check]” griffin: “you're in a prison cell with bars on it” merle: “i rolled a 1″ griffin: “you are in a cube shaped place”

griffin: “and then all three of you, have died” WHAT IN THE FUCK????? WHAT THE HELL??? WHAT????

THE SET UP OF THIS ARC IS BOMB AS HELLLLLLLLLLLLL

the fact that paloma sounds like bjork tells me that griffin is just straight up running out of different accents

[merle continues to sing to the tune of book of mormon] travis: “clinton. you just got clocked by a shovel”

justin: “i’m gonna delete the video i was making about how to do an infinite diamond glitch in the adventure zone”

griffin: “there are many rocks piled up” justin: “mini rocks are actually called pebbles, griffin”

griffy set up this quarry locker room tripwire puzzle exactly like a fucking game of hangman! the most deadly game of hangman ever

griffin: “lemme just say that diamonds are the currency of this town. you wouldn’t go to the US treasury to get dollars fresh from the printing press” justin: “what, you want me to get a part time job??” griffin: “i wouldn't hate it”

griffin: “i just agreed to what dad said without really processing what it was that he said, and what he said was the name "bjork" as bork” clint: “you gotta watch that shit, griffin” griffin: “i was almost an accomplice to that heinous act”

the grubby grifters just unquestioningly trust paloma the bjork witch without any sort of investigation checks or ANYTHING and im like what if she’s evil, my dudes. what if she’s leading you astray

griffin: “the human spell library, clint mcelroy”

griffin: “if you can just instantly bring back any dead person to life, it may reduce the narrative stakes of the adventure zone podcast A BIT!” AH SHIT SON!!

magnus: “im gonna....cut his arm off” griffin: “OH MY GOD!! YOU LOVE THIS SHIT! YOU’RE A PERVERT! YOU'RE EXPOSING EVERYONE TO YOUR FETISH!!”

istus is cool and awesome and she knits but all this shit she’s talking about it is just context-less gibberish

“you’re going to be amazing” AT WHAT, MOTHERFUCKER? YOU’RE COOL AND YOU HANDED OUT BOMB ASS GIFTS BUT WHAT THE SHIT ARE YOU TALKING ABOUT??

hot damn yall. this time chalice is trying to PERSUADE the grubby grifters and my evil bullshit meter thinks this is SUPER HELLA SUSPENSEFUL

AW SHIT! BACKSTORIES!

damn this chalice is so tempting. i can’t even imagine

these backstories are heartbreaking. im blown away by the way the mcelroys have crafted this part of the story, and so so sad. especially about magnus

“its not what julia would want” travis stop making me feel these things

magnus: “noelle ended up with a new shiny robot body!” taako: “an unkillable robot! I'd call that an upgrade!”

oh no the chalice is forcing them to watch the destruction of phandolin, what an asshole

magnus: “i’m gonna throw a whole bunch of robot arms into him” griffin: “okay, so you just have a hefty bag full of roboid arms??”

merle: “we owe a big one to penumbra" magnus: "paloma"

magnus: “we gotta jump” roswell: “this is a shitty shitty shit shit plan, i hope you know that” i love roswell’s instinctive reaction when presented with a dumb idea, which is to respond with pure immediate honesty and tell the grubby grifters that their ideas are dumb as hell

this worm fight is bizarre as fuck, what the fuck are they even DOING???

aw the weird worm just wanted to escape the bubble so it could get back to its babies! that’s...almost adorable. if it wasn’t a giant fucking worm

oh good. the red robe is back. cool cool cool cool cool

magnus: “you’re proud of us? what? you’re a red robe, you’re one of the bad guys?” the red robe: “who told you that?”

