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impale-me-radio-daddy · 3 months

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Masterlist

Hi, I'm impale-me-radio-daddy, otherwise known as Big Antler Steve, The Antlers Guy, a pun or play on words, alright mate, and, in exceptional circumstances, oh no. Contrary to popular belief, I am not the acclaimed self-insert author cocksleeve4deerman69- we are in fact entirely different entities.

But enough about me, here's a list of things I've written, for your amusement and elucidation.

The Lookalike (completed series)

☒ Summary: The first thing you remembered after your death was an argument. “No, this isn’t one of my fucking sluts.” The man behind you exhaled, frustrated. “This is a present for you. Something to help you work through your Alastor fixation.” You awaken in Hell as the near-spitting image of a certain infamous radio host. Unfortunately for you, you immediately fall into the clutches of his nemesis, then into the arms of the Radio Demon himself.

☒ Warnings: hermaphrodite!reader, deer!reader, crying!reader, they/them pronouns used, explicit sexual content, reader is in Hell for a reason, reader x Alastor, reader x Vox, Valentino, canon typical scenarios, Vox-based voyeurism, minor use of aphrodisiacs, tentacle sex, Vox in a cuck chair, erotic cannibalism, Alastor x reader x Vox threesome in the finale.

☒ Length: 43k words total

☒ Series links: Part I Part2 Part 3 Part 4 Part 5 Part 6 Part 6 BONUS SCENE Part 7 Part 8 Part 9 Epilogue

☒ Bonus vignettes: Hoof trimming, Lucifer seducing (slight AU)

Reddest Flags, Longest Nights (one-shot)

⩙ Summary: The year is 1989. The Berlin Wall has fallen, and Nintendo have just overseen the release of the Game Boy. The first ever episode of Baywatch has just aired, and Ted Bundy has just been executed by electric chair. Vox's relationship with the Radio Demon is on the rocks. Their solution? To add a third person to their bedroom: you

⩙ Warnings: Explicit sexual content, Vox X reader X Alastor, Radiostatic is a committed relationship (well, they're trying), Reader is a girl and she has a pussy, tentacle sex

⩙ Length: 5.5k words

⩙ Other notes: This is set in a sexy alternate universe for the characters in @bapple117's Bluest Monday

Return to Radio Hall (one-shot)

It is a truth universally acknowledged, that an alternate universe, once conceptualised, must be in want of a fic.

⚜Summary: Having made his fortune in the New World, Vox Vee returns to visit his former benefactor, Lord Alastor.

⚜Pairings: Vox/Alastor

⚜Length: 2.1k words

⚜Content Notes: Unrequited love, Regency era AU, depiction of illness

The Alibi (I have a couple ideas for continuation, but stand-alone for now)

⚜ Pairing: human!Alastor X reader

⚜ Content notes: Reader is a sex worker, Alastor is a serial killer, brief reference to domestic abuse and injury, explicit sexual content, reader is a woman, reader has a pussy, bathtime, cum pooling in the collarbones, the sex is transactional but not like that.

⚜ Wordcount: 4.5k words

In Your Dreams, Old Pal (4-part story with an epilogue in the comments)

⛃ Pairing: Alastor/Vox

⛃ Summary: Alastor had never wanted to murder anyone as badly as he wanted to murder the version of Alastor that Vox dreamed of. The creature was, put simply, a simpering, effete idiot.

They were in a high class restaurant in some part of the states Alastor didn’t recognize, all art deco paneling and chandeliers that glowed a soft gold, the kind of lighting that made every patron look like they were being filmed through a Vaseline smeared lens; good skin, bright eyes. Even Alastor was pressed to admit it was a classy joint. Why Vox was dreaming of taking Alastor here was anyone's guess.

Alastor intrudes on the dreams of his friend and assistant, Vox.

⛃ Content notes: Explicit sexual content, dream sex, wet dreams, jizz in their pants, extremely dubious consent, virginity??, church sex, creampie, bottom Alastor, bottom Vox, incidental cannibalism, not much antler stuff.

⛃ Word count: 18k

Nothing Above the Knee (one-shot)

⪫ Pairing: Alastor/Vox (Radiostatic)

⪫ Wordcount: 4k

⪫ Summary: Alastor wants something from Vox. All Vox asks in return is a few hours with Alastor's hooves.

⪫ Content notes: Explicit sexual content, hoof stuff, contractual obligation, interdigital scent gland play, hoof licking, hoof fucking, electrostimulation, Vox is very much on top here, did I mention this is about hooves?

Heaven Spent (Part 1/2)

℣ Pairing: Vox X angelic!reader

℣ Summary: A naïve angel descends to Hell looking for her best friend Vagina. Finds Vox instead.

℣ Content notes: Voyeurism, first time for everything, explicit sexual content, thigh riding, guided masturbation, Vox being Vox, pet names: mostly sweetheart, babydoll and baby, reader is a girl, reader has a pussy and tits, reader has a name and it's a fucking stupid one.

℣ Word count: 6.5k

#antlerposting #lookalikeposting

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moonbiscuitsims · 7 months

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Cyberpunk 2077 "Valentinos" Wall Deco TS4 Download

130 Swatches of graffiti, decals, murals, walls, and misc decor from El Coyote Cojo bar and Heywood area of Night City, 18+ themes.

