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#1810's fashion
sentistrange · 2 years
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Zora Backstory Headcanon~
Quick sum-up, Zora was born in 1807, got her epithet in 1819 by touching a sundial, and can change her age to elongate her lifespan. And I hate 1810′s hair but for the sake of historical accuracy, I must add it... (Also yes the dress is relatively simple and not entirely accurate, but I don’t like adding that many details. You get the idea though.)
I may write a short fic about this, and originally was like, “Ha, what if it was written like it was in the time this takes place in, using Forest of Montalbano by Catherine Cuthbertson in 1810 as a reference,” but it was absolute pain to write, not kidding. I do dialogue, but things like,
“tell, me O! tell me where I am? what evils await me? and how you can secure me from this threatened danger! Tell me, tell me all! convince me my gratitude is your just claim, and in true sincerity it will pay it’s debt.” -Forest of Montalbano, p. 111,
have me in shambles.
And yes, that is the grammar, as well.
Anyways, yeah, this is how Zora’s backstory works in my vision. As some may remember, I made art way, way, way, way back in November 2020 (holy shit) of Zora dressed in different decades. I think from 1880′s to 1930′s? I don’t know but it returns.
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• Gown Worn by Princess Charlotte of Wales (1796-1817).
Date : 1816-1817
Medium: Roller-printed silk satin, cotton & metal.
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telekinetictrait · 7 months
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"Shielded by my own obscurity, and by the lapse of years, and a few fictitious names, I do not fear to venture; and will candidly lay before the public what I would not disclose to the most intimate friend." (Agnes Grey, A Novel – Anne Brontë, 1847)
anne brontë likers we need to unionize.
ah, the 1840s! the brontë sisters, edgar allen poe, charles dickens... and what i can only imagine is an incredibly confusing amount of petticoats. the torso becomes thinner and longer, with the characteristic "point" ending of the bodice. skirts continue to grow, and grow, and grow... you get the point. sleeves fluctuate through this era, but are more often than not kept close to the arms – a major difference from the 1830s. the stereotypical victorian conservatism can be seen in daydresses of this era. speaking of daydresses, it became easier for women of the (gasp) lower class to mimic the styles of upper class women, as fashion moved from trims to the fabric and cuts themselves. its much easier for your average woman to obtain fabric than to obtain jewels, for example. going forward, expect a mix of upper and lower (more accurately, the slowly forming middle) class fashions!
also, i have been flying through these. i have no idea how long this amount of energy and hyperfocus is going to last. also also, to every cc creator that is getting tagged over and over: i'm sorry. it is a cc desert out here and you are oases. also also also: i reused a dress once. i could have sworn i downloaded ten but apparently i only downloaded nine ??
1800-1809 / 1810-1819 / 1820-1829 / 1830-1839
cc links under the cut
see my resources page
ealasaid : buzzardly28's 1840s hairs / bedisfull's pearl and frill headband / kiarazurk's fairytale dress / ikari-sims' princess gloves
echo : buzzardly28's 1840s hairs / jarisimcc's necklace / vintagesimstress' 1841 ball gown / dzifasims' jane gloves
edelmira : buzzardly28's 1840s hairs / simstomaggie's losse bonnet / elfdor's victorian dress #1
eidel : buzzardly28's 1840s cecilia hair / linzlu's colonial cap / acanthus-sims' tied fichu / vintagesimstress' 1843 day dress
elektra : wastelandwhisperer's chamomile hair / linzlu's fancy bonnet / simverses' norse visby fur cape / sunlittides' 1840s day dress
endzela : turquoiseesims' aster hair (download here) / huiernxoxo's mulani gem earrings / simsonico's shining nikki shy lady necklace conversion / buzzardly28's june dress / dzifasims' jane gloves
ernestine : linzlu's sallie hair / lace-and-honey's linzlu prarie bonnet conversion / vintagesimstress' 1843 day dress
estrella : tekri's lucrezia bun / glitterberrysims' victorian era / oydis' esther dress / dzifasims' jane gloves
euphrasie : pandorasimbox's victorian modest daycap / vintagesimstress' 1848 velvet dress
evita : feralpoodles' victoria hair / toksiks' silence choker / acanthus-sims' rose brooch / buzzardly28's summer ball gown
thank you to @buzzardly28 @bedisfull @ikari-sims @jarisimcc @vintagesimstress @dzifasims @simstomaggie @elfdor @linzlu @wastelandwhisperer @simverses @sunlittides @huiernxoxo @simsonico @lace-and-honey @tekri @glitterberrysims @oydis @pandorasimbox and @feralpoodles
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die-rosastrasse · 1 year
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anghraine · 1 year
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Why P&P 1790s? I'm familiar with its writing history, so I know it's one of two plausible periods, but I prefer thinking about it as 1810s. OTOH, how much of my preference was unconsciously formed by actual publication date or by the adaptations (especially 1995) I don't know, so I'm open to your argument for the 1790s.