GRIFFIN JUST CALLED IT A LICH!!!!!

the red robe said “lup, they don’t trust me. lup i can’t do it anymore” and “the next time we meet, i’ll need you to trust me completely. the hunger is almost here, and all this could be lost” YALLL IM CONFUSED ASSSS FFFUCKKKK BUT IM SO EXCITED ABOUT WHOEVER THE FUCK THIS PARSELTONGUE MOTHERFUCKER IS!!

well taako got a prophecy saying he would one day get power from “the man wreathed in flames” so like im pretty goddamn sure the parseltongue motherfucker is barry bluejeans. there’s a lich around, barry got blasted to hell by gundren rockseeker, and the red robe wants the grubby grifters to trust him, so like 2+2+2 probably equals barry fucking bluejeans here

the fact that they got to watch over the town of refuge for 7 years was soooooo sweet!!!!

hot damn the red robe’s been protecting magnus this whole time???

travis asking istus why there’s long gaps in their memories like hey trav griffy doesn’t want you or me or anyone else to know yet, but good try!

magnus: “if you get bored, there's this half-moon thing in the sky, you can come hang out with us” taako: “yeah most birds can fly to the MOON!”

kravitz!!! anytime kravitz shows back up is a GOOD GODDAMN TIME!! because i love kravitz

the red robe in the statue in Refuse HAS MAGNUS’S FACE!!!

i have literal goddamn chills. that is so good

this was a very odd meandering arc and i didn’t know what the hell was going on half the time but it was super super super enjoyable and some of the plot shit got me HYPED AS HELL

#balance arc #the adventure zone #the eleventh hour #taz #taz highlights #mcelroys #mine

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newrichmondgc · 5 years

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The weekly report is out!

LAST CHANCE TO HIT THE LINKS!

The Links course will be closing for the season after this Thursday, October 10th. A friendly reminder that all links members can use the “Old Course” for the remainder of the season.

BOOK ONLINE

STRACHAN OPEN COMING UP QUICK

Oct. 12 | Strachan Open

No specific tee times- play anytime throughout the day.

$20 buy-in.

$10 to skins ($5 gross and net)

$10 blind draw best ball.

All payouts in shop credit, skins in cash

Everyone is welcome to play!

$20 guest for non-members on top of games (carts are extra)

TIME FOR A FISH FRY!

Come by this week for a Friday Fish Fry Special- 12 Butterfly Shrimp with your choice of potato- only $13.99, running from 4:30- 8 PM.

DRINKS? ABSOLUT-LY!

We also have a great drink special planned for you: all Absolut cocktails are $3.25!

Members & Seniors 60+ get 10% off our Fish Fry!

FALL TOURNAMENT SERIES

October 13 | Fall Scramble

9 AM Shotgun Start ENTRY: $45 per member | $70 per guest

Open Division: Pro-Am-Am or Am-Am-Am

Masters Division: Team handicap total must be 30 or Over with only 1 single digit handicap

October 20 | Die Hard Scrumble

ENTRY: $20 per member | $40 per guest Cart not included.

A portion of the proceeds will go to benefit the Five Loaves Food Shelf. Come on out to support a great cause!

FALL SPECIAL

Pay only $39 for 18-holes with cart Monday – Friday all day, & weekends after 1 PM. Weekends before 1 PM- $45 .

MERCHANDISE BLOW-OUT SALE

Save on all products in stock through the rest of the season!

$100 off all Drivers

$50 off fairway woods & hybrids

20% off all wedges

20% off all putters

40% off all polos

40% off of all Full Zip Jackets

30% off all shoes and Golf Bags

25% off all shorts

The post The weekly report is out! appeared first on New Richmond Golf Club.

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ariyadaivaris · 7 years

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artemidi replied to your post “boy oh boy i sure hope nobody asks about the embarrassing sappy au i...”

I need......more info on this.....blease

i’ve GOT more info on this don’t you even worry your sweet fred head about it !!

nxt’s tag team division is, to say the least, KIND OF...UH...BORDERLINE NONEXISTENT AS OF LATE and so when the time comes to set up the dusty rhodes tag team classic they really end up needing to Scrumble something together! the original plan was that tyler (bate) (to name specific tylers) and jack would team up however long they needed to for the tournament, but oh NO tyler’s been gravely injured, probably by pete because he’s a motherfucker

jack is stuck without a partner and the tournament is stuck without the final team! regal puts out a desperate call for help and ariya decides to strike a deal because why would he team with jack motherfucking gallagher without something to gain from it

the deal is this: ariya teams with jack, withstands whatever mockery comes his way this time, carries the team through the tournament and when he wins, he gets a shot at the cruiserweight title. ariya is a difficult person to work with but desperate times calls for desperate measures, and so ariya and jack end up being the newest addition to the tag team classic! Oh What Drama !