All decals without text have a mirror flipped version to make your own symmetrical layouts: (I realise one is accidentally not the flipped one in the screenshot but in game it does have it 😅)

Also included Misc Decor from El Coyote Cojo bar, the "collectible" posters from Jackie's garage, the Cyberpunk 2077 Valentinos poster and some random Tainted Overlord posters.

The woohoo symbols are just there to censor the images in case my tumblr somehow gets flagged. The art includes mature themes. (I apologise if I missed anything it is hard to see sometimes with all the graffiti and im getting tunnel vision)

Phew that was a lot choombas. This took a long time and lot of effort so please respect my TOU :D There's a readme in the download folder if you're interested in knowing more info about the files. Included a MERGED file.

They are base game compatible and don't require any mesh. They're in Wall deco and you can find them by typing "moonbiscuitsims"

DOWNLOAD (realised i forgot to add the link 😅)

All Decals are resizable and can be raised :) some look better sized down or up, or on different colour backgrounds. All art was taken from the game or from the game concept art. I hand painted some of them to improve them or do them from scratch, or added paint effects to make it look less photo-ish, and some I left mostly as they were.

Thank you so much to @hamsterbellbelle for showing me the right and quick easy way to do this project, though I still took literally forever and had to re do so many things but I'm very happy with it even though it is my first ever wall deco. And sorry Jackie for forcing you to be a reference but "once a Valentino, always a Valentino, chico".

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onesidedradiostatic · 7 months

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Looking at vintage interior design trends to guess what everyone’s homes looked like before they died, and everything about what was trendy in the 70s is killing me, Valentino’s home likely had a fucking carpeted toilet seat and a waterbed and I’m deceased. There’s a non-zero chance Vox had a circular bed. I hope Alastor stuck to the art deco 20s shit cause Great Depression era homes were a bit depressing

HELP LMAOOOO, I mean I could absolutely see val's home being like that tbh. vox having a circular bed only to be reborn as a fucking rectangle. alastor died 1933 which is early 30s so I'm sure him sticking to 20s shit wouldn't be too unlikely

#ask #osrs.txt #hazbin valentino #hazbin hotel valentino #valentino #hazbin vox #hazbin hotel vox #hazbin hotel alastor #hazbin alastor #alastor

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fibula-rasa · 5 months

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Cosplay the Classics: Natacha Rambova

My closet cosplay of Natacha Rambova’s signature look from the 1920s

It’s unbearably common for people who have written about Natacha Rambova to emphasize that her “real” name was “Winifred Hudnut.” In reality, Rambova had about a half dozen names she went by (or could have gone by). Natacha Rambova was the name she took when she began her working life as a teenager with Theodore Kosloff’s ballet company—hence the Russophone name. And, as Rambova was a person who first and foremost lived to work, sticking with her professional name seems true to her character, Slav or not. You see, the primary reason Rambova was (and is) subjected to this passive-aggressiveness is part of a lingering effort to delegitimize her and her work. Sometimes that takes the form of calling her Winifred Hudnut and sometimes “Mrs. Valentino.” While there are valid reasons to criticize Rambova and her work, the aspersions typically lobbed at her fully miss their mark because they’re motivated by the desire to belittle a woman who knew the value of her work and her art and had the necessary privilege to fight for it.

"Natacha Rambova seems to belong most to me, the individual I think I am, but of course, I wasn’t born that way."

—“Wedded and Parted” by Ruth Waterbury, Photoplay, December 1922

Collage of portraits of Rambova from the 1920s

READ ON below the JUMP!

To begin at the beginning, Rambova was born as Winifred “Wink” Shaughnessy in Utah in 1897. Her father, who was significantly older than her mother, was found lacking as a parent and a spouse, and the Shaughnessy’s divorced when Rambova was young. Her youth was spent bouncing between her mother’s home in San Francisco, boarding school in England, and her aunt’s villa in France. Early on Rambova discovered two of the great passions of her life, ballet and mythology. The latter became an enduring fascination that guided Rambova’s varied pursuits throughout her life.

At first, her family encouraged Rambova’s interest in ballet. However, around 1914, when Rambova was 17, the shady nature of Rambova’s relationship with Kosloff was discovered by her mother, who tried to have Kosloff deported. At the time, Kosloff was supporting a wife and child back in England while keeping house with Rambova and another of his dancers, Vera Fredova (who was also legally named Winifred and also a teenager btw). Mom called off the lawsuit, and for years Kosloff, Rambova, and Fredova ran the ballet company together.

The company relocated to Los Angeles where Kosloff entered into a contract with Cecil B. DeMille. The company would provide art and costume designs for DeMille’s films and Kosloff himself would appear in the films. While Kosloff’s name is found in the credits for most of these films, it’s now widely accepted that Rambova was doing most, if not all, of the research and design work.