ETA: I do have another, probably more coherent, post about this here, but I rambled about it again anyway.
Partly it's similarly subjective, to be sure. I don't like the identification of Austen with the Regency when she did so much work before it. I don't like the 1995 P&P or its stranglehold on Austen fanon. I don't like post-Regency fashion and don't want to inflict it on 30- and 40-something Elizabeth and Jane, lol. And I simply find the eighteenth century more engaging than the nineteenth (I started my PhD program intending to study both, as I did in my MA, and ended up gleefully escaping into studying early modern+long 18th-century British lit instead).
I also find the eighteenth century more pertinent to Austen and particularly to her earlier novels, in addition to finding it more personally engaging. And more vaguely, those earlier novels—S&S, P&P, and NA—feel to me like they exist in a significantly different and earlier world than Persuasion or Sanditon do.
The cultural referents in her earlier work can be a bit of a jumble, to be sure. And I think it's clear that Austen didn't want any of her published work to feel out of date, but at the same time, didn't want to overhaul those works to the point that they were no longer recognizable in essentials. This is most glaring an issue with Northanger Abbey (NA without Udolpho??), but even little things like Marianne's hair or Mr Bennet's powdering-gown just seem to fit best with a c. 1790s setting.
Those kinds of things can be fanwanked into "Austentime"— the popular, vaguely 1810s setting as depicted in most Austen adaptations and related genre conventions (there's an article about this that I've been trying and failing to dig up, but that's how I always think of that sort of amorphously Regency setting now). But the explanations for the little details being totally 1810s details do feel like fanwank to me.
And of course, the militia subplots in P&P seem clearly influenced by the 1790s militias and the Brighton camp that closed shortly before Austen started writing P&P. The Broadview edition of P&P, for instance, unhesitatingly dates P&P to the 1790s based on that.
I've talked before about other specifics that IMO align better with the 1790s than 1810s, too, and I do stand by those. But for me, the strongest reason for my personal preference is that feeling that P&P and Persuasion/Sanditon are not happening at anywhere near the same cultural moment. While P&P is very different from S&S and NA, they strike me as much more akin in this sense than any of them are to the late novels, and to me, it makes the most sense to place them at or near their original creation to both fit the 1790s vibes I get from them and to gain some distance from the late works.
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weirdogirl0000 · 4 months
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Fashion through the years
1770's,1810s,1830s,1860s,
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historicalshroe · 5 months
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1810'S womens fashion.
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sunnysssol · 2 years
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Wanted to try out 1800s-1810s fashions with some assistant ladies !!! So here's a lil comic on how Suzie and Elise met, very amicably actually!!! Only for their bosses to have a little fight in 1812 😪 oh well! And Elise is @rizakunoichi 's 😤💖💖
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gogmstuff · 1 year
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1810s fashions (from top to bottom) -
1810s Elisabeth Kurakina by Alexander Varnek (location ?). From tumblr.com/fashionsfromthepast; fixed veiling reflection and spots w Pshop 924X1183 @72 334kj.
1810 Madame Merlin with a yellow shawl by Anne-Louis Girodet de Roussy-Trioson (location ?). From tumblr.com/toanunnery 994X1198.
1811 La Maréchale Soult, Duchesse de Dalmatie avec ses deux enfants, Napoléon Hector et Joséphine Louise (location ?). From pinterest.com/KatieZag/austen-regency/art-reference-for-regency-fashion/; fixed scracks & spots w Pshop 1080X2003 @72 300.
1816 Mrs. Mary Fisher by John Constable (Fitzwilliam Museum). From tumblr.com/fashion-inspiration-s/702940654593064960/books0977-mrs-mary-fisher-1816-john; fixed bigger spots & cracks w Pshop & fit to screen 1192X1400 @72 515kj.
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tilundsetning · 1 year
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Ok, so this gif from @gifshistorical came across my dash and as Daphne’s turn of the wrong century-looking bloomers fed into my increasingly frequent thoughts of « wow, some of the underwear technology in Bridgertonland is certainly miles ahead » (Kate was wearing what looked more like 1940’s French knickers in s2, their shirts seem to button all the way down etc) and then it came to me:
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Bridgerton is set in someone’s game of civilisation!