things are TENSE, TO SAY THE LEAST

they have to take a bit of a hiatus from 205 so they can travel with nxt, some of the tournament matches take place at house shows and live events and they do still need to work together as a team outside of the tournament if only because they’d be completely fucked otherwise! jack still can’t drive so ariya (dear sweet ariya who can’t drive for shit) is the official pilot in their travels, and jack is...an...interesting co-pilot

the first few weeks are mostly ariya giving jack Ze Silent Treatment while jack refuses to shut up ever and it’s kind of an awkward uneasy dynamic, even after they win their first tournament match through SOME MIRACLE

ariya finally talks to jack during a drive because jack stumbles onto the topic of musicals and says some things and ariya gets very heated very easily and it MIGHT turn into a cutting discussion about the accessibility of theatre and of bootlegs, and about who and what gets visibility in mainstream media and who and what gets nominated for tonys, etc, but its the most fun ariya’s had in awhile and they both kinda learn smth from it and from then on ariya’s more willing to like. at least talk to jack. and it’s...disappointingly...very nice

i feel like during a house show ariya gets trapped in the corner and almost gets dropkicked but jack manages to get to his corner and use his umbrella as kind of a makeshift shield to throw off their opponent and give ariya time to collect his wits and it’s maybe a silly thing to think about but its cute imo! my city now!

after their second round match, which they almost accidentally win (against reDRagon, no less, bc let’s be real while we’re being self indulgent here i DO care more abt this storyline than about those two probably very talented but uninteresting slices of white bread), jack compliments ariya’s performance in the match and ariya doesn’t take it well because like. to this point he’s only thought jack’s just been humiliating and mocking him for no fucken reason since they met, and why wouldn’t he turn up this opportunity to backhandedly insult ariya now. and jack doesn’t KNOW that, and so ariya starts giving him a cold shoulder again for no reason as far as jack knows. OOH this drama. OOH this suspense

after they make it to the semi-finals (which no one was expecting, and certainly not them, honestly), they’ve gotta go to a press event with the other semi-finalists and it’s maybe not the most plot relevant thing but ariya does clean up really nicely and jack is maybe a little distracted the entire time because holy shit

and maybe then jack kinda realizes he hasn’t been engaging in a rivalry with ariya so much as maybe he’s had a dumb awful crush on him this entire time and not known how to realize that or express it and spends the night trying to keep his composure (because who is jack gallagher if not composed) while internally just writhing in embarrassment and agony and going “oh nnnnNNNOOOOOOO oh my goddd what did i DOOOO why did i DO that oh noooooOOOOOooOOooOoo” and its a rough night!

and ariya sees jack being less than 100% during all this and sees it as Oh He Doesn’t Care, Of Course, Why Would He, and he’s pissed because he really thought they were getting somewhere as a team, and alas here they are and jack isn’t even paying attention to what’s happening, what a rude asshole as fucking always, and ariya MAYBE--just maybe--maybe just fuckin clocks jack in the face after jack tries to tell him he handled that really well

and jack sincerely admires that ariya remained pretty composed and serious and focused even when jack was busy trying not to wither into embarrassed gay dust but ariya only hears that as jack intentionally leaving ariya to his own devices and mocking how shitty a job he did

(not that ariya would ever say he thinks he did a shitty job, but in his heart he DOES want to do well and be a worthy contender, and opponent, and partner, and he knows he gets lucky a lot and so when he DOESN’T and when he’s painfully in control of the things that happen to him everything feels amplified and clumsy and Wrong and jack’s not helping lmao. i love drama)

obviously this isn’t received well and jack and ariya get into a brawl and they have to get broken up by their coworkers in attendance and ariya’s just yelling WHAT DID I EVEN DO TO YOU ASSHOLE, WHAT’S YOUR PROBLEM

jack stays with mustafa and lince for the night because ariya straight up threw his bags outside the door of their room and locked him out and jack plays the words back and he’s like Wait...Maybe I’m Misunderstanding The Situation Here