Theodore Kosloff in his costume from The Woman God Forgot (1917) on the left with Rambova (who does not appear in the film)

In this creatively productive period, Rambova shifted her focus away from dance toward historical research and costume and set design as her primary endeavor. For DeMille, Rambova contributed designs for The Woman God Forgot (1917), Why Change Your Wife? (1920), Something to Think About (1920), and also designed the Cinderella fantasy sequence of Forbidden Fruit (1921).

from the Cinderella sequence of Forbidden Fruit [more gifs here]

The work caught the eye of Nazimova, who was still working at Metro at the time. Once Nazimova realized that Rambova was the one doing the work, she engaged her directly to work on her now lost film Billions (1920). Rambova would receive on-screen credit for her art direction on Nazimova’s final film for Metro, the deco-bonanza Camille (1921).

from Camille [more gifs here]

Camille features designs verging on the bizarre, using circles and half-circles as a consistent symbolic motif throughout the film. One of my personal favorite touches however, is the sequence taking place at Armand’s country cottage. Where the Paris sets are oversized and characterized by rounded edges, the cottage is excessively square and feels almost claustrophobic. At this point in the story, Marguerite is conflicted, she feels happier and freer than ever before in her love with Armand, but is also haunted by the notion that she’s dooming him given her past and her illness. The interior of the cottage feels more artificial because of its realism, almost like a doll house, in comparison to the more heavily designed Paris settings. This highlights the feeling in Marguerite that she’s just playing pretend at a happy, heteronormative fantasy.

country house setting from Camille

Influenced by the highly stylized visuals of ballet but also preoccupied with historical research and symbology, Rambova’s designs stand out from anything else produced in this period, especially in the US. The more I study her designs and think about how young she was when she created them, the more impressed I am by them. Faced with challenging assignments, Rambova balanced accuracy and perceived authenticity with her penchant for larger-than-life symbolism. On top of all that, they photograph beautifully! Being able to create interesting and appropriate costume and set designs with a demonstrated understanding of how they would register on film is a sophisticated skill set which Rambova deserves significant credit for.

When Nazimova went independent following Camille, she brought Rambova with her. The first two projects Rambova would work on for Nazimova’s company were A Doll’s House (now a lost film, which I profiled on my Lost, but Not Forgotten series) and Salomé (1922). The latter has become regarded as Nazimova’s magnum opus on film and often referred to as America’s first art film. For Salomé, Rambova translated illustrations made by Aubrey Beardsley into three-dimensional sets and costumes and character designs for film. If you’ve seen Beardsley’s illustrations and you’ve seen the film, you know this was no simple task and that Rambova did a phenomenal job of re-working the illustrations into wearable costumes and weaving elements of Beardsley’s illustrations into the set design.

from Salomé [more gifs here]

Taking a second to emphasize Rambova’s range, her work on Why Change Your Wife?, Something to Think About, and A Doll’s House (which we can only judge by surviving stills) are contemporary settings with more realistic, grounded set and costume designs. Rambova executes the designs for these films with just as much skill, although as she admitted herself, with less gusto because they didn’t scratch the historical-research/symbology itch.

production still from A Doll’s House

It was in this same period of creative growth that Rambova split from Kosloff (and he shot her in the leg on the way out) and she started seeing her future husband, Rudolph Valentino. Valentino, however, was still legally married to another woman. This would lead to significant trouble for the couple in the first few years of their relationship.

Perhaps too much time has been spent picking apart the nature of the Valentino-Rambova pairing—most of it spent trying to characterize her as a Svengali type and Valentino as too immature or unintelligent to have any opinions of his own. Now, having read most of what Rambova has written about Valentino, both before and after their divorce, she often takes a paternalistic attitude toward Valentino, but one tempered by real affection. And, given how close Valentino became with her family (and remained close after the divorce, even leaving a significant part of his estate to her aunt), to doubt the legitimacy of their partnership feels willfully disingenuous. Valentino shared Rambova’s desires to elevate the artistic qualities of film, oftentimes beyond their means. Together they crafted the romantic idol of Valentino. Together they challenged the studios for underpaying him.

“Some producers find an unusual personality. They use up thousands of dollars to exploit it. They put that personality into a picture and the picture goes over and makes a million. Then, instead of letting the actor who does fine work go on doing it, they give him cheap material, cheap sets, cheap casts, cheap everything. The idea then is to make just as much money from that personality as possible with the least outlay. “Isn’t it short-sighted? Isn’t it unwise? Yet they do it again and again. But they can’t keep it up forever. The fans are beginning to wake up. They refuse to take second rate products even when a big personality is exploited. They are doing the one thing that will affect the producer—when poor pictures are offered them, they are staying home.”

—from “Wedded and Parted” by Ruth Waterbury, Photoplay, December 1922

Something I mentioned in the last installment of “Lost, but Not Forgotten” was that in this period, a number of film artists in Hollywood were recognizing the true value of their work and going independent of the emergent studio system. Studio heads saw no problem in curtailing the creative freedom of their artists to further pad their overflowing wallets. For the founders of United Artists, the system was usually able to be bent in their favor, with their films getting wide releases with decent promotion budgets. For a number of other independent artists, the road was rockier as distributors and exhibitors were reluctant to offend the increasingly powerful studios. Nazimova was one of those who eventually ran out of funds to produce their own work. Valentino’s star rose precipitously after The Sheik (1921) and Blood and Sand (1922) was a massive box-office hit, but Valentino’s salary did not match that bankability. This financial dispute, complicated by negative press around his relationship with Rambova, left Valentino out of work in film for a year. In turn, Valentino and Rambova went on a dancing tour of the country, which raised her profile as a public figure while bolstering his star image despite not appearing in any new films.