Whoever is playing has probably given up on a domination victory, so that’s why , even though this is set in the 1810’s, none of the several younger sons in the family seem to be even considering a military career.
And by not prioritising the military technologies they are moving very quickly forwards in certain areas of fashion technology (side note: I really want some sort of fashion history expansion of Civ now where you can actually choose these), so they have access to zippers and knickers and aniline dyes and plastic sequins. They haven’t got any « hair up or down » or « difference between daywear and eveningwear » civics in play, but they there’s some sort of Victorian sex ed for girls thing instead.
This also explains the « oh, no, we totally used to have racism too, but we solved that like 15-20 years ago » vibe - that’s when they got the totally colourblind society-civic!
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cherryxmelo · 1 year
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About Me/BYF💗
🎀 My name is Jippers. 💕 I’m a 30 year old autistic lesbian from Puerto Rico, currently living in the states with my wife. She/They/Ella.
🎀 My main hobbies include video-games, writing, painting, coffee, lesbian scifi/fantasy books, alternative fashion, dolls, gardening, and working with dogs/animals. I also LOVE My Melody and have been collecting MyMelo merch since 2012.
💞 My photos & gamecaps are tagged #🎀, my text posts are tagged as #🎀.txt
🎀 Main fandom rn is FFXVI. I am always open to chatting and making new friends/moots with similar interests. I also currently enjoy playing FFXIV, im@s, Dragon Quest, Twisted Wonderland, The Sims, other JRPGs, and visual novels.
💞discord: cherrymelo 💞PSN: bunnylink 💞 SW-4516-1482-1810 💞 FFXIV: Estelle Lunarosa (Aether/Faerie)
My fanfiction 💓❕⬇️
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the-paintrist · 2 years
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Thomas Lawrence - Portrait of François Pascal Simon, Baron Gérard (1770–1837) aged 54 - 1824
oil on canvas, height: 70 cm (27.5 in); width: 58 cm (22.8 in)
Palace of Versailles, Paris, France
Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) was a leading English portrait painter and the fourth president of the Royal Academy. Lawrence was a child prodigy. He was born in Bristol and began drawing in Devizes, where his father was an innkeeper at the Bear Hotel in the Market Square. At the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1790. He stayed at the top of his profession until his death, aged 60, in 1830.
Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a full member in 1794, and president in 1820. In 1810 he acquired the generous patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo chamber at Windsor Castle, and is particularly remembered as the Romantic portraitist of the Regency. Lawrence's love affairs were not happy (his tortuous relationships with Sally and Maria Siddons became the subject of several books) and, in spite of his success, he spent most of life deep in debt. He never married. At his death, Lawrence was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has since been partially restored.
François Pascal Simon Gérard (4 May 1770 – 11 January 1837),[1] titled as Baron Gérard in 1809, was a prominent French painter. He was born in Rome, where his father occupied a post in the house of the French ambassador, and his mother was Italian. After he was made a baron of the Empire in 1809 by Emperor Napoleon, he was known formally as Baron Gérard.
François Gérard was born in Rome to J. S. Gérard and Cleria Matteï. At the age of twelve, Gérard obtained admission into the Pension du Roi in Paris. From the Pension, he passed to the studio of the sculptor Augustin Pajou, which he left at the end of two years for the studio of the history painter Nicolas-Guy Brenet, whom he quit almost immediately to place himself under Jacques-Louis David.
In 1789, he competed for the Prix de Rome, which was carried off by his comrade Girodet. In the following year (1790), he again presented himself, but the death of his father prevented the completion of his work and obliged him to accompany his mother to Rome. In 1791, he returned to Paris, but his poverty was so great that he was forced to forgo his studies in favor of employment which would bring in immediate profit. David at once availed himself of his help, and one of that master's most celebrated portraits, of Louis-Michel Le Pelletier de Saint-Fargeau, may owe much to the hand of Gérard. This painting was executed early in 1793, the year in which Gérard, at the request of David, was named a member of the revolutionary tribunal, from the fatal decisions of which he, however, invariably absented himself.