and the next morning he goes to talk to ariya

(who answers the door looking just fine and who hasn’t been alternating between uneasy sleep and furious tears all night, ariya’s fine)

and he doesn’t like...get the nerve to go “hey i think i might be in love with you a bit” but he does manage to tell ariya he hasn’t been mocking him, and he’s been sincere this whole time, and he’s genuinely sorry he’s been a dick to ariya since they started on 205, but ariya, to be fair, has also been a dick, maybe more in terms of beating people up but jack’s sorry about what’s been happening, and ariya doesn’t have to accept that apology, and if ariya wants to forfeit their semi-finals match, he understands entirely

and ariya’s just like “yo what the fuck are you kidding i’ve still got a title shot on the line and we’re gonna win this, get in the car, it’s cool or whatever cmon lets GO” and he’s a bit flippant about it but for some reason he wants to...start grinning like an idiot and never stop again? for some reason? weird

things aren’t just all Cool suddenly after that because when i say i love slow burn shit i MEAN like, years, they’re still only barely allies but something’s There and that’s endgame, don’t play with me, we’ve gotta get face!ariya calling for a parlay with heel!jack in between here and The Datening for me to feel truly alive but thats just my humble imho

also they lose in the finals but ariya puts on enough of a performance to merit a title shot anyway and after the loss they might not work as a team anymore and they’re back to their own stories on 205 but before they get back to the hotel and get cleaned up and wash off the grime of bitter bitter defeat ariya finds jack sitting with his chin on his knees in the stairwell and sits silently with him and they maybe hold h*nds for like the BRIEFEST of minutes and never talk about it again but like. we’ve gone this far with this shitty badly written self-indulgent embarrassing post right? try and stop me

just kidding im stopping myself now. i hate that i wrote all of this. im gonna kill myself thanks

#artemidi #long post -#none of this is set in stone and its literally just shitty sappy blatantly wish-fulfilling garbage so #jack/ariya placeholder tag #dont read this lmao #i was gonna have fun with this but now knowing i wrote all of this sincerely i just hate it. i hate myself lol. i want to be dead #sorry im shutting up now Byeth

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nofomoartworld · 7 years

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Hyperallergic: How the 1960s and ’70s Counterculture Queered Fashion

“Hippie Royalty on the Rocks” (1969) (photo by Karl Ferris, featuring crocheted designs by 100% Birgitta)

It’s not often that a fashion exhibition in New York City presents vintage garments against a backdrop of faux-wood laminate paneling, or accessorizes select pieces with clusters of hanging plants in macramé holders. But Counter-Couture: Handmade Fashion in an American Counterculture, now on view at the Museum of Arts and Design, takes aim at the contested territory that separates DIY practice from luxury craftsmanship. The stretch of time between the late 1960s and early 1970s is a rich moment in which to examine this theme. Though steeped in protest, the fashions and fads of this era were also frilly and decadent, luxuriant in materials and elaborate in construction — a sartorial mode that deftly underscores the exhibition’s “queerness,” both in the broad, countercultural sense, and in the more specific sense of sexual identity.

Mary Ann Schildknecht, “Embroidered Skirt and Top Ensemble” *c. 1972), cotton and velvet (courtesy of Mary Ann Schildknecht; photo by Rex Rystedt; courtesy of the Bellevue Arts Museum)

Some of the works on view could have been runway looks, had the powers-that-be at the Chambre Syndicale de la Haute Couture decided on a whim that studded denim was suddenly an acceptable medium. The broad message of the exhibition seems to be that do-it-yourself doesn’t have to mean making something sloppy or shoddy. Contrary to the punk aesthetic, which valorizes a certain duct-taped, improvised nonchalance, many of the garments and accessories displayed in Counter-Couture are exquisite, even obsessive in their design and fabrication, like the embroidered ensemble that Mary Ann Schildknecht created while serving time in an Italian prison, where skilled nuns taught her to stitch. These pieces may be labors of love, but they don’t say “amateur hour.”