Valentino and Rambova in a promotional photo for their dance tour

Unfortunately, crossing the studio system as they did resulted in a coordinated campaign to take them down a notch. Reading film magazines from the period will give you whiplash. Many of these magazines had established relationships with studios and ran news items in keeping with whatever narratives the studios wished to push. However, the stars and their managers (if they had them) had their own relationships with the magazines. So, occasionally, you’ll find items deriding Rambova as some kind of artsy-fartsy manipulative phony and then a profile piece of her or Valentino that’s sympathetic to their business woes. This is the period where the narrative emerges of Rambova as a calculating climber, using Valentino to build her own career. This talking point is often repeated today, despite the fact that Rambova had already been working on big productions for DeMille and Nazimova for years before meeting Valentino. While Rambova was certainly a key figure in developing Valentino’s star image, the plain facts make it apparent that they were working as a team—hardly abnormal. Unfortunately, neither member of said team had much in the way of business sense.

As I mentioned earlier, Rambova fashioned her life around her work. Something I didn’t mention earlier is that she was an heiress. At this point in her life, Rambova was determined to live off her own labour and not touch her inheritance. When they were battling the studios, the couple continued to not touch Rambova’s inheritance. And, both desperate to return to filmmaking, they were subject to the studio’s will. While their split is often framed as Rambova abandoning Valentino when she was denied the ability to control his career, a slightly different scenario emerges upon closer inspection. Both Valentino and Rambova were highly dedicated to their work and their work was intertwined with their relationship, a similar dynamic to Rambova’s relationship with Kosloff and later with her second husband Álvaro de Urzáiz, with whom she restored villas. With Urzáiz, their relationship degraded when they no longer had a shared project to work on. (In this case due to the Spanish Civil War.) It’s neither sensational nor romantic, but following Valentino’s reconciliation with Hollywood, after a few films, the pair was intentionally separated creatively. (This was at least partly due to the machinations of their new business manager, George Ullman, who we now know was manipulating Valentino’s finances after litigation regarding the disposition of Valentino’s estate.)

“What I desire personally is simply to be known for the work which I have always done, and that has brought me a reputation entirely independent of my marriage.”

—“Natacha Rambova Emerges” by Edwin Schallert, Picture Play Magazine, August 1925

Rambova worked on one film independently from Valentino before their divorce, What Price Beauty? (1925), starring mutual friend (for the moment) Nita Naldi. The film is now lost and its production and release seems awfully sus, so I hope to cover that for “Lost, but Not Forgotten” soon. Regardless of the film’s success or failure, the whole endeavor soured Rambova on Hollywood.

Nita Naldi in a promotional photo from What Price Beauty?

In her book about her life with Valentino, Rambova opined:

“Hollywood—all the joys of the petty community life of ‘Main Street’ with an additional coating of gold dust thrown in for good measure!… it is merely an imitation gilded hell of a make-believe realm. Nothing but sham—sham—and more sham. “Hollywood—one continuous struggle of nobodies to become somebodies, all pretending to be what they are not.”

Through their divorce and Valentino’s untimely death the year following, Rambova never stopped working. Rambova operated boutiques selling her original designs in New York and then in France. Around this same time Rambova also got more deeply involved in spiritualism. In an odd move, she published Rudy with the final third of the book “dictated” by Valentino’s spirit. I won’t say that I don’t find that pretty distasteful, but having read the book, it reveals two key things: Rambova’s genuine affection for Valentino, patronizing as it may be, and a sincere belief in the spiritualism movement that she and her mother had been drawn into. There have been critics who have framed the book as some sort of cash-in or vengeful act against Valentino for excluding her from his will, but the facts do not support that. Rambova, to reiterate, was an heiress who did not need to work for a living. She also states directly that it is Rambova’s spiritual leader who encouraged her to publish the book as a way to promote spiritualism. That’s not necessarily any better than the false narrative, but the truth has value (and is more interesting in this case!)

In the 1930s, Rambova relocated to Spain where she finally began using that inheritance to develop rental properties on Mallorca with her aristocrat husband. If you know anything about 20th century European history, you may know what happened next. Urzáiz joined the fascists in the Spanish Civil War, and despite her abiding fear of Communists, Rambova stuck around in Spain for as long as she could before fleeing to France. Of course, it wasn’t long before the Nazi Germany invaded France, so Rambova relocated back to the United States.

During her time abroad, Rambova’s preoccupation with symbology was reignited by a trip to Egypt. This sparked the next big passion of her life, which she would pursue for over two decades: Egyptology.

Rambova in Egypt

Rambova became a writer, researcher, and lecturer on symbolism and cosmology in Ancient Egypt (as well as spiritualism). Much of Rambova’s work was done in collaboration with Alexandre Piankoff and the French Institute for Oriental Archaeology in Cairo (IFAO). With various grants, Rambova travelled to Egypt to document important sites, via photography and illustration. Rambova also used much of her inheritance to source objects from Egypt, which she donated to museums and universities in the US. (There’s a huge discussion about that to be had, which, as an archivist myself, I am drawn to explore. But, it falls outside the purview of this blog, so it’ll have to stay a discussion for another time and place.) These collections are still accessible to researchers and the public today. Rambova continued this work until her death in the 1960s.