In 1794, he obtained the first prize in a competition, the subject of which was The Tenth of August, that is, the storming of the Tuileries Palace. Further stimulated by the successes of his rival and friend Girodet in the Salons of 1793 and 1794, Gérard (aided by Jean-Baptiste Isabey, the miniaturist) produced in 1795 his famous Bélisaire. In 1796, a portrait of his generous friend (conserved today in the Louvre) obtained undisputed success, and the money received from Isabey for these two works enabled Gérard to execute in 1797 his Psyche et l'Amour (illustration). At last, in 1799, his portrait of Madame Mère established his position as one of the foremost portrait-painters of the day.
In 1808, as many as eight (and in 1810, no less than fourteen) portraits by him were exhibited at the Salon, and these figures afford only an indication of the enormous numbers which he executed yearly. All of the leading figures of the Empire and of the Bourbon Restoration, and all of the most celebrated men and women of Europe, sat for Gérard. This extraordinary vogue was due partly to the charm of his manner and conversation, for his salon was as much frequented as his studio. Madame de Staël, George Canning, Talleyrand and the Duke of Wellington have all borne witness to the attraction of his society.
Rich and famous, Gérard was stung by remorse for earlier ambitions abandoned; at intervals, he had indeed striven with Girodet and other rivals to prove his strength at history painting, still a more prestigious genre than portraiture. His Bataille d'Austerlitz (1810) showed a breadth of invention and style which was even more conspicuous in L'Entrée d'Henri IV à Paris (at Versailles), the work with which in 1817 he paid homage to the returned Louis XVIII. After this date, Gérard declined, watching with impotent grief the progress of the Romantic school.
Loaded with honors – baron of the Empire in 1809, member of the Institut on 7 March 1812, officer of the Légion d'honneur, first painter to the king – he worked on, sad and discouraged. The revolution of 1830 added to his disquiet, and on 11 January 1837, after three days of fever, he died.
Gérard is best remembered for his portraits. The color of his paintings has suffered, but his drawings show in uninjured delicacy the purity of his line, and those of women are specially remarkable for a virginal simplicity and frankness of expression. His students included Heinrich Christoph Kolbe.
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• Pelisse.
Date: Early 1810's
Medium: Silk, trimmed with silk and metal
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telekinetictrait · 7 months
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"And by the way, Monsieur Marius, I believe that I was a little bit in love with you." (Les Misérables – Victor Hugo, 1862)
next up, the 1860s!! there was a lot going on during this decade, so i once again tried to keep a mix of upper and lower class fashions, as well as throwing in a few more "pioneer" esque dresses. after all, there's only so many petticoats you can wear when your oxen die and you have to walk!
hoop skirts would reach their peak in the middle of this decade, and from there the shape would become elliptical, with most of the "hoop" moving to the back. this would eventually become the "bustle". corsets were still worn, but with the layering and vastness of skirts, the size of the waist would already look smaller in comparison. hairstyles were lower, buns being held at the nape of the neck more often than not. heeled boots were back in style, as you might catch a glimpse of them as fabric moved due to the cage crinoline. near the end of the decade, it became more common to see skirts paired with shirtwaists or blouses instead of matching bodices.
1800-1809 / 1810-1819 / 1820-1829 / 1830-1839 / 1840-1849 / 1850-1859
cc links under the cut!
see resources post for genetics
galateia : buzzardly28's margot hair / nissasims' victorian crinoline
gelsomina : buzzardly28's nell hair / linzlu's fancy bonnet / linzlu's mary louise walking dress
gheta : buzzardly28's 1860s hair #1 / theroyalthornoliachronicles' elisabeth swiss dress recolor
gigi : buzzardly28's penelope hair + hair pearls / simstomaggie's marigold dress
glendora : okruee's georgia hair / historicalfictionsims' ruth dress / kedluu's ankle boots
godeliva : simstomaggie's violet hair + leonore dress
greta : buzzardly28's penny hair / lace-and-honey's linzlu prairie bonnet conversion / johnny149's old west hoop dress recolors
guiying : the-melancholy-maiden's oregon trail bonnet / elfdor's old west teacher's dress
gwendoline : buzzardly28's 1860s hair #2 / linzlu's birthday bonnet / simstomaggie's syndicate dress recolor
gyovanna : buzzardly28's pippa hair / linzlu's fancy bonnet / dzifasims' garibaldi dress
thank you to @buzzardly28 (a LOT of thanks) @linzlu @theroyalthornoliachronicles @batsfromwesteros @simstomaggie @okruee @historicalfictionsims @kedluu @lace-and-honey @the-melancholy-maiden @elfdor and @dzifasims
again, to everyone thats getting tagged over and over: i'm sorry
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eugene114 · 1 month
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1 Peace, to soothe our bitter woes, God in Christ on us bestows; Jesus bought our peace with God with his holy, precious blood; peace in him for sinners found, is the gospel's joyful sound.