Counter-Couture premiered at the Bellevue Arts Museum in Washington in the fall of 2015. It was organized by guest curator Michael Cepress, a Seattle-based fashion designer who specializes in menswear. Quoted in the exhibit’s press release, Cepress points to his discovery at age 15 of Alexandra Jacopetti Hart’s 1974 book Native Funk & Flash, which captured his imagination and inspired him to launch what would become a 15-year process of researching counterculture fashion. Since the late 1990s, Cepress has personally reached out to scores of makers across the United States and painstakingly assembled the garments and collateral material on view in Counter-Couture.

Counter-Couture: Handmade Fashion in an American Counterculture, installation view (photo by Jenna Bascom; courtesy of the Museum of Arts and Design)

Billy Shire, “Welfare,” winner of Levi’s® Denim Art Contest, 1975, Levi’s denim jacket, rivets, rim sets, furniture studs (collection of la Luz de Jesus Gallery; courtesy of Billy Shire; photo by Jenna Bascom; courtesy of the Museum of Arts and Design)

The exhibition, displayed on two floors of the museum, is divided into five sections: “Funk & Flash,” “The 1974 Levi’s Denim Art Contest,” “Couture,” “Performance,” and “Psychedelic Style.” Each section exudes what Cepress characterizes as a “vital stream of passion, ideas, and artist activists who chose fashion to help create a better world for us all” — a sentiment that rings as true in 2017 as it did in 1967. The visual language of protest appears here in overt forms, like Michael Fajans’s frenetically colorful and aggressively stitched “Hand Embroidered and Applique Army Coat” from 1967, which I read as symbolic of the countless battlefield injuries occurring in Vietnam. Other pieces are subtler, like the bright red dashiki dress from 1970, a symbol of Black pride, which is displayed next to one of the exhibition’s priceless finds: a Simplicity pattern for dashiki shirts from 1972, with an illustration that shows a young black couple in the foreground and a white couple in the background.

Michael Fajans, “Hand Embroidered and Applique Army Coat” (1967), cotton, silk, velvet, and wool (courtesy of Nancy L. Pollock; photo by Jenna Bascom; Courtesy of the Museum of Arts and Design)

Dashiki Maxi Dress (1970), artist unknown, cotton (photo by Jenna Bascom; courtesy of the Museum of Arts and Design)

Simplicity pattern for Dashiki shirts and dresses (1972) (photo by the author for Hyperallergic)

The counterculture-ness on display here is ultimately about fighting conformity, which comes across most powerfully in terms of gender and sexuality. The artists and designers who made these garments were, for the most part, raised in the 1950s, on a steady diet of postwar suburban etiquette and ideals. In one of the exhibition’s displays of printed ephemera, a 1967 photograph of Hibiscus (born George Edgerly Harris II), founder of The Cockettes, shows a relatively clean-cut young man with blond hair wearing a turtleneck sweater, gently placing a flower in the barrel of a military police officer’s gun. As associate curator Barbara Paris Gifford notes, Hibiscus was almost “preppy” in his youth. It’s bittersweet to note that just a few years later, in full hair and makeup, he would radiate androgynous, psychedelic splendor — which is captured in the magnetic films that are projected in a continuous loop on the opposite gallery wall — and a few years after that, in May 1982, he would die of AIDS. Hibiscus has long held cult status among fashion cognoscenti, and a 2003 profile in T Magazine by Horacio Silva counts Viktor & Rolf and John Galliano among the contemporary designers who revere his creativity and talent. (The article was published prior to the 2011 anti-semitic tirade that cost Galliano his post at Christian Dior.) And this is far from the only connection between the hippie commune and the runway: Another example is Yvonne Porcella’s patchwork gowns from 1972, which appear to presage the peasant silhouettes in Yves St. Laurent’s much-beloved 1976 “Russian” collection.

George Edgerly Harris II (AKA Hibiscus) placing a flower in the gun of a soldier, October 1967 (photography by Bernie Boston, via Wikipedia)

Cockette Pristine Condition (left) and Cockette Scrumbly Koldewyn (right), opening act for New York Dolls, Matrix, New York, August 1973 (courtesy of Kourosh Larizadeh and Luis Pardo)

Most of the works in Counter-Couture are visually of a piece. Fur collars, body jewelry, a faintly Biblical ensemble worn by Father Yod from the Source Family, and the album cover from the original cast recording of Hair all set the scene in a cohesive way, along with some smart atmospheric touches from MAD’s team, like walls of hanging beads and a lush classic-rock soundtrack. Gifford also added works from MAD’s permanent collection that predate those in the show, which adds visual and temporal layers to the installation. One particular work that seems ahead of its time is Mildred Fischer’s linen wall piece “Daydream,” from 1965.

Detail of Father Yod Ensemble (c. 1970), cotton, leather, metal (courtesy of Isis Aquarian; photo by Rex Rystedt; courtesy of the Bellevue Arts Museum)

Mildred Fischer, “Daydream” (1965), linen (photo by Jenna Bascom; courtesy of the Museum of Arts and Design)

For me, though, the highlight of the exhibition is the work of San Francisco designer Kaisik Wong (1950–90). Wong’s aesthetic, which could best be described as “outer space/regal,” stands apart from the hippie coats and peasant dresses on view, and it easily passes the test of time as a thoroughly original body of work. Try to imagine that someone crossed highly structured examples of Elizabethan court dress with costumes from the movie Xanadu, and you’re almost there. Indeed, Wong’s creations read as cinematic costumes more than fashion: They’d look right at home in Logan’s Run, Labyrinth, or, if you squint a bit, Fritz Lang’s Metropolis. Like Hibiscus, Wong died of AIDS at a tragically young age, and although his clients included the likes of Tina Turner, Elton John, and Salvador Dalí (who commissioned his 1974 “Ray” series), his work didn’t enter the mainstream fashion world during his lifetime. This could well be for practical reasons: His 1974 “Yellow and Green Ray Dress and Headdress” from the “Seven Ray” series, a Paul Poiret–like garment that resembles a glittering peapod, seems more likely to influence moviemakers and stylists than merchandisers looking for the next workaday, wearable look. (Although one of Wong’s jackets was notoriously plagiarized by Nicolas Ghesquière for Balenciaga in 2010.)

Kaisik Wong, “Yellow and Green Ray Dress and Headdress,” from the Seven Ray series (1974), yellow, gold, and green lamé (courtesy of the DeYoung Museum)

Kaisik Wong (1974) (photo by Jerry Wainwright)

Grouping of ensembles by Kaisik Wong (photo by Jenna Bascom; courtesy of the Museum of Arts and Design)

From Wong’s work, to the wild, androgynous jewelry of partners in love and life Alex and Lee, to Billy Shire’s studded “Welfare” jacket (winner of the Levi’s Denim Art Contest) — it all reads a bit like the left-behind artifacts of a final Summer of Love, just before AIDS destroyed a generation of gay men. This isn’t explicitly referenced in the exhibition, as its chronology stops just short of the end of the disco era. But Counter-Couture offers a new way to think about the lasting legacy of the counterculture movement. To be sure, there were plenty of middle-class American teens for whom long hair, casual sex, drugs, concerts, and macramé were understood in the context of pleasure, suburban rebellion, and cool-kid trends. But the ’60s and ’70s also set the stage for a genuinely radical transformation in the way we read and understand the visual cues of gender and sexuality, many of which are, in part, fashion choices. Only an exhibition that considers vernacular material could do this: It wouldn’t make sense at a Metropolitan Museum of Art Costume Institute show about the ’60s and ’70s that featured Pucci shifts, space-age Courreges hats, or Halston ultrasuede wrap dresses. Fashion’s queering during the counterculture is an overlooked preamble to so much of what we think and talk about with regard to gender and culture today. Men with long hair may have been sporting a visual rejection of “square” society, but they were also (perhaps unwittingly) paving the road for queer identities to be seen, recognized, and even celebrated in fashion and society at large.

Alex and Lee (1974) (photo by Jerry Wainwright for Native Funk and Flash)

Counter-Couture: Handmade Fashion in an American Counterculture continues at the Museum of Arts and Design (2 Columbus Circle, Midtown) through August 20.

The post How the 1960s and ’70s Counterculture Queered Fashion appeared first on Hyperallergic.

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