Without doubt there are meaningful reasons to criticise Rambova and her work. Some of her design work is appropriative at best, overtly racist at worst. She had ignorant and arrogant attitudes toward class politics bred from her uber-privileged upbringing, which occasionally bled into her work and interfered with her ability to collaborate with other artists. She definitely lacked the social skills and business sense that were very necessary for artists working in a mass-media format like film. It’s typical, but disappointing still, that so much effort has been put into demonizing Rambova for reasons that were either completely fabricated, or rooted solely in the fact that she was a woman who knew her value, but by society’s standards, didn’t know her place. All that said, maybe we are due to spend a bit more time as film enthusiasts genuinely engaging with the art Rambova created and recognizing how much of a force she was in standing up for artistry in the American film industry.

☕Appreciate my work? Buy me a coffee! ☕

Postscript: This piece was a monster, so excuse me for not diving into rumours about Rambova’s potential queerness, as it eventually fell out of the scope of the essay. But, for those in the know: my personal take is that she likely was queer, though probably not romantically entwined with Nazimova, but maybe with Fredova. I also think her marriage with Valentino was not lavender. And, even if Rambova wasn’t queer, I appreciate what a keen collaborator she was with queer colleagues and what a good friend she apparently was to queer people in her social circles and her family, despite how often her detractors would try to use accusations of lesbianism as a weapon against her. IMO if someone were of weaker character, those types of aspersions would have driven a wedge between the object and their friends and colleagues.

Bibliography/Further Reading:

Madam Valentino: The Many Lives of Natacha Rambova by Michael Morris

Rudy: An Intimate Portrait of Rudolph Valentino by His Wife Natacha Rambova

Valentino As I Knew Him by George Ullman

Picture Play Magazine, August 1925

Photoplay Magazine, December 1922

Mythological Papyri – Texts by Alexandre Piankoff & Natacha Rambova

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brian-in-finance · 2 months

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This is cool.

Van Cleef & Arpels Creates a Coffee-Table Book Worth Coveting

The iconic brand worn by stars including Margot Robbie, Gwyneth Paltrow and Caitriona Balfe has released an artful book that highlights some of the house's most fruitful design years.

https://www.hollywoodreporter.com/lifestyle/style/van-cleef-arpels-jewelry-design-coffee-table-book-1235953599/

Thanks for the message, Anon. 😃

GIF

Van Cleef & Arpels Creates a Coffee-Table Book Worth Coveting

The iconic brand worn by stars including Margot Robbie, Gwyneth Paltrow and Caitríona Balfe has released an artful book that highlights some of the house's most fruitful design years.

A look at the just-released book, "The Van Cleef & Arpels Collection (1906-1953)," which highlights some of the legendary jewelry house's most iconic designs. COURTESY OF VAN CLEEF & ARPELS

For jewelry aficionados, phrases like “Zip necklace” and “mystery-set stones” should instantly evoke thoughts of one heritage-steeped house: Van Cleef & Arpels. These are just two of the iconic design elements from the legendary brand that opened its first boutique on Paris’s Place Vendôme in 1906. Now a new book takes a comprehensive look at its high-wattage designs, created during the years when everyone from Hollywood icons Carole Lombard and Marlene Dietrich to Wallis Simpson, a.k.a. the Duchess of Windsor, ranked high among the house’s most ardent fans and devoted collectors.

The Van Cleef & Arpels Collection (1906-1953) is an impressive coffee-table book that explores the dazzling designs that emerged from the jeweler in the first half of the 20th century. Almost 700 jewelry and watch images are included alongside 200 archival documents, from 1920s timepieces and bracelets infused with Art Deco styling to early advertisements and mid-century jewels that continue to enjoy high-wattage attention to this day. For proof of the latter, look no further than Margot Robbie wearing a version of the house’s iconic Zip necklace to the 2015 Academy Awards, while at the 2022 Oscars, Caitríona Balfe wore a 1957 diamond necklace that highlights Van Cleef & Arpels’ bow and ribbon motifs. And at December’s Fashion Awards in London, Gwyneth Paltrow paired her crimson Valentino gown and feathered coat with ruby and diamond Van Cleef & Arpels jewels from the 1960s.

Margot Robbie, wearing a Zip necklace by Van Cleef & Arpels, at the 87th Annual Academy Awards in 2015. FRAZER HARRISON/GETTY IMAGES

A Van Cleef & Arpels Zip necklace from 1952, crafted of emeralds and diamonds set in 18-karat yellow gold and platinum. COURTESY OF VAN CLEEF & ARPELS

The 678-page book offers a deep dive into these and other pieces that continue to be sought after, sometimes a full century after their debut. The sapphire and diamond Zip necklace worn by Robbie, for example, takes its cue from a design that got its start in the 1930s, when the ultra-stylish Simpson suggested to then-creative director Renée Puissant the creation of a necklace that both looked and could operate as a zipper might. The technical mastery required for a jewel that could fully function like a zipper took a full 12 years, however, with the first Zip necklace debuting in 1951. (Viewers of the 1930s-set The King’s Speech, which includes actress Eve Best as Simpson, will see that character wearing an all-diamond Van Cleef & Arpels Zip necklace elegantly draped down her back, creating one of the 2010 film’s most stylish — if anachronistic — moments.)

Van Cleef & Arpels 1936 Fleur brooch, crafted of mystery-set rubies and diamonds set in 18-karat white and yellow gold. COURTESY OF VAN CLEEF & ARPELS

In addition to its celebrated Ballerina clips, jeweled timepieces and other high-wattage designs, the book also pays ample attention to the house’s Mystery Set collection, named for the intricate technique that eliminates the sight of any prongs on the design’s surface. Patented by Van Cleef & Arpels in 1933, mystery-set designs quickly gained popularity among its well-heeled clientele, even as the house’s artisans continued to refine and evolve the technique so it could be employed in pieces that felt more three-dimensional. A 1936 ruby and diamond Fleur brooch, released soon after a second patent was acquired that same year, ultimately was deemed worthy of the book’s cover.

The cover of The Van Cleef & Arpels Collection: 1906-1953. COURTESY OF VAN CLEEF & ARPELS

“This brooch was created [in 1936 and] is thus one of the first examples of this groundbreaking development,” explains Nicolas Bos, president and CEO of Van Cleef & Arpels. “As an example of the way in which technical evolutions exert an influence on style, this piece — one of the oldest Mystery Set creations in our possession — perfectly expresses the very essence of this book. It was acquired by the Patrimony department just as we were completing the first volume, so we naturally thought of it for the cover.”

Bos also notes that the book’s compilation has been in the works for five decades, originating in the 1970s and refined over the years as it continued to be deeply researched by the Van Cleef & Arpels Patrimony department, which oversees the house’s heritage and archives. “This patrimonial Collection – today made up of over 2,700 pieces – is representative of Van Cleef & Arpels’ creations in terms of inspirations, materials, and techniques,” Bos says. “It is for that reason that this work takes the form of a catalogue raisonné: the most comprehensive possible compendium of an artist’s work.”

Caitríona Balfe, wearing Van Cleef & Arpels jewels, including a 1957 necklace crafted of diamonds set in 18-karat white gold and platinum, at the 94th Annual Academy Awards in 2022. MOMODU MANSARAY/GETTY IMAGES

Divided into a trio of hefty chapters, the book kicks off with “The Creative Boom (1906 – 1925),” which highlights a variety of Art Deco-influenced designs, several of which were showcased in a 1925 Paris exhibition of decorative and industrial arts. Chapters two and three explore “A Unique Identity (1926 – 1937),” which explores the development of the singular Van Cleef & Arpels aesthetic, and “From Paris to New York (1938 – 1953),” which highlights the house’s expansion into the U.S., including its inclusion in the New York World’s Fair of 1939. A second volume, which covers the years 1954 through 2000, is expected to be released in 2026, Bos adds.

Platinum-set emerald and diamond Van Cleef & Arpels bracelet from 1925. COURTESY OF VAN CLEEF & ARPELS

Throughout, the book is lavish in its inclusion of archive images and newly photographed jewels, the latter part of a parallel project to create a comprehensive look at Van Cleef & Arpels’ history through its designs. “We wanted the illustrative record to be exhaustive: optimal picture quality, harmonious visual images, pieces photographed from different angles,” Bos says. “Visually, we have treated this book like the catalogue of an exhibition, in which the jewelry creations and archive material complement one another.”

A Van Cleef & Arpels advertisement that appeared in a 1939 issue of French Vogue. COURTESY OF VAN CLEEF & ARPELS

Ultimately Bos says he believes both this book and its subsequent sister volume will further a key Van Cleef & Arpels goal. “Through these initiatives, we hope to show that jewelry is not an isolated art,” he notes. “It is in constant interaction with other disciplines, which inspire it and which it influences in return. As such, it forms part of the great history of the arts.”

The Van Cleef & Arpels Collection (1906-1953) is available now.

Gwyneth Paltrow, wearing vintage Van Cleef & Arpels earrings from the 1960s, attended The Fashion Awards 2023 at the Royal Albert Hall on Dec. 4, 2023 in London. DOMINIC LIPINSKI/GETTY IMAGES

The Hollywood Reporter

Remember… the book’s compilation has been in the works for five decades, originating in the 1970s and refined over the years as it continued to be deeply researched by the Van Cleef & Arpels Patrimony department, which oversees the house’s heritage and archives. — Nicolas Bos, President & CEO, Van Cleef & Arpels

#Tait rhymes with hat #Good times #Inbox #Anonymous #The Van Cleef & Arpels Collection (1906-1953)#2024 #The Hollywood Reporter #1 August 2024 #Received/Responded 1 August 2024

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cornix-the-void-crow · 4 months

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Your RHD owned by the Vees AU has caught my attention. I like it A LOT. It’s very 👀👀👀, and I’m dying to know more.

I saw you write stuff in the tags on some of the posts about wanting to know if anyone was interested in hearing more details/infodumping/etc. and, me. I am. I’m very interested. Please do tell whenever you have time. <3

Oh my gosh! I have so much stuff to tell!

One of those stuff is actually what happens with demonic contractors and contractees.

Demonic forms seem to be influenced in part by sins that each particular sinner has committed or vices they indulged in. Those sins have effect on the powers demons have, it's like a flavouring to their soul. In cases of more powerful demons, this flavour of sin is more present, more noticeable. The addictions become harder to resist indulging in, especially if they don't hurt the demon. Yet. With new souls, contractors actually receive not just the power boost, but also the good chunk of that sin flavouring, which is more intense the more powerful the soul they acquired. So, for example, if one was to win some hypothetical gambling overlord's soul, this lucky lucky demon may become more likely to take on risks with odd not exactly in one's favour. And because that is a gambling overlord we are talking about, the intensity of what is essentially a long-effect curse made it just a matter of time before the gamble did not play out in that demons favour.

Then, if one was to get an overlord-killer's soul with strong flavour mix of old time aesthetic and cannibalism, with some additions of spite and disrespect of status quo... well, aren't Velvette's tastes lean more savoury recently? And started wearing more accessoriesin art deco style?

On other end of the leash, contractees are left with more dulled version of their sin flavour. It's not the only thing that's muted, in a lot of cases natural vibrancy of more powerful demons gets dimmed once they are under contract. Some colours in their appearance may even shift the hues to certain degree. For example, did you know that in his half full demonic form Angel's eyes are less reddish hue than in his normal form? And his normal form's eye colour is actually relatively closer to pinkish red of Valentino's smoke, which is similar colour to Val's eyes? That's not even counting Vox's assistant, who almost casually cosplays resident TV objecthead.

The exchange is obviously not fair, but this is Hell we are talking about. At least there is hope that one's sin would be the one to break their contractor's back and cause their undoing. Though, some people may claim that having their sin no longer clouding their judgement is actually a benefit of being under a contract. But typically soul contracts are not actually made in contractees interest

#hazbin hotel #hazbin hotel au #hazbin alastor #hazbin husk #hazbin velvette #rhd owned by the vees #the characters are alluded to #this is a headcanon of mine #made out of need to somehow make soul bonds and deal part of the same system #so just like in a deal both parts of the agreement get something #and have to bear something in return #contractor bears the weight of sin and gets a boost in power #while contractee bears the marks of ownership and loss in power but receives clarity from their sin and occasionally protection #free soul worries about a lot of hungry hands #but owned soul only worries about hands belonging to one holding their leash #that's in theory #in practice it's much messier

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oldshowbiz · 6 months

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The Frayed Edges of DeLongpre Park in Hollywood.

The park features two tributes to Rudolph Valentino: the sculptor's bust seen here and an art deco statue called "Aspiration."

It was also a filming location for the Three Stooges short Hoi Polloi in 1935.

#filming location #the three stooges #kliph walking tour #rudolph valentino #hollywood

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baldval · 6 months

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ART DECO PART 2!₊˚⊹♡

characters: valentino x gn!reader

wc: 1.7k

warnings: cursing, canon!valentino (he doesn't mind vox's bad actions towards other people), insanely angsty.

series masterlist!

You're half awake and disorientated. Valentino got up to find out who was at the door 10 minutes ago, and frankly, you're getting worried.

Against your better judgement, you throw on his shirt from the night before and make your way out of the bedroom.

You enter the living room to be met face to face with Vox.

Shit.

You briefly wonder if you can play it off, fabricate a story, tell him it's not what it looks like!

Apart from, it's exactly what it looks like.

Someone from Vox's assistance team saw you and Val enter his room together after the meeting. And now you're here, in his living room, wearing nothing but his shirt. And your shoes are by the front door. And there's a wine glass abandoned on the counter.

There's no getting out of this one.

Valentino wants to scream, yell at you to go back to his room. He wants to pick you up and throw you out of sight, praying Vox hasn't noticed all the tell tale signs. But it's too late. He has.

"Okay. Uh - what the fuck is going on?"

Vox asks the question while looking between the two of you like some sort of cartoon character doing a double take. It doesn't require a genius to figure it out, but he needs to hear one of you say it out loud.

"Listen, Vox-"

"Vox, don't get mad-"

You both speak at the same time, verbally tripping over each other. You've never actually discussed what you'd do or say if you got found out. You both just always naively assumed it wouldn't happen.

You sit down on the edge of the couch, and look at your boss earnestly.

You had earned his respect with all the years you'd been working for him, creating and animating shows for the Vees.

However, you knew it could all disappear.

It would be a lie to say you didn't see it coming, what was true is that you weren't ready for it.

"Vox, I'm not going to sit here and lie to you. It isn't fair. But you can't get mad when I tell you the truth."

"I'll be the judge of that," he mutters sassily.

"Will you come and sit with me, please? The standing is making me nervous. I feel like I'm on trial."

"You might be. I haven't decided yet."

You can't tell if he's joking. He's certainly not smiling.

Vox moves to sit down next you. Val follows, perching himself on the opposite end to give you space. Close enough if you need him, far enough that it won't upset your boss more.

"Start talking," he commands, still confused.

"It's... well I - we - me and Valentino, we're -"

"Together," Val finishes for you. Vox glares at him, and he decides he'll keep his mouth shut for a while.

"Yeah, we're together," you continue. "We have been for over a year. It isn't just sex, or anything. I'm like- in love with him."

It's weird to finally bear this truth after keeping it a secret for so long. It feels wrong, but also refreshing - like a bitter lemon on a hot day.

Vox is scarily silent.

"You're... kidding, right?" he asks, finally breaking through the quiet.

Your silence is enough answer for you as he looks at you incredulously.

"You're so fuckin' naive." He turns over to Valentino. "How can you sit here and act like this doesn't change anything?"

Val tries to speak, but he continues.

"You lied to me, first off. Both of you. For God knows how long-"

"Vox-"

"Let me fucking finish."

You shrink back into the couch, hoping it would swallow you.

"You both lied to me. You broke my trust... and uh, that fucking hurts, actually. And then there's the business side of things. They work for me, they work for the Vees. And, I don't know if you remember, but you are a Vee. That's a conflict of interest."

Val scoffs at him, but then realises he's deadly serious.

"... A conflict of interest?"

"It's against company policy. How am I going to trust you? How is anyone? Information might get leaked. What if I tell you something, and then you tell them?" He points over to you. "And then they tell whoever friends they have, and they post about it on social media, and all of a sudden nothing is private anymore. I. Can't. Trust. You."

Tears are welling up in your eyes quicker than you can control. You're trying to take deep breaths, begging yourself not to cry in front of Vox.

"You do get this is my life right? I get to choose whoever I date," Val whispers.

"Yeah? Well, it's my life. And they're MY worker. And I get to choose whatever I'll do to them."

A choked sob escapes you, and the floodgates open. Fresh, hot tears sprint down your cheeks, landing in your lap.

Vox doesn't care about your suffering, he just wants to punish Valentino through you.

Val can't stand to sit and watch any longer.

"Okay, Vox, that's enough. This isn't fair."

"What's not fair is that two of people I trust the most both lying to my face for a year. That's what isn't fucking fair."

With that, Vox stands up and strides towards the front door, slamming it behind him as he leaves. The minute he's gone, Valentino is wrapping his arms around you, pulling you into his chest.

"It's okay, darling," he murmurs, stroking your hair. "He'll come around. We'll be okay. If we stick together, we'll be okay."

His reassurances are only making you cry harder, sobs escaping you uncontrollably. You eventually exhaust yourself, falling into a restless sleep in Val's arms on the couch.

︵‿︵‿୨♡୧‿︵‿︵

You wake up in bed. You've temporarily forgotten the events of the morning, before it all comes crashing back down around you suddenly. Distantly, you can hear Valentino in the kitchen, talking on the phone. You look around the room, and know what you have to do.

You leave the bedroom with a bag in hand, throwing it onto the ground as you grab your shoes. Val clocks you, and hangs up the phone.

"Can I call you back? Thanks. I'll see you tomorrow."

He runs over to where you're slipping your heels on, precariously balanced against the side of the couch.

"Honey, where are you going?" he questions, panic washing over him at your frantic state. "Wait, have you packed a bag?"

He's trying to catch your eyes, but you keep looking away, desperate to avoid his unrelenting gaze.

"I'm going home."

A pause.

"... This is your home."

You knew he'd say that. It hurts just the same.

"No, Valentino, this is your home. My apartment is across town."

"You haven't been there in months. All your stuff is here. Baby, talk to me. What's going on? Did Vox get in your head?"

"He has a point!" you shout, trying to pick up your bag. Val gets there first and grabs it, flinging it behind him, out of your reach.

"About what? He's just in shock, baby! He's confused and he feels betrayed. You don't owe him fuckin' anything. Not after everything that he has put you through."

"But I love my job, Val. I can't lose everything I've worked so hard to achieve!"

"You love that piece of shit job? Yesterday you literally had to get up at 6 am just to get here and get yelled at for an hour and a half. Look- I love Vox but he's not a good boss. Hell! I don't even care about that, I just can't stand to see him abuse you and treat you like you're close to nothing. You're better off without him and you know it. You're just too attatched to what you have."

Subconsciously, you know he's right. You're trying to convince yourself he isn't.

"You don't get it though."

"Except I do. Do you think I don't know about Vox's methods? I understand that it's what he needs to do to get the job done, but... I just can't stand him treating you like that."

"You heard what he said! He won't trust you anymore. No one will. Besides, I know it's shitty, but my job is important to me. I can't be forgotten. Known only as an old failed artist."

"Trust me, honey, you're the least likely to be named a failure."

"That's not the point! You're not listening to me. I come from the bottom, I've had to fight for respect every fucking day of my life. I'm finally where I deserve to be. I can't throw it all away for... for love!"

Valentino flinches like you've punched him in the gut. He takes a step back and leans against the kitchen island, trying to keep his balance.

"What happened to 'you and me against the world', huh?" he murmurs.

"I think I got too wrapped up in this - in us. I was stupid to think it could work. We both were."

"I wasn't," he replies defiantly. "I knew exactly what I was getting into. I knew it would be really fucking difficult and I loved you anyway."

"I'm not sorry for loving you," you whisper. "I'm sorry for a lot of things, but never for loving you."

"If you meant that, you wouldn't be giving up."

You turn your head around, unable to look at him any longer.

"This isn't giving up. This is... quitting while we're ahead. If we keep going, we'll just end up having a huge, horrible, public breakup," you stop, and take a deep breath. "I think we were always doomed to fail."

Valentino thinks about the diamond ring that sits in a box in the top drawer of his nightstand. Doomed to fail.

You finally look up at him, and all the air leaves your lungs. You've never seen him look so defeated, so vulnerable. You're the cause of this. And you hate yourself for it.

You pad across the kitchen and pick up your bag from where he threw it, before stopping in front of him.

"I don't regret you, Valentino. I never will."

With that, you stride out of the front door, closing it gently behind you. Val is left, cold and empty, in a room that no longer feels like home.

#hazbin hotel x reader #hazbin hotel imagine #hazbin hotel headcanon #hazbin hotel #valentino hazbin hotel #valentino x reader #valentino hazbin hotel headcanon #cursed cat alastor #hazbin hotel valentino #valentino #the vees #valentino x you #valentino headcanons

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