#ethnic flats for women

[marcloire09]

Penny Loafers for Women | Marcloire

Elevate your footwear game with Marcloire's penny loafers for women. Crafted with precision and designed for the modern woman, Marcloire's penny loafers are a versatile addition to your wardrobe. Available in a range of colors and materials, these loafers provide the ultimate in comfort and durability. Step into a world of timeless elegance and unmatched style with Marcloire's penny loafers for women, because your shoes should speak volumes about your taste. visit us to shop https://marcloire.com/products/printed-pu-loafers-ml000617

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[its-poojagupta-shree]

In the vibrant tapestry of ethnic wear, party wear kurtis stand as dazzling jewels, exuding grace and charm. With the advent of online shopping, exploring the realm of these exquisite garments has become more accessible and exciting than ever. Join us as we embark on a journey to unwrap the magic of party wear kurtis online, exploring the trends, styles, and sheer elegance that these ensembles bring to festive occasions.

[cindyfootwears-wholesalevendor]

Stylish Cindy Footwear with Your Indian Lehengas

In the world of fashion, pairing the right footwear with your outfit is essential to complete the look. When it comes to Indian lehengas, choosing the perfect pair of shoes becomes even more crucial. Enter Stylish Cindy Footwear, a brand that effortlessly combines tradition with trendiness, offering a diverse range of options to complement your Indian attire.

From Handcrafted Party Wear Trendy Slippers to Fancy Wedding Chappals, there’s a style for every occasion says Ms. Shardha Wadhwa, CEO of Cindy Footwears, India’s leading wholesale footwear company for women’s ethnic slippers and bridal footwear in this blog.

What are some of the most stylish Cindy Footwear products for the Indian Lehengas?

Let us see what you can wear as your footwear that will compliment your lehenga:

Handcrafted Party Wear Trendy Slippers:

For those special celebrations, the Handcrafted Party Wear Trendy Slippers by Stylish Cindy are a perfect choice. These slippers showcase intricate craftsmanship, featuring detailed embroidery, beadwork, and embellishments that seamlessly blend with the rich textures of your lehenga. The careful attention to detail..

Read Here: https://cindyfootwears.com/Blog/women-shoes-matching-indian-lehengas/

For more details visit: https://cindyfootwears.com/ethenic-indian-women-slippers.html

[fouryearsofshades]

Some Chinese fashion styles

Disclaimer: The following styles and their definitions were observed by me and are not authoritative. I am only familiar with Hanfu and if I made mistakes and picked the wrong photo examples or fraud shops, please let me know. Also, this post focused on women's fashion because 1. I am not into men's fashion so I don't know much about them. 2. The algorithm also knew that so I don't really see them.

汉服/Hànfú

传统服饰/Chuántǒng fúshì （传服/chuán fú）

清汉女/Qīng hàn nǚ

旗装/Qí zhuāng

旗袍/Qípáo

新国风/Xīn guó fēng、新中式/Xīn zhōngshì 汉元素/hàn yuánsù 茶艺服/Cháyì fú or 茶服/chá fú 唐装/Tángzhuāng 中山装/Zhōngshānzhuāng.

汉服/Hànfú

The ethnic clothing of Han Chinese (not the Han Dynasty).

There was a prohibition of Han clothing and hair styles in Qing dynasty, i.e. the 剃发易服/Tìfā yìfú qu Queue Ordinance, so modern hanfu is an on-going revivalist moment.

Modern hanfu are based on archeological evidences with minor twists to suit modern like, such as the type of fabric used and cut.

As a result, there are many types of garments and sub-styles. The figure above shows some examples.

While which style should be included and promoted is a constant debate, but in general, the cutout line is the Qing dynasty (however small accessories such as purses are alright).

传统服饰/Chuántǒng fúshì （传服/chuán fú）

No example because I am not sure who identified with this label.

The Chinese traditional clothing.

This either referred to historical clothing restorers (regardless of ethnicity) or people who promoted that the traditional clothing of Han people should be in the late Ming dynasty style, since "people should get up at where they had fallen".

They might be agreeable with the hanfu movement or not.

清汉女/Qīng hàn nǚ

The clothing of women of Han Chinese in the Qing dynasty.

Since the Queue Ordinance wasn't that strictly enforced on Han women, the Han women clothing in the Qing dynasty had quickly absorbed Manchurian's elements while retaining the characteristic two-piece silhouette. (Manchurian women wore a one-piece robe.)

I believed it appeared around 2019 when the styles of hanfu had moved to fully embroidered surface to a more tone down brocade or weaved patterns.

旗装/Qí zhuāng

The ethnic clothing of Man people (Manchurian).

The women's clothing are generally in round collar opened on the left (youren) with straight sleeves.

The most basic item is a 衬衣/chènyī, which doesn't have vents.

However, the most common item I have seen on the street is a 氅衣/chǎng yī (probably rented), which should be worn on top of 衬衣, since they have side vents.

They usually have no standing-up collar but in some cases a fake collar could be worn.

On top of changyi they could wear a 马褂/mǎguà、坎肩/kǎnjiān、褂裥/guà jiǎn.

旗袍/Qípáo

The Chinese clothing of women originated from the Minguo era, known in English as qipao or cheongsam.

The male equivalent is 长衫/chángshān.

Currently in style is the retro-cut, while uses the traditional flat cut (no shoulder seam) instead of the more body-hugging modern draping style.

There are also many variations and cuts, but the overall silhouette is similar.

新国风/Xīn guó fēng、新中式/xīn zhōngshì

Innovative clothing that was inspired by Chinese traditional aesthetic.

It is an umbrella term.

汉元素/hàn yuánsù refers to clothing inspired by hanfu specifically, while xinguofeng could be inspired by qipao and other ethnic clothing. In addition, hanyuansu is a term more familair to hanfu-ers, so the target audience is slightly different between hanyuansu and xinguofeng.

茶艺服/Cháyì fú or 茶服/chá fú,i.e tea dress, which aimed to convey a zen and rustic aesthetic could also be considered a sub-style. They are often worn by retirees, artists or workers in tea shops, calligraphy shops, Chinese spas, Chinese traditional medicine clinics etc.

The older "Chinese style" generally refers to 唐装/Tángzhuāng and 中山装/Zhōngshānzhuāng.

Tangzhuang (Tang Suit) was a men suit characterized with a mandarin collar with a row of 盘扣/pán kòu frogs in the middle. There are two pockets at the bottom front of the suit. It was a well-known looked worldwide due to the 2001 APEC summit. However, other clothes resembled a 马褂/mǎguà could also be called a tangzhuang.

Zhongshanzhuang was designed and named after Sun Yat-sen but was often known in English as the Mao Suit. Mao Suit was characterised with a 关门领/Guānmén lǐng（“closed-door collar", but also known as Mao collar in English) with a row of round buttons. There are four pockets at the front of the suit.

中华lolita/Zhōnghuá lolita

A sub-style of the lolita fashion inspired by cheongsam/qipao, hanfu or other Chinese artistic elements.

The same item could appeared in different styles, but with different cut and accessories. The following examples showed a mamianqun used in different styles.

THE END

[soul-kiitchen]

so much of terf rhetoric is riddled with ableist and racist nonsense and they still call themselves allies to the disabled community and communities of poc.

"a woman is supposed to have periods and specific hormones and organs"

okay so all women with pcos or hormone imbalances or missing wombs/ovaries or any kind of reproductive health issue are just not women then okay

"no woman should have facial hair or thick or dark hair or a strong chin or jawline or be over 5'4" or have broad shoulders or have small lips or small eyes or a big nose or big ears or big feet or long legs or big calves or big arms"

okay well you just described half of the human race but specifically targeted people of like. literally every ethnicity except for a small select few europeans originating from England, Wales, Britain, and Scandinavia if you ignore the fact that most nords are actually tall with strong bone structure. But they usually get a pass because theyre Extra White so their femininity can never be put into question, right?

And not all women have tiny little barely there wad of gum vaginas. In fact, most women don't. It's very rare and the concept that a woman should be flat with a small clitoris and labia is 100% rooted in transphobia. I want to argue that its ableism as well, but classifying an enlarged clitoris as some sort of medical disorder is also deeply rooted in transphobia.

So many cis women argue that theyre protecting women while simultaneously degrading any woman who isnt a busty short little light skinned europoean with absolutely no body hair and a porn stars highly modified sexual reproductive system. Then it becomes clear that so much of it is truthfully also rooted in racism and eugenics.

[mybeingthere]

Lin Fanglu (b. 1989, Chinese) is a fiber artist who uses tie-dyeing techniques to create beautiful sculptures.

Fanglu Lin began working with fabrics as the main medium for her work in 2014 when she traveled to Zhoucheng village in the city of Dali, Yunnan, China. As she studied tie-dyeing techniques of the Bai minority ethnic group with local artisan women, she became fascinated with the process of tying, the step so fundamental in creating patterns on the famous blue and white Bai fabrics, and yet so paradoxically underappreciated. Hours, days, and months of strenuous work and dedication lay silently under an alluring excess of texture, shapes, and patterns. In the traditional process of crafting tie-die fabrics, all knots come undone after dyeing. The thread is cut and removed, rigorously folded pleats and stitches responsible for elaborated patterns become the fleeting memories - the evanescent glow of anonymous backbreaking manual labor on the finished dyed fabric. Fanglu Lin makes the scrupulous needlework the defining feature of her art. With the simplest of auxiliary tools, she transforms plain fabric into undulating landscapes of knots and pleats, just like the artisan women in Dali. Rather than making flat works, the artist experiments with complicated geometrical patterns and traditional types of stitching she has learned in the village, pushing the pliable medium into three dimensions, producing tactile objects of art that entice viewers to reach out and touch them.

https://artplusshanghai.com/.../Threads-of-change-Lin...

[goldxnfemme]

The absence of Black lesbians in the bars is particularly striking, since one of the popular lesbian bars, Winters, was in the Black section of the city, on "the Avenue", and was owned by two Black women. Several factors seem relevant in explaining the Black lesbian community's preference for house parties over bars in the 1940s. First, the Black community was not yet large enough to provide anonymity for a Black lesbian social life. Although the Black community in Buffalo dates from before the turn of the century, it was relatively small. It began to increase dramatically during the 1920s, due to migration from the South. During the 1940s, the Black population of Buffalo more than doubled. Debra, who socialized in Buffalo during the 1930s and 1940s recalls the need for discretion to prevent the Black community from knowing she was a lesbian. This would make it unlikely that Black lesbians would want a bar in their own neighborhood. Leslie, when queried about Black lesbian bars, doubted if they existed in the Black section. She describes it as the "old ethnic problem... that you can't be funny in your own neighborhood." For this reason the majority of gay and lesbian bars were downtown. Second, at this point in the history of race relations in the U.S. in general, and in Buffalo in particular, well before the Civil Rights Movement, there was little possibility of a Black lesbian bar, or a fully integrated bar, in the downtown area of the city. A primarily Black gay and lesbian bar would have been too vulnerable to racist attack. And the process of integration of gay bars did not occur in Buffalo until the 1950s, and still caused tension well into the 1960s. Third, Black urban culture has a strong history of house parties; rent parties and buffet flats are noted in most Black community histories of the first half of the twentieth century. Thus in having regular parties Black lesbians were adapting their ethnic culture to their own specific needs. The lesbians who patronized bars in Buffalo were not only white but working-class. They came primarily from working-class families, and they themselves worked hard to earn a living, as beauticians, sales clerks, secretaries, or factory and hospital workers. Some sacrificed a lot to pursue an education and became skilled workers or technicians. A few with luck and effort were able to go into business for themselves. The homogeneity of the lesbian bar population makes a striking contrast with gay male culture, which has a long tradition of explicitly erotic cross-class socializing.

- Boots of Leather, Slippers of Gold: The History of a Lesbian Community by Elizabeth Lapovsky Kennedy and Madeline Davis

[animefeminist]

The World is Our Egg: Understanding Adultification through Anthy Himemiya

Content warning: sexual assault, racism, misogynoir, references to chattel slavery, child abuse (emotional, physical, sexual)

Spoilers for Revolutionary Girl Utena

The first time I watched Revolutionary Girl Utena, I wondered where this anime had been my whole life. As an American child growing up in the ‘90s, I was indoctrinated into anime fandom with the holy trinity of Sailor Moon, Pokémon, and Kiki’s Delivery Service. Frankly, what drew me to check out Utena beyond the aesthetics and gorgeous cinematography was that one of the main characters was a Black girl. Anthy’s ethnicity, and by extension Akio’s, is left ambiguous to viewers and is never truly addressed. Whether this is intentional or not, it leaves space for Black and Brown viewers to read their own experiences into her character.  

Anthy is a character you grow to understand and appreciate with each rewatch, and not nearly as flat or passive as she’s often labeled by first-time viewers. It’s difficult to assess how long Anthy has been abused since the story can get surreal and dreamlike, but even before her greater backstory is revealed the audience clearly sees Anthy being abused by countless other individuals. What makes this even more difficult to stomach is how little of a reaction this gets from the other characters in the series. The frequency of the abuse, coupled with the fact that both Anthy and her brother, Akio, are the only Black characters in the whole series, made me wonder if there was a larger point Ikuhara was trying to establish. This was when I learned of the concept of Adultification and how this phenomenon not only works against Black and Brown women and AFAB folks in our society today but also contextualizes aspects of Anthy’s story more clearly. 

Read it at Anime Feminist!

[bbraefairy]

𝐒𝐇𝐄𝐀 𝐁𝐔𝐓𝐓𝐄𝐑, megumi fushiguro

WARNINGS - black!reader, f!reader, oral sex, teasing, 18+ characters. for the black girlies but readers of all ethnicities are welcome to enjoy!

a/n - my first time writing in this fandom. sumn for me to get used to, so i started off easy. lmk how u guys like it, & if u want more!

ִ ࣪𖤐༄

“I love when you do this in the morning.” Your soft voice tumbled out of your lips.

Megumi was rough around the edges, tender at the core. The world saw a stoic, bothered man, but with you, Megumi was everything soft and sweet.

You wore a white, french-styled lace bralette, and a thong to match. Your stomach was flat on the white silk linen, one cheek set on the silken pillowcase. Petals of carnations and roses were adorned around your body. Lavender candle, crackling and dripping molten wax on the nightstand.

Just because he wanted to.

The morning was an invitation to become agents of dreams and loving actions. Rays of sunlight doused your room with pools of amber and gold. The gust through the windows gracefully lifted the curtains as a gift of freshness. The sky was a blend of smudged stars, argent, and ivory clouds that flowed across the sky in the form of broken verses.

“I know you do.” Megumi’s hand’s, lathered in thick shea butter, pressed from your lower back, up to your shoulder blades. His fingers splayed firmly as he did so, compressing deep-seated passion into your well-melanated flesh.

Megumi was all for helping you unravel into your feminine and romantic persona. He was aware that the world was misogynistic and dominated by the patriarchy, with little to no concern of minorities— such as black women. He was invested in caring for you, helping you on wash days, buying some of your favorite hair and skin care, reading some of Maya Angelou’s poetry with you. He wasn’t afraid to embrace and delve into your culture.

There was no way he was going to love a woman without embracing her full being. Who she was, where she came from, what she experiences, why she interacts with the world the way she does, how such an epitome can exist at the same time as her. He made it his daily and utmost duty to care for you, even when it was hard to, even when it hurt.

Megumi kneaded his strong hands on the expanse of your shoulders, letting out a breath as he lined your figure with his touch. Hips patterned with marks that showed the capacity of a woman to grow and change. Curves and dips to show that you are a muse, a piece of art not to be reckoned with. Childhood scars, birthmarks, hyperpigmentation.

He loved you in full.

“Your skin, it’s so, so gorgeous.” He watches the butter pave paths of rich oil and glisten on your arms.

You let out a soft noise of delight, “Thank you, Megumi.”

Megumi gathers more of the raw extract and slips his hands down the back of your thighs, going down, then up, right below your behind.

Megumi’s voice, commanding, “Open up a little for me, angel.”

You spread your legs a bit, then Megumi dips his hands between your inner thighs. You contort a bit as his grasp reaches a sensitive cluster of nerves. Then his hands return to the outer thighs, then up the spine again.

Megumi progresses, smoothing his hand over your afro-textured hair that was concealing your face. The curls are gravity-defying and abundant. Your hair stands proud to Megumi’s touch, and he smiles. He always loved how strong-willed your hair appeared, it was just like you.

He peppers delicate, deep and languid kisses on the slope of your neck. Megumi’s lips wander to the terrain of your back. He kissed, sucked there. Dragged his hand on your hip, held the hip in place.

Megumi was following up his hand massage with a series of radiant kisses. Down the spine that bound the body of a plethora of dark and hidden mysteries. His hands ran across the shape of some more of your figure as he continued to press his lips on areas of your body.

You closed your eyes. Listened to his kisses growing hotter as they neared your thighs. Heard the quickening breath he was breathing. Feeling his touch start to lose focus.

It was all happening slowly but surely, but you were going to wait until Megumi said something.

You knew within yourself, you were a cascade of sensations and a symphony of desire.

Way before the shea butter.

There it was.

Urgent, but expected.

He paused.

Whispered. Tone covered in imperfect lust.

“Sweetheart, do me a favor,” The urge was welling up from his depths this time around. This was one of the times you knew there was a second part to the morning routine.

“Bend your back ‘nd let me eat you.”

“I was waiting to hear you say that,” You smiled, getting on all fours, “It’s one of those mornings, isn’t it, babe?”

Megumi sighed as your back formed into an arch, “Think so. We gon’ find out.”

Megumi slipped off the thong, put it aside. Clapped his hand on your ass, squeezed it, making you squeal.

“I’mma eat you out as a starter,” He lines his fingers just above your folds, semi-soaked in arousal. “Pussy’s prettier than the last time I left her.”

Megumi felt the adrenaline ebbing his body as he wiped his tongue on a piece of Heaven between your thighs. Your teeth clench, you brace your body for the cunnilingus.

His oral performance. You were the stage, and he was the show.

Megumi traced detailed circles on your oil-spread lower back and thigh. “Flinchin’ already, angel? I taught you better than that.”

You husked, “Megumi, please don’t tease me. Not this time.”

“There’s never gonna be a time where I don’t tease you, sweet girl.” Megumi gave your umber pussy lips crude, salacious sucks, drawing a whine from you.

Your pussy was like the petals of a flower. Blossoming with an itch only he could scratch. Every interstice and layer was asymmetrical. Seeping with nectar as he paid homage to your special place.

He licked his middle and ring fingers, then dipped them in your essence, feeling the rosé interiors close around him.

There was no pretense, his pulls and pushes were as hot as fire. Raging fire. He gives that coral pink clit, so solitary and vain, the most obscene suckle he could manage. Your composure was wilting. He’s licking, fingering, pulling taut, thrusting deep, making you elementally vulnerable to expanding and contracting. To Megumi, you were sweet succulent fruit and shooting stars.

“Fuck, Megumi— Fuck.” You were slipping up now, the words in your mouth were hoarse. Your legs contract together when you feel his fingers strike a nest of nerves and a deep corner.

Megumi spanned his touch down your shea-buttered back just one more time. He loved the slip. He loved the soothing. He loved the sex.

Megumi laughed as he submerged himself in saturated, vulva flesh. His ultraviolet tongue with dust of gold. “You found your words, princess.”

Megumi knew you always had your guard up, and that you always felt like your emotions had to walk on eggshells. Again, Megumi was always ready to be that place for you to take off the armor, and land and unravel.

Megumi was relentless. Ate some more from those secret lips. Curled his fingers in your honeyed abyss, put his wrist in it. Slapped your ass again ‘cuz he knew you liked it like that. Sweet as fuck— was his sticky, hot whisper. You were craving an orgasm at the core, and were reduced to a lack of self control.

You wondered if your bones should break.

You winced, feeling the rip currents of his desire split through you. “Yes, God, fuck.”

Megumi was a hound of lust, his growls were the lightning and your moans were the thunder.

His hands, slick with shea, dirty with you. He deepens your arch by pressing down on your back. Tongue busy, fingers sodden. “Mhm, that’s my girl. Talk me through it.”

Your mouth, clustered with buttered prose. Your hands twining around the linen. Teeth biting down on the pillow. The tremors make you feel dark and twisted. You’re blending hot curves and mystic chimes of the tongue.

You shrill into the pillow, feeling the chronic ache birth at your spoiled-rotten core, “Megumi! You’re so deep— Oh, God, please.”

He asked, voice grated, "Am I?"

"Yes," You whine, the tension is building pressure inside of your mind. "You are, and I'm on the way."

He knew when it was coming. He watched for your legs to lock like steel. Watched the dark tawny palace between your legs breathe with ready alabaster. Listened to your breath snag with a curse. Observed the convulsion of energy from the zenith of the spine to the nadir of the same.

“Cum for me, angel. I’m a keeper.”

He knew when it was coming. He watched for your legs to lock like steel. Watched the dark tawny palace between your legs breathe with ready alabaster. Listened to your breath snag with a curse. Observed the convulsion of energy from the zenith of the spine to the nadir of the same.

Your chasm drenched and released, flowed with ivory. You dissolve in ripe sounds of delight. You were served to him hot.

There she is, I knew you had it in you, angel, he praises.

You were light and fluffy, he takes your buttery-rich residue, hums when he gets a flavor. Spits between the folds to gather more.

He opens your mouth with his fingers, pushes them down gently.

His brusque instruction. “Suck,” And you do with a soft groan.

His jade eyes contrast with your almond, he deepens his fingers a bit. It makes your stomach crunch

“Atta girl,” Megumi kisses your full lips with care. "Did you enjoy your morning?”

You said, tone ragged from sex. “Yes, I did. Good Lord, can you eat pussy good.”

there it was

the flavor of you still marinating on his tongue

and

the golden threads of light and

the crisp breeze

ruffled amongst the linen and rose petals

lavender candle still sputtering

and creamed, lavish butter

spilled from your sacred canvas

and down your thighs

[im-not-your-nice-jewish-boy]

fascinating

I'm sure someone else has already pointed this out, but it's very interesting that the goyim steal our ideas and our culture to harm us.

Christians (Catholics in particular): stole our stories, our laws, our jobs; they then used those things to justify the Inquisition, the stereotypes about money and Jewish association with it, and then used those laws that they didn't (and still obviously don't) even rightly understand themselves to bring incalculable inhumanity against everyone who didn't fit into what they demanded from women in general (but in particular women who did Literally Anything Men Didn't Like) to queer folks (of whom I am one) to so many different ethnic groups of people that even they probably don't know the number

Nazis: Used anything and everything about us (regardless of the fact that it was just flat out wrong) to justify their wholesale slaughter of us as being righteous

And now we have the antisemitic left who steal our voices, our history, out trauma, and our holidays to gaslight us into doing what they want. And when that doesn't work, they ghettoize us, demonize us, traumatize us, call for our deaths, and cheer on our killers all in the name of righteousness, just like every single other group of people who have ever spoken and thought the way they do

Have you not stolen enough from us already?

Fuck off and leave us alone.

[its-poojagupta-shree]

At SHREE, if you want to get the Flat 599 on ethnic sets, tops and tunics, dresses, shirts, bottom wear, Kurti & Kurtas from Valentine’s Day Sale. Additionally, we offer Cash on Delivery and a return and exchange policy. For more information you can call us at: +91-7827990062 or mail us at: support@byshree.com or visit our website: https://byshree.com/collections/flat-599?utm_source=img&utm_medium=seo&utm_campaign=feb-24

[cindyfootwears-wholesalevendor]

Best Women’s Shoes for Your Foot Type: Loose or Tight?

A study reveals that three-quarters of people wear shoes either too large or too small for their actual foot size. Many women globally often squeeze their toes into undersized shoes, leading to widespread discomfort. A survey indicates that women intentionally opt for the wrong size due to a limited selection of desired styles, especially if they have broader feet.

Finding the right size is challenging, as the footwear industry struggles to cater to the diverse 3D anatomy of individual feet, relying on statistical and sensory variables for shoe development. Let us find out what Ms. Shradha Wadhwa, CEO of Cindy Footwears has to say on what type of shoes is best for you.

Should women’s shoes be loose or tight?

Wearing proper footwear is essential for protecting your toes and body. Shoes should offer support, cushioning, and a good fit to keep your feet healthy, enhance workout enjoyment, and minimize accident risks. Well-fitted shoes contribute to better protection for your feet, ankles, and ligaments.

Shoes

Avoiding excessively uncomfortable shoes is crucial, but it doesn’t mean neglecting the quest for an ideal fit. Your footwear’s edges and straps should be snug but not overly tight. As you walk, ensure your heels stay in place, preventing toenails from scraping the shoe’s front or feeling compressed. Your toes should move freely, yet not so much that your foot slips within the shoe.

An overly tight shoe may lead to pain and blisters on the forefoot...

Read Here: https://cindyfootwears.com/Blog/how-select-womens-shoes-loose-tight/

[bimdraws]

I am queer for Palestine because bombing Gaza also kills LGBT+ Palestinians. The bombs and the IDF won't stop and ask you if you are gay.

I'm queer for Palestine because my support of human rights isn't just for people who agree with me. I don't want homophobes to die.

I'm queer for Palestine because homophobia is everywhere and flat out genocide would never solve that. Are you seriously arguing that it's morally justified to bomb every "homophobic country" on Earth? Because we wouldn't be left with much.

I'm queer for Palestine because I've been listening to queer voices in Palestine.

I'm queer for Palestine because there will never be freedom for queer Palestinians without liberation for all Palestinians.

I'm queer for Palestine because I refuse to engage in racist portrayals of another ethnic group by colonizers.

I'm queer for Palestine because there's no safe zone in Gaza anymore and I can't be comfortable with that as thousands of people, men, women, children, have died and will continue to do so under Israeli regime.

[generic-whumperz]

Benny (Character Sheet)

(Picrew)

Playlist | Moodboards | Masterlist | Character Info | Lexicon

Overview: In a post-apocalyptic world where an outbreak of debated origin has transformed people into flesh-eating monsters, Benny, a fisherman from Cajun-country Southern Louisiana, is just an ordinary man trying to support his family during difficult times. But his fate is forever changed after he catches the attention of Arcadian Baron Xavier LeBlanc after winning a brutal fight against a horde of afflicted in the fighting pits. His victory leads to an offered position as one of Xavier's concubines, but he soon discovers that this position involves more than just hedonistic sex parties. Benny discovers Xavier's corruption and nefarious activities, including the Baron's connection to the mysterious disappearances of several local women. Outraged, Benny decides to take matters into his own hands. After risking it all and exposing Xavier's wrongdoings to the town, the ensuing revolt claims the lives of Arcadian envoys and vassals alike. Xavier, fed up with Benny’s insolence, retaliates by sentencing Benny to a life of slavery and selling him to a buyer on the West Coast.

Full name: Benôit Onésiphore Boudreaux (Benny)

Role: Second lead protagonist (Whumpee)

Date of Birth & sign: February 10, 2005 (27), Aquarius (story takes place in the year 2032)

Gender: cis-male

Sexuality: bi (and DTF)

Height: 6'

Weight/body type/build: working man's build—very fit and muscular. Unfairly ripped, is good googly moogly ridiculous. (How does it feel to be creator's favorite?)  

Hometown: Atchafalaya, Toussaint Parish, Louisiana (re-used name, fictional place in the southern boot of LA area)

Fav genre of music & anthem: blues rock; Born On The Bayou by: CCR

Family Members: Oldest child and only son. Both parents deceased. Younger sisters in order from oldest to youngest: Genevieve, Sabine, Estelle, Cordelia. Adopted children whose families died after the outbreak. Father & big brother figure 2-in-1. (All surviving Boudreaux family members + adopted kids are in the infographic below.) Family over everything mentality. Provider.

Left/right handed: left

Occupation: fisherman, helps run family-owned bait & tackle shop

Ethnicity (+ American): Indigenous (predominantly  Choctaw), Cajun/Creole (mixed colonial French, Native American, and Haitian ancestry). Appearance-wise, looks unmistakably Native. 

Hair color & length: long, straight, thick black hair, hits mid-back. Usually tied in a low pony, braided, or thrown up in a messy bun. Facial hair: none to be had. Has little to no body hair and looks like a smooth baby dolphin. Has never used a razor in his life, plucks random hairs as they surface.

Hygiene: smells like swamp water and fishing boat gunk 90% of the time. Bathes daily and spends a lot of time taming his mane and doing hair masks. Decently hygienic (having four sisters), but isn't afraid to get dirty and wrestle in some mud.   

Eye color: russet brown. Deep-set, thin, almond-shaped eyes. Has "sly eyes."  

Skin tone: light brown, golden tan with warm undertones.

Facial features: oblong head with high cheekbones. Wide, full lips with heavy upper lip. Hooked nose. Flat, thick eyebrows. Round, slightly pointed ears (no, not like an elf) with free lobes.  

Mannerisms: very animated and talks with his hands, uses a lot of body language. Hums, whistles, and sings songs at random.   

Nervous ticks: shifts and wiggles around more. Rocks in a chair if sitting. Paces. Runs fingers through hair, plays with hair. Flexes hands and toes. Shrugs, rolls shoulders. Cracks neck and fingers, rolls head in a circle or a back/forth motion. Blinks a lot and shakes head. Bounces knee. Talks more and rambles, may repeat a question reworked in different ways, *disbelief*. Uses inappropriate humor to cope. Grimaces. Stretches, may start dancing/tapping feet. Drums fingers.

Posture: relaxed and casual. Slumps back in seat or leans forward, elbows on knees. Has an unfortunate tendency to manspread.

Style: "It fits? I gets." Nearly everything is stained and a hand-me-down. Usually in smelly fishing gear. When not, in a white tank or T-shirt with sleeves cut off, old ripped jeans, tattered old boots, or no shoes at all. All shorts are old jeans he cut (jorts go hard). Tribal print and lumberjack flannels, buttoned jackets, Carhart vests, old sweatshirts, wrinkled and faded T-shirts, beaded jewelry, and custom jackets made by his fashionista sister, Estelle. 

Health: initially very healthy with no conditions or allergies

Piercings/tattoos: piercings—2 holes (lobe and upper lobe), tragus on both ears and a Prince Albert (🍆). Tattoos (so many, all B&W): strand of 5 traditional-style flowers on upper chest, just below collar bones. Barbed wire in the shape of a heart on the left peck over the heart with a small cherub pulling back bow as if about to shoot an arrow at it on the right shoulder. Traditional Choctaw tribal pattern strip encircling right bicep. Beaded armband with two feathers tied in the middle—starts on upper-mid left arm and stops about 4" short from elbow. Mermaid with shell crown on top left forearm. Optical illusion crocodile swimming half-in, half-out of water on top of right arm. Optical illusion fishing hook stuck in skin on outer left wrist. Tomahawk with peace pipe end on left side over ribs. Scorpion around belly button, crawling down towards below waistline. Sun and moon kissing surrounded by clouds on mid left thigh. Shrimp above outer left ankle. (Tat sheet & references below.) 

Birthmarks/scars: scar across left cheek. "X" slave branding scar on right hand.  

Language(s): English, some Cajun French

Personality: extroverted, adaptable, friendly and charismatic, good-natured, energetic, sincere, outspoken, optimistic, excitable, loyal, motivated, facetious, compassionate, quick-witted, patient, confident, genuine (never pretends to be someone he isn't), but can be a schmoozer

Vices:  weed, moonshine/hooch, casual sex, drunk fishing.

Voice: loud. Rich Cajun twang, smooth and silky despite the volume at which he speaks.

Smells like: when dirty—swamp, mildew, and fish. When clean—earthy scent with aquatic undertones: Spanish moss, evergreen and Cyprus, soliflore gardenia, and blue gum eucalyptus.    

Face claim(s): (young) Eddie Spears (top row), Michael Hudson (bottom row, big shoutout to @3-2-whump for finding Michael!)

Character inspiration: nothing in particular; I just thought I was missing something, and thus, Benny was born and slowly revealed himself to me in parts. I knew I needed a wild swamp man.

Other: has wrestled alligators and isn't afraid of shit besides catfish (his mortal enemy). Harmonica champion. Consumes ungodly amounts of shrimp. 

 

Character sheet filled out from his POV

Tattoo Placement Sheet (+ Scars):

Tattoo reference pics from Pinterest:

(sorry, yeah he has Pinterest tats, I’m not a professional)

Surviving family tree:

[angelmelon]

question for Rusty Leasebound

So are you against shaving everywhere but the arms or…?

An afab person who never shaves anywhere will likely have:

Hairy legs (you seem to have that down, though you don’t exactly draw it very well)

hairy pits (I’ll give it to you you actually do this well)

AND THATS THE ONLY STUFF TO RUSTY APPARENTLY BUT THEY WILL ALSO HAVE

Thick layers of peach fuzz on the face, often times even actual full fledged facial hair, not often a lot but it absolutely can become noticeable

HAIRY ARMS FOR THE LOVE OF GOD WHY ARE SHANZAY’S ARMS NAKED

a unibrow will often form

SO SO many goddamn neck hairs. Esp if you’re going to draw a ton of people with short hair

happy trail (tummy hair)

but no we must shame afab people with hair in areas that isn’t “womanly” to you by depicting all your trans woman characters with IN YOUR OWN WORDS “ugly traits”, and according to you that includes:

ALL THE GODDAMN ABOVE + ethnic traits because we can’t be normal about middle eastern, Jewish, and indigenous people apparently

I hate you with all my heart Rusty Leasebound please draw women with flat chests and arm hair and without demonizing them

[audreydoeskaren]

Hello, could you please do a review of Chinese Dress: From the Qing Dynasty to the Present Day by Valery Garett? Or at least give a perusal? It looks really good to a naked eye. There's clothes for different occasions, ethnic groups, and social classes. But it was also written by a white British woman, and from what I can tell her research comes from (stolen) collections in UK museums.

Also, I am confused about a passage on wedding dresses; she says Cantonese peasant women wore dark blue or black cotton for their weddings (pg 172), but I thought Chinese wedding dresses were traditionally red. (I am Chinese; I am an adoptee researching my culture; on a personal note, if it's true then I'm bummed because nobody deserves a boring wedding dress and red is so gorgeous)

Many thanks!

(Here's a pdf of the book for reference)

In my opinion, any book on Qing Dynasty fashion that uses a court dress laid flat as its cover image should be immediately dismissed, and that is exactly what I would say about this book. Unfortunately it's yet another ethnographic account coming from a white anthropological perspective, as you've identified, and is only useful if you want a caricature of your culture. Like most authors on Qing Dynasty fashion, Chinese or not, Garrett takes the 19th century as the starting date of the dynasty and offers absolutely no information on anything prior to that. This is because of both the lack of resources available to her from before western colonialism and the general framing of Qing Dynasty fashion; a common mistake, but not an excusable one. The erasure and misrepresentation of fashion in the PRC is disappointing. The book is from 2007 though, and it reads like other books from the same time, so it's not even bad in a unique way. I cannot stress this enough but please use recent literature wherever possible.

About the wedding dress thing, I wouldn't say there is one single 'traditional' color since formal wedding dresses of the Han upper classes during the Qing had multiple pieces and were not monochromatic. In the first half of the twentieth century, wedding qungua had a black jacket and red skirt, but were also embroidered with gold or silver. Blue and black were common colors for the working class in the 19th century, and it makes sense for peasant women to wear what was economical. Having fancy weddings that were a special occasion was, really, an aristocratic and bourgeois custom, and I assume working people often just couldn't be bothered.

This reminded me, I really should finish that series on Qing Dynasty Han women's fashion. Seeing published white authors be cringe with such audacity kind of motivates me.