2 Peace within the church still dwells in our welcomes and farewells; and through God's baptismal pow'r peace surrounds our dying hour. Peace be with you, full and free, now and through eternity.
Short Name:N. F. S. GrundtvigFull Name:Grundtvig, N. F. S. (Nicolai Frederik Severin), 1783-1872Birth Year:1783Death Year:1872
Nicolai Frederik Severin Grundtvig was the son of a pastor, and was born at Udby, in Seeland, in 1783. He studied in the University of Copenhagen from 1800-1805; and, like some other eminent men, did not greatly distinguish himself; his mind was too active and his imagination too versatile to bear the restraint of the academic course. After leaving the university he took to teaching; first in Langeland, then (1808) in Copenhagen. Here he devoted his attention to poetry, literature, and Northern antiquities. In 1810 he became assistant to his father in a parish in Jutland. The sermon he preached at his ordination, on the subject "Why has the Lord's word disappeared from His house," attracted much attention, which is rarely the case with "probationers'" sermons. On his father's death, in 1813, he returned to Copenhagen, and for eight years devoted himself mainly to literature. The poetry, both secular and religious, that he produced, drew from a friend the remark that "Kingo's harp had been strung afresh." In 1821 King Frederik vi. appointed him pastor of Prasloe, a parish in Seeland, from which he was the next year removed to Copenhagen, and made chaplain of St. Saviour's church in Christianshavn. From the time of his ordination he had been deeply impressed with Evangelical church sentiments, in opposition to the fashionable Rationalism and Erastianism of the day; and adhered to the anti-rationalist teaching of Hauge, whose death at this time (1824) seemed to be a call to Grundtvig to lift up his voice. An opportunity soon presented itself; Professor Clausen brought out a book entitled Katholicismens og Protestantismens Forfatning, Ldre, og Ritus ("The condition, teaching, and ritual of Catholicism and Protestantism"). This book was replete with the Erastian Rationalism which was so especially distasteful to Grundtvig, who forthwith, in his Kirkens Gjenmsele ("The Church's Reply," 1825), strongly opposed its teaching, and laid down truer principles of Christian belief, and sounder views of the nature of the Church. This caused a sensation: Grandtvig (who had not spared his opponent) was fined 100 rixdollars, and the songs and hymns which he had written for the coming celebration of the tenth centenary of Northern Christianity were forbidden to be used. On this he resigned his post at St. Saviour's, or rather was forced to quit it by a sentence of suspension which was pronounced in 1826, and under which he was kept for 13 years. He took the opportunity of visiting England in 1829, 30, and 31, and consulting its libraries, mainly with a view to a further insight into Northern antiquities, and to help his studies in the early English tongue. His edition of Cynewulfs beautiful poem of the Phenix from the Codex Exoniensis, the Anglo-Saxon (so-called) text, with a preface in Danish, and a fri Fordanskning (free rendering in Danish), published in 1840*, is a result of this journey and enforced leisure. Tired of his long silence, his numerous friends and admirers proposed to erect a church for him, and form themselves into an independent congregation, but this was not permitted. He was allowed, however, to hold an afternoon service in the German church at Christianshavn. There ho preached for eight years, and compiled and wrote his hymn-book, Sang-Vdrk til den Danske Kirkce ("Song-work for the Danish Church"). He still worked on towards his object of raising the Christian body to which ho belonged from the condition of a mere slate establishment to the dignity of a gospel-teaching national church. In 1839 (the year of the death of King Frederik vr., and the accession of his cousin Chrisliem vni.) the suspension was removed, and he was appointed chaplain of the hospital Vartou, a position which he held till his death. In 1863 the king (Frederik vn.) conferred on him the honorary title of bishop. The good old man died suddenly, in his 89th year, on Sept. 2, 1872, having officiated the day before. As Kingo is the poet of Easter, and Brorson of Christmas, so Grundtvig is spoken of as the poet of Whitsuntide.
--John Julian, Dictionary of Hymnology,, p. 1001 (1907)
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jjackalope · 3 months
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I love to imagine Aphrodite throughout the ages, 1920’s flapper dress, 1980’s hair coated with hairspray, 1810’s regency fashion, y2k jeans and dresses, I could go on but frankly I don’t know enough about fashion to go on for ages
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