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thiswaycomessomethingwicked · 4 years

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please tell me your headcannons about the silly old traditions and funny hats and gowns worn at the Assassins Guild graduation ceremonies (bonus points: Vetinari occasionally attends as a distinguished alumnus; differences for those not taking the black) Downey has to make a speech

I love this ask, thank you so much. <3

Downey has added feathers to the hats because it’s Downey and he believes all hats need a nice feather.

Vetinari: . . .I refuse.

Downey: It’s a single, white feather. Very stylish.

Vetinari: You can’t make these hats stylish. It’s impossible.

Downey: That will not stop me from trying.

First it must be said, I place most of my Discworld fashion firmly in the “anywhere from 1350-1650″ camp. Which means there’s lots of diversity but it’s all still very late medieval/early modern. This is a just-me thing though, as the books are all over the place with the fashion. There seemed to be a sense, in the early Watch books, that fashion went backwards (i.e. the more recent, to our mind, the clothes the more old fashioned they are on discworld) but that was quickly abandoned partway through the series and then it became a hodgepodge.

I still like the early modern feel and so am keeping to it. You can pry Downey’s stupid fucking doublet with its black pearl buttons and his slouchy hat with the Florentine “I’m very gay” feather from my cold, dead hands.

This got long so it’s under the cut.

Fashion first, because this is Downey and the Assassins we’re talking about after all.

So I imagine the hats that the professors/teaching staff wear are the slouchy ones like these. This is modeled off of hats that were in fashion when the guild first instituted formal graduation ceremonies which are relatively recent (for a given value of “recent” i.e. only circa 150/200 years ago).

The students graduating with the Black get the slouchy hats too. The ones who didn’t take the black get the more familiar flat board graduation cap. (Students 100% balance things on top of the flat board cap. This may or may not be desired by the cap-wearer.)

The formal, ceremonial gowns, indeed the entire outfit, for the teachers are hilariously ornate because of course they are. It’s the Assassin’s Guild.

All ceremonial gowns would be different iterations of the houppelande.

Beneath the gown there is the Assassin’s black of the doublet with a long-ish skirt beneath the belt (knee length? perhaps floor - but then it starts hitting gown territory). The doublet is form fitting at the top, belted off with the skirt below. Naturally, there are very nice buttons. The linen undershirt is white and can be seen at the collar and wrists. Leggings/tights/hose/whatever you want to call them, also black and worn with dress shoes, not their usual working day boots. All men present wear this, including Vetinari.

(Downey: No grey-blacks allowed on stage unless it’s representing your specialty and I know you didn’t specialize in astronomy and quantum mathmatics.

Vetinari:

Vetinari: But it’s My Colour.

Downey: Put the doublet on.)

Women on staff are also all in black, but it’s a dress over a kirtle which is over their undershirt which can be seen at the cuffs. The dress et al is also form fitting on the top with tightly buttoned (or laced) sleeves, then there’s the belt and full skirts after. Dresses are always worn with a high neckline. They too have formal dress shoes, though you can’t see them.

The ceremonial gowns are black with coloured lining and trim. I’m thinking the sleeves are large and pinned back to show the lining which represents the general field you’re a specialist in. So, green for biology; red for literature/linguistics; white for deportment/dancing; blue for history; yellow for mathematics or whatever. The lining can be dual-colours if applicable. The trim will accent the lining but doesn’t mean anything in particular.

The slouchy hats, however, tell you what the person specialized in with regards to their training i.e. poisons; knife work etc.

Some gowns have that long drapey hood that is purely for aesthetics, but not all. I’m thinking if your specialty is stealth (coughHavelockcough) you get it. But, of course, as a specialist in stealth you don’t want people knowing that so no one who qualifies for a drapey hood wears it.

Students wear simple black gowns with relatively short, deep cut sleeves so you can see more of their doublet beneath. Boys wear the usual doublet/hose combo (kind of like this) and girls the formal dress/kirtle combo (think this, but all black and with less jewels and tighter sleeves) beneath their graduation gowns.

All gowns on students and staff alike are closed in the front - either with buttons or ties.

Aside from the hat distinction between those who are taking the black and those who aren’t, the gowns for those taking the Black are all black and have the drapey hood. Those that aren’t taking the black have gowns trimmed with a dark colour - maybe blue? grey? something that blends but still is distinct.

Ceremonial Nonsense

The graduation is held in the great hall where the students usually dine on a day-to-day basis. Parents are allowed and all families get a “plus two” for grandparents or family friends or whatever.

There are two separate ceremonies - the first is for those taking the Black. That’s the one where Downey forces Vetinari to give a speech as he is Guild Provost and one a Distinguished Old Boy etc.

Downey does his speech first and usually lines up those coming after him (Vetinari; Mericet; Lady T’Malia is what I have in my head. Though Mericet can usually convince Downey to sub in someone else as he is Too Old For This Shit).

For those taking the Black Downey will pepper in Fun Facts About Assassins and Helpful Pro Tips for Life (some of which are more helpful than others). Vetinari’s speech usually offers subtle rebuttals to Downey’s more outlandish life advice. Lady T’Malia’s is a universal favourite because she has the dry, disdainful wit of a person who has seen way too much nonsense in her life and has lived to continue to roll her eyes at it all.

Mericet, when he’s made to do a speech and can’t pawn it off on one of the younger staff, is always very short. His record time was 15 seconds wherein he got to the podium, looked somberly out at his soon to be former students, and said “All I can say to you is, good luck and don’t die” then he sat down. Downey could be heard to mutter: Really?? rather loudly.

Vetinari, more out of a desire to cause Downey some form of annoyance than anything else, will drone on for a long time and pepper in weird references only the headmaster of the guild will understand. He makes a few tiger jokes every year to which Downey, when he gets up to introduce the next speaker, will reply: “You really need to get over that”. No one knows what they’re talking about. However, the students always haaate it when Vetinari takes the podium. There is much sighing and sliding down in seats out of boredom.

The students are called up to the stage the receive their diploma in order of their name and it’s done by house (so viper house then black widow then poison dart frog or whatever they all are).

Weapons are expressly forbidden on all students after that One Unfortunate Incident back when Cruces was headmaster about which the least said, soonest mended.

Back when Downey and Vetinari were graduating, when weapons were allowed, all students were given a ceremonial sword and they got to wear it when they went up to take their diploma. Students still get a ceremonial sword (or dagger, depending on preference) but they are received after the ceremony.

The infamous ring is presented alongside the diploma.

For those not taking the Black, it’s still the same roster of speakers but it’s usually a faster ceremony (though, that is changing over the years as the Guild is sought out more and more as a general-purpose educational institution for parents seeking a classical education for their children).

Students in this group are also gifted a ceremonial sword but they’re allowed to wear theirs during the graduation ceremony because most can do nice, polite, gentlemanly dueling and not much else. Unlike their colleagues who can use it in increasingly diverse and experimental fashions.

After both ceremonies are complete there is a grand dinner with students and their families and much conviviality. Under Downey’s reign as headmaster the amount of “accidental deaths” that occurred at this dinner have decreased dramatically. Mostly because unlike previous headmaster, Downey thinks it a waste of a good education to knock someone off so soon. Also, it is deplorable manners and not civil.

(Vimes, “It’s also immoral.” Downey, “I fail to see your point, commander?”)

Wait at least a year or two until inhuming that One Guy who was A Class A Cunt During Maths. Or, if they’re really that bothersome, at least have the grace to wait until after the pudding has been served.

Pre-graduation tomfoolery

The graduating class, as a whole (well, those who survived the Run and those not taking the Black who haven’t accidentally fallen down the stairs), have two weeks between end of term and graduation and tend to run absolutely wild.

Downey’s main rule is: no one is inhumed, his dogs are left alone and nothing is set on fire; flooded; booby-trapped; or exploded etc.*

*see fine print for continuing list.

It is considered a grand tradition for each house to prank their house master. One year, students cellophaned everything in Mericet’s office. Including individual pages of books. Downey thought this absolutely Delightful. Mericet said, “that’s it, I’m retiring.” Which is, coincidentally, what he says every year.

Students will also strike up a very large game of Gotcha (i.e. Assassin) over the course of the intervening weeks between Term and Graduation. It used to be a very deadly endeavour but due to Downey’s new rule of “no inhuming until after graduation you daft kids” it’s just become a way to dunk on people.

These are also the weeks that students clean out their rooms which is always an adventure. Many will try and discreetly sneak out their illegal pot plants and shroom logs. Those that hide them in places that aren’t their room will have minor panic attacks because Lady T’Malia and other staff enjoy rounding up the plants ahead of the students and watching the fallout.

(Vetinari: I really should tell Vimes you have enough here to supply everyone in the city for a decade.

Downey: Leave my drug collection alone.)

There is a lot of Lady T’Malia and others being like, “You all do know we hid our illegal shit in the exact same places, right?’

Students will also throw end-of-year ragers in the common room which the staff pretend to know nothing about. These tend to get very messy very quickly. Downey will show up around 3am to shut it down, though. Because some people need to sleep and aren’t 18 anymore.

Anyway, that’s the long and short of my headcanon for Guild Graduation nonsense. All in all it’s a rowdy if somewhat bittersweet time. Downey secretly gets a little teary eyed over it. Aww look at his tiny little murderers going off into the big wide world. He remembers when they first arrived with knobbly knees and big eyes. His paternal side comes out in full force.

Vetinari: it’s very good you have hundreds of students and several dogs because I don’t know what you’d do without them since you’re basically 110% a dad.

Downey: i might have gotten married. What a horrifying concept.

Vetinari:

Vetinari: I have weird feelings about that which I am not going to explore in any great depth.

Thank you so much for the ask! <3 <3

#ask #reply #discworld #assassins guild #lord downey #vetinari #discworld headcanon

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otherworldlybooksgoddess · 4 years

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Five Exceptional Fantasy Books Based in Non-European Myth

Photo by Josh Hild

Don’t misunderstand me: I love reading well-written fantasy with roots in the familiar Celtic and English folklore of my childhood, but with the vast majority of High Fantasy being set in worlds closely akin to Medieval Europe, and a large amount of of Mythic Fiction drawing on legends of similar origin, sometimes the ground begins to feel too well trodden. There is, after all, an entire world of lore out there to draw from. That’s why I’m always thrilled to find excellent works of what I call “the Realistic Sub-Genres of Fantasy” based in or inspired by myths from other cultures. Such books not only support inclusiveness, but also expand readers’ experiences with lore and provide a wide range of new, exciting realities to explore. So, if you are looking for something different in the realm of Fantasy, the following novels will provide a breath of fresh air.

The Golem and the Jinni by Helene Wrecker

In this beautifully written novel, Wrecker draws on both Middle-Eastern and Jewish mythology to tell the stories of two unwilling immigrants in Edwardian New York and the unlikely friendship that springs up between them. Chava, an unusually lifelike golem created for peculiar purposes, has only days worth of memories and is practically childlike in her innocence. Ahmad the Jinni has lived for centuries, but is trying to reclaim his forgotten past. The former is as steady and calm as the earth she’s made from while the latter is as volatile and free-spirited as the fire within him. Both must learn to live in an unfamiliar new culture and find their places in a city too modern for myths even as they hide their true natures. It’s a wonderful metaphor for the experiences of immigrants everywhere, who often find themselves feeling like outsiders—isolated and even overwhelmed— as they struggle to adapt to life in an alien society.

Full of memorable characters, vivid descriptions, and interesting twists, The Golem and the Jinni takes readers on a journey that is driven as much by internal conflict as external action. The setting of 1900’s Manhattan is well-researched and spectacular in its detail. Wrecker blends two old-world mythologies into the relatively modern Edwardian world with a deft hand. The result is not only fascinating, but also serves to illustrate the common early-twentieth-century experience of an immigrant past colliding with an American future.

The Tail of the Blue Bird by Nii Ayikwei Parkes

One part Detective Mystery and one part Magical Realism, this novel invites readers to experience modern-day Ghana in a way that is both authentic and profound. When Kayo, a forensic pathologist just beginning his career, is pushed into investigating a suspected murder in the rural village of Sonokrom, the last thing he expects is to have a life-changing experience. Soon, however, he gets the acute sense that the villagers may know more than they’re letting on. When all of the latest scientific and investigative techniques fail him, even as odd occurrences keep dogging his steps, Kayo is finally forced to accept that there is something stranger than he thought about this case. Solving the crime will require more than intelligence and deduction; it will require setting his disbelief aside and taking the traditional tales and folklore of an old hunter seriously. Because whatever is happening in Sonokrom, it isn’t entirely natural.

This novel is brilliant not only because of its deep understanding of Ghanaian society and realistic setting, but also because of Parkes writing style. The narrative is gorgeously lyrical and everything within it is described with a keen, insightful eye. The dialogue is full of local color, and while some may find the pidgin English and native colloquialisms difficult to follow, I found that the context was usually enough to explain any unfamiliar terms. Sometimes the narrative feels a little dreamlike, but that is exactly the way great Magical Realism should be. The Tail of the Blue Bird insistently tugs readers to a place where reality intertwines with myth and magic, all while providing an authentic taste of Ghanaian culture.

The Deer and the Cauldron by Jin Yong

During the reign of Manchu Emperor Kang Xi, China is in a state of barely-controlled sociopolitical unrest. Many of the older generation remember the previous dynasty, and there still remain vestiges of a resistance movement hidden among the populace. As his forces continue to hunt down the malefactors, called the Triad Societies, the boy-emperor turns to his unlikely friend and ally: a young rascal known only as Trinket. This protagonist is a study in contrasts: lazy yet ambitious, cunning yet humorous, roguish yet likable, foul-mouthed yet persuasive. Born in a brothel, Trinket has made his way by his wits alone. At age twelve, he accidentally sneaked into the Forbidden City—a bizarre occurrence in itself—afterward befriending Kang Xi. Now, rising quickly through the ranks, he is on a mission to (ostensibly) find and weed out the Triad Societies, and he uses the opportunity to infiltrate various organizations, playing their leaders against one another for his own gain. With a dangerous conspiracy brewing in the Forbidden City itself, however, he is forced to choose sides and decide what is most important to him: friendship, fortune, or freedom. Supernatural occurrences, daring escapades, and moments of deep introspection abound as Trinket struggles to navigate the perilous maze his life has become.

This novel is like a gemstone: bright, alluring, and many faceted. At times it may seem somewhat simple on the surface, but looking closer reveals new depths and multiple layers. Full of intrigue, action, horror, and even laughs, The Deer and the Cauldron mirrors not only the complexities of its setting, but those of the China the author himself knew during the Communist revolution. By blending together history, fantasy, realism, humor, and subtle political commentary, Yong not only beautifully captures these social intricacies but also creates a narrative that is as thoroughly engaging as it is unapologetically unique.

Like Water for Chocolate by Laura Esquivel

Magical realism related to food has almost become a movement in itself, with novels like Aimee Bender’s The Particular Sadness of Lemon Cake, Joanne Harris’ Chocolat, and Sarah Addison Allen’s Garden Spells all finding their places in readers’ hearts. Originally published in 1992, Like Water for Chocolate helped create this fascinating trend, and it has become something of a modern classic in the fantasy genre.

The narrative centers around Tita de la Garza, a mid-twentieth century Mexican woman possessing deep sensitivity, a strong will, and a special talent for cooking. Born prematurely, Tita arrived in her family’s kitchen, tears already in her eyes. It is in that room where she spends most of her childhood, being nurtured and taught by the elderly cook, Nacha. The relationship that flourishes between Tita and her caregiver is a special gift, as it provides the girl not only with the compassion and support her own mother denies, but also with a passion and skill for creating incredible, mouth-watering dishes. At Nacha’s side, Tita learns the secrets of life and cookery, but she also learns one terrible fact: thanks to a family tradition, she is destined never to have love, marriage, or a child of her own. Her fate, rather, is to care for her tyrannical widowed mother, Mama Elena, until the day the older woman dies. With a vibrant, independent spirit, sixteen-year-old Tita flouts this rule, falling deeply in love with a man named Pedro who asks for, and is denied, her hand in marriage. Undaunted, the young man agrees to wed one of Tita’s older sisters, Rosaura, instead, as he believes this to be the only way he can be close to the woman he loves. Thus begins a life-long struggle between freedom and tradition, love and duty, which is peppered throughout with supernatural events and delicious cuisine. So great is her skill in cooking that the meals Tita prepares take on magical qualities all their own, reflecting and amplifying her emotions upon everyone who enjoys them. Controlled and confined for much of her existence, food becomes her outlet for all the things she cannot say or do. The narrative itself echoes this, by turns as spicy, sweet, and bitter as the flavors Tita combines. At its heart, this is as much a tale about how important the simple things, like a good meal, can be as it is a story about a woman determined to be her own person and choose her own fate.

Cuisine is fundamental to this novel, with recipes woven throughout the narrative, but that is only a part of its charm. In the English translation, the language is beautiful in its simplicity. The characters often reveal hidden depths, especially as Tita grows up and is able to better understand the people around her. Heartfelt in its joys and sorrows, Like Water for Chocolate glows with cultural flavor and a sense of wonder. It’s a feast for the spirit, and like an exquisite meal, it never fails to surprise those who enjoy it.

The City of Brass by S. A. Chakraborty

When I first read this novel, I found the early chapters enjoyable and engaging, but felt the story was no more than a typical, if especially well-written, work of mythic fiction. The deeper I got into the narrative, however, the more wrong I was proven. The City of Brass is anything but ordinary. While basing her work in Middle-Eastern lore and history, Chakraborty nonetheless manages to create a setting and story that are both wonderfully unique. Lush, detailed, and bursting with magic and intrigue, this book spans the lines between several sub-genres of fantasy without ever losing its balance.

Beginning in eighteenth-century Egypt, the narrative follows a quick-witted antiheroine. Nahri doesn’t live by the rules of her society. She doesn’t believe in magic or fate or even religion. Orphaned for most of her life, survival has required her to become a con artist and a thief. As a result, she is practical and pragmatic, a realist who has never even considered donning rose-colored glasses, and the last person who would ever expect anything supernatural to occur. Which, of course, means that it does, but the way in which it is handled is intricate and interesting enough not to feel trite. When Nahri’s latest con—a ceremony she is pretending to perform and doesn’t believe in even slightly—goes awry, and the cynical young woman finds herself face to face with a Daeva. Magical beings, it transpires, are real after all, and this one is furious. To both of their dismay, he’s also bound to Nahri, who soon realizes that he has an agenda of his own. In return for rescuing her (and refraining from killing her himself) Dara, the Daeva warrior Nahri accidentally summoned, wants her to pull of the biggest con of her life: pretending to be the half-human heir to the throne of his people. Worse still, she soon realizes that Dara, whose mentality sometimes seems a little less-than-stable, actually believes she may be exactly who he claims. He has something planned, and his intentions may not be in her best interest. Dragged unwillingly into a strange world of court intrigue, danger, social upheaval, and magic, Nahri quickly discovers that some things remain familiar. People are ruled by prejudices, the strong prey on the weak, and she can’t fully trust anyone. The stakes, however, are higher than ever, and Nahri will need all of her wits, cunning, and audacity if she wants to survive.

This novel was thoroughly enjoyable, and in fact prompted me to buy the following books in the trilogy as they became available. Chakraborty’s style is lyrical, her world building is superb, her plot is intricate, and her characters are well-developed. She not only frames unfamiliar words and ideas is easily-comprehensible contexts, but weaves those explanations smoothly into the narrative. The culture, mythology, and history surrounding her tale are all carefully researched, but the tale itself is nonetheless unique. What begins feeling like a fairly ordinary mythic fiction novel will pleasantly exceed readers’ expectations.

So, while we, as fantasy readers, love the works of authors like J. R. R. Tolkien, Marion Zimmer Bradley, and Charles de Lint, there is also a plethora of other enchanting books to enjoy. Exploring magical realism and mythic fiction based in cultures and folklore from all around the globe ensures that our to-read lists will always hold something unexpected and exciting to surprise us. So, if you’re starting to feel like you’re in a bit of a reading rut, or if you’re simply looking to expand your horizons, open up new realms of imagination by opening up one of the novels above. Who knows see where it will lead you? You may just discover a new favorite to add to your bookshelf. Happy reading!

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emblazonet · 7 years

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folktale, mushroom, sock

YAY ASKS. Thanks so much, I love babbling about myself :p

folktale: what stories remind you of your childhood?

This is sort of a weird question to answer both because I hated nearly everything about being a child, and because the books I loved helped me survive a childhood I hated, so I revisit them frequently for inspiration and hope. So, writers like Tamora Pierce, Robin McKinley, Diana Wynne Jones, Patricia C Wrede, etc etc. Which don't remind me of childhood, they remind me of my hopes and dreams and aspirations.

I guess one book series I actually grew out of and haven't touched for over a decade is the Redwall series by Brian Jacques. I was absolutely crazy for them for years but they didn't have much staying power.

Also fairy tales, I love fairy tales. I have a treasury of fairy and folk tales from around the world, given to me as an infant, that I'm exceedingly attached to. (The spine is currently held on by duct tape and hope.) It set a really high bar for diversity, too.

mushroom: list unique things you like about yourself

Oh yikes. Um.

I take out the eggs from the carton in a very specific zig-zag order because I was going through a phase where I wanted everything in life to be beautiful, especially the mundane things.

I really want the best for all my friends & especially to see them grow and change and learn, and even if I'm not always the best at listening or nurturing, I'm really, really, really proud of all of them. (If you're reading this, this probs includes you.) ♥

I'm resilient. I get depressed, I fuck up a lot, I'm a total failure at anything resembling the sort of productive work that makes a living, but I usually pick up my carcass and start it all up again. Idk if that's unique but I like that.

I have an awesome, exemplary & most majestic nose.

I'm a rapier fighter now! Again, not sure if that's terribly unique because I know lots of swordspeople now, but I am and I have a sword named Excellence. She's very light, 42", made by Castille Armoury, and has a gorgeous swept hilt. And eventually I'd like to get her a rose-shaped pommel. Also the cool thing about fighting is all the confidence I've somehow gotten from it? And all the small differences, like better balance and comfort in my body. It's neat! Shoutout to @sunderlorn for inspiring me to look up swordfighting in my area.

sock: how would you describe your clothing taste?

Restricted by an unfortunate lack of funds. I tend to wear my clothes to rags, and I wear a lot of stuff that actually I find p. boring. I mean, I do have a bunch of print shirts and jewel-tone t-shirts, but I'm invariably a yoga-pant person. I wear soft, comfortable things that are also cheap/thrifted, because I'm sensitive to fabrics and designs.

But what I WANT to wear regularly is fantastical flowy things out of history or a fantasy novel. Maybe not gowns, but cool tunics and so on. I wish we as a culture dressed more like medieval clothes, or traditional Indian clothes, lots of flowy things. Also, men look better in robes or tunics. The suit and its monotonous persistence is a crime against humanity. DOWN WITH SUITS.

I have plans to sew my own leggings to get around my polyester sensitivity (affordable leggings clog my pores and cause itchy misery... and 100% cotton leggings are tough to find), because I can then buy cotton blend fabric with bamboo or modal or whatever, breathable fabrics that are soft. Also, they can be perfectly fitted, not too tight and very loose around the waist because tight waistbands are cruelty to tummies. Tummies should be allowed to be round and comfy. If the waistband is leaving red lines in my tummy, THE ELASTIC IS THE PROBLEM, not me.

Once I have solved the legging problem, I will have solved thigh chafe. With thigh chafe out of the way, I can wear more dresses and tunics.

All this to say, modern clothes suck and don't last long and aren't functional. Down with the system. Comfortable and beautiful shouldn't be opposites. And you can go a LONG WAY with some fabric squares and a nice belt.

#chameleonspell #asks #about me #personal shit #I probably talk too much but hey #why answer with a sentence when smol rant-essays emerge from fingertips...

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sartle-blog · 5 years

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James Tissot: Fashion & Faith at the Legion of Honor

Picture this: the glittering heights of Second Empire France and Victorian London. A young man cast out by his father for studying art. A beautiful muse who dies of consumption. Forays into Séances to make contact with the departed beloved. It sounds like the makings of a fine (and dare we say, juicy) BBC period drama, but actually, it’s all part of the life of French artist James Tissot, the subject of the Legion of Honor’s latest special exhibition put on in conjunction with the Musée d'Orsay in Paris.

Tissot (1836-1902) was an acclaimed artist during his own lifetime whose celebrity has faded since his death. While most people today may recognize Realists like Courbet and Millet, Impressionists such as Manet and Degas, and Pre-Raphaelites like Millais and Rossetti, Tissot seems to have largely slipped through the cracks, partly because he doesn’t conform to any particular school. Instead, his work is an amalgamation of all those influences and more, and comprises a variety of subjects that changed over the course of his career. Interestingly, what we consider his most iconic work today is not what brought him international fame and prestige in his own time.

His best known paintings today are those from his middle career, which often contain one or more of the following elements: Debutantes in decadent dresses, dandies with magnificent mustaches, elegant parties, and of course, the perennial pug. You may have seen them gracing the covers of novels by Edith Wharton and John Galsworthy. Set in contemporary society, these paintings are thoroughly modern because they look at people of Tissot’s own time, evaluating their social mores and fashions as if through the eyes of a sociologist, often with more than a twinkle of satirical observation.

The Thames, James Tissot, 1876, Private Collection.

Wait, are those three bottles of champagne? One for each of these young people? Where is their chaperone? And what is that smutty atmosphere supposed to say about their activities?

Born in Nantes to a family of drapery merchants, it is believed Tissot picked up his obsession with textiles and meticulous detail in his family’s shop. While his father opposed Tissot’s plans to become an artist, he set off for Paris anyway with the help of his mother. He studied under a pupil of the great French Academic Jean-Auguste-Dominique Ingres, whose rich color, fine contours, and exquisite portraiture are discernible influences in Tissot’s work. The young artist debuted with a rather anachronistic style, creating medievalized and sixteenth century-style paintings in the style of Henri Leys that were outmoded even when Leys was making them.

Marguerite in Church, James Tissot, 1861, National Gallery of Ireland.

With an eye for what would actually sell, Tissot quickly changed course from these grand medievalisms and turned to more modern subject matter. Indeed, at first glance, his work changed so much you might think it was by a different artist altogether. The man was a chameleon, whose style changed with the market. And yet, these early paintings showcase what would become dominant threads throughout all of his work: richness of clothing and material goods, a sense of narrative, keen interest in behavior and body language, nuanced expressions, and a uniform degree of detail across the entire picture. As you walk through the rooms of the exhibition, which are arranged chromothematically, you can always trace these elements of his work, no matter how much it changes.

Young Women Looking at Japanese Objects, Tissot, 1869, Cincinnati Art Museum.

Unlike other idiosyncratic artists, Tissot was very successful in his own lifetime, raking in the francs even as a young man. Naturally, portraits were a great way to get commissions, and the curators of the exhibition point out that sometimes Tissot may have disingenuously labeled his paintings as portraits in order to drive commissions his way. However, these images are where he truly shines, blending portraiture and genre, and somehow channeling both Whistler and Ingres.

Portrait of Mademoiselle L. L., Tissot, 1864, Musée d'Orsay.

No one knows who this L. L. is, which leads some to speculate that this may be one of those pseudo-portraits. But by the looks of her she’s one radical woman! A bold gaze, a bright red bolero jacket, a hint of a blue stocking, and a pile of well-read books. Definitely BFF material.

Tissot was pals with a number of the budding impressionists, and even fought alongside them during the Franco-Prussian War. In fact, Degas was once disgusted with him for sketching the body of a fallen artist comrade rather than immediately retrieving it. The complicated situation in Paris after the war ended put Tissot in an awkward political position, so he dashed across the English Channel and bought a house in London, certain he could break into their art market successfully. This is when he produced much of his iconic work, paintings of soirees, boating outings, and tea parties, quintessentially English scenes following in the tradition of conversation pieces like those by Reynolds and Hogarth. He knew those nostalgic English would eat those right up with their scones and clotted cream.

What Tissot might have looked like trying to blend in in England.

But alas, while Tissot continued to be successful, he was met with some distrust. Were his satirical images benign jabs at general human behavior, or actually snide comments about the English themselves? Critics gave him mixed reviews. If there’s one thing that can unite the French and English, however, it’s mutual disdain for Americans.

London Visitors, Tissot, 1874, Toledo Museum of Art.

In his London Visitors, we see a man and alluringly dressed woman (probably Americans) standing on the front steps of the National Gallery. Visible behind them, the clock tower says the time is 10:30. The museum famously opened at 10 am, meaning that this tourist couple, facing away from the museum and consulting a guidebook, has already been through the entire museum in only half an hour! To have so much money but be so uncultured is truly American. Furthermore, that cigar on the steps indicates the presence of a man out of view, a man who has attracted the shameless attention of this brazen woman. Thus, leaving clues like the cigar and clock, Tissot humorously conjures up an entirely believable society scenario.

It was the same year that this was painted that Degas invited Tissot to participate in the first Impressionist exhibition along with himself, Manet, Monet, Renoir, Pisarro, and Morisot. Like the impressionists, Tissot eschewed Academic and Classical subject matter and instead painted modern life. Also like the Impressionists, he painted with visible brushstrokes, not the invisible ones of Ingres. And yet, Tissot declined. He was no Impressionist, in terms of content, method, or style. Standing before his works in the exhibition, you can see his hard contours, bold colors, and narrative content, so different from Pisarro or Morisot. He’s sometimes called a hyper-realist, and yet that doesn’t feel right, either. From far away, his works look very finely detailed, and yet close up, the brushstrokes are too lively, the varnish too exuberant, to be called realistic at all. His brushwork is completely unique and utterly marvelous, and viewing it in person is definitely one of the pleasures of this exhibition.

When he was in London, Tissot met and fell in love with Kathleen Newton, an Irish divorcée whose divorced status prevented her from marrying again. With her thick red hair, heavy-lidded eyes, and scandalous status as unwed mother, she captivated TIssot, who set up house with her and her children and painted her again and again. She is the iconic Tissot female, alluring and fashionable but also gentle, often gazing into the distance. Tissot considered their time together one of domestic bliss. But bliss it would not be for long. She contracted Tuberculosis, what the Victorians referred to as consumption, and her health slowly unraveled. She died in 1882 at the age of 28.

Mrs. Newton with a Parasol, Tissot, 1878, Musée Baron Martin.

One of the exhibit’s strongest veins is its handling of this love story, juxtaposing his grand canvases starring Kathleen in elegant society settings with the more intimate pictures of home, where she is surrounded by her children. In these latter images, the spectre of death closing in can be detected in her resting figure, her heightened features, the circles under her eyes, and the darkened interiors even when the sun is shining outside. The exhibit traces this love story well, and perhaps that helps lend emotional force to the subject of curator Melissa Buron’s extensive Ph.D. research: Tissot’s later work, which he could only have created after an experience with Death.

After Newton’s death, the devastated Tissot returned to Paris and began attending séances in an attempt to contact her. Like many people of his day, he was caught up in Spiritualism (called Spiritism in France), a movement that tried to scientifically prove the existence of the afterlife with things like slate writing and table rapping. And the spooky thing is that with the help of British medium William Eglinton, the deceased Kathleen Newton, accompanied by a spirit guide, did materialize for Tissot at a séance in London, or at least, that’s what everyone who attended said happened. Tissot immediately made a painting of this ghostly apparition, and it’s on display now at the Legion’s exhibit for the first time in decades.

The Apparition (detail),Tissot, 1885, Private Collection.

This obsession with the Paranormal was complemented by another vision Tissot had, this time in the Church of Saint-Sulpice in Paris in 1885. At the moment of transubstantiation, when the priest holds up the consecrated bread and wine during mass, Tissot beheld a vision of Christ consoling a couple. Tissot’s vision is in keeping with the resurgence of Catholic Mysticism in France at the time, and it is worth noting that Spiritualism, despite its interest in the Occult and alternative belief systems such as those of Ancient Egypt, was completely reconcilable with Christianity to Tissot.

Perhaps he was capitalizing on the spiritual Zeitgeist of his time, but it’s clear that these incidents sparked a drastic change in his work. While he had been painting monumental images of the fashionable ladies of France (to prove he hadn’t gotten too English while abroad), he suddenly switched course and embarked on a series of small, deeply felt watercolors depicting scenes from the New Testament. When complete, these watercolors traveled the world and earned him celebrity status. Women reportedly fell before them and wept, and people even crawled from picture to picture on their knees in prayer. These watercolors are remarkable for their Symbolist intensity and cinematic quality, anticipating novel vantage points that would be seen in later films (all the way up to Mel Gibson’s “The Passion of the Christ”).

What Our Savior Saw from the Cross, Tissot, ca. 1886-1894, Brooklyn Museum.

And in some ways, despite being so very different from works like London Visitors, you can still see the Old Tissot shining through in his meticulous attention to detail, his accuracy of dress and setting (he actually traveled to the Holy Land to do research), and his skillful rendering of nuanced expressions and narrative. Up until his death, he also worked on a series of the Old Testament. One fun tidbit: his rendition of the Ark of the Covenant served as the inspiration for it's appearance in Indiana Jones.

That’d be this bad boy right here. Lifted straight outta Tissot.

This lovingly curated exhibit is rounded out by some truly splendid cloisonne enamels by Tissot and a fascinating inquiry into the attribution of a mysterious study of a man with his back turned in the Legion’s collection. Also of interest are two series of paintings of the Prodigal Son, one from Tissot’s earlier period set in Medieval Europe, and the other set in contemporary days, with his own pops figuring as the father in the parable. Facing each other across three rooms in the exhibition, they frame the show nicely, chronicling his progress as an artist, but also painting a picture of his own private hopes and relationships.

The show is very personal, painting as intimate a portrait of Tissot as may be possible. The problem is that he’s just so mysterious. He was a man entirely of his own time, and so was his work, but while his images are dazzling, you often find yourself wanting more. Some statement beyond the vaguely moralizing or satirical. And until he went on his Bible kick, it’s difficult to perceive what that might be. After all, how do you reconcile the overtly materialistic with the spiritually meaningful? Perhaps it is true that, as Nancy Rose Marshall suggests in the catalogue, even in his present day images, the objects surrounding his figures are meant as a portal to something higher, a “vehicle for contemplating the invisible realms,” in much the same way that the Symbolists and Pre-Raphaelites used them. Mundane objects could lead to spiritual truths, and maybe Tissot had been working on a spiritual project all along.

In Full Sunlight, Tissot, ca. 1881, Metropolitan Museum of Art.

Either way, Tissot is relatively little known today among the general public. Curator Melissa Buron suggests some possible reasons for this. The first is that he had no children to champion his legacy. The second is that he truly is uncategorizable, impossible to lump in with any movement. Thirdly, both his religious and his fashionable imagery fell out of style in the 20th century. It’s possible, too, that his very commercial success is a bit of a turn-off. Sometimes it’s the struggling pioneers like Vincent Van Gogh that feel more deserving of our attention. Nevertheless, anyone remotely interested in 19th century culture or just exquisite painting technique will find much to enjoy in Tissot’s work.

The Catalogue is tremendous, luxuriously bound in green and gold and brimming with original essays that tackle everything from his childhood in Nantes, to his sorties in the Paranormal and his influence on film. There is fresh scholarship as well detailing his painting methods and his own ledgers of painting sales. If you can’t make it to San Francisco to see the exhibit, the catalogue is a solid, beautiful substitute. It makes a worthy addition to any art history or Victorian studies aficionado's shelves. Find it on amazon here. (paid link)

For petticoats and parasols, a tragic love story, and an enigmatic artist, “James Tissot: Fashion & Faith” is sure to delight. And when you’re there, don’t forget to count the pugs!

“James Tissot: Fashion & Faith” can be seen at the Legion of Honor until February 9, 2020. You can find more information here.

By: Jeannette Baisch Sturman

#press preview #legion of honor #fine arts museums of san francisco #san francisco #james tissot #pugs #art and fashion #spiritualism #watercolor #fun stuff #serious art history

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aihwyunying · 5 years

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7 popular trends in interior lighting design in 2019

Interior lighting is the core content of home design. You can define the type of lighting and fixtures to change the atmosphere of the home. The lighting design also varies from room to room. The crystal chandelier company placed in the living room may not be suitable for the kitchen or bedroom. The lighting must reflect the function of each space and the feelings for the residents. As with any other part of interior decoration, lighting design is constantly changing, and technology is one reason for these changes. As manufacturers provide more advanced lamps and light bulbs, the tastes and preferences of homeowners also change with the times. This is why we have different types of retro lighting, decorative arts, medieval modern and so on.

1 Soft gold is a new trend

Recently, the trend of flexible colors has soared significantly. The owner has fallen in love with colors such as gray and beige, and the flexible gold just happens to belong to this soft color range, which is very suitable for modern decorative effects. The soft gold fell somewhere between brushed silver and brushed gold.

Borrowing the soft matte effect of these two shades, while showing golden warmth and mellowness. It also means that it can fit into almost any type of decoration.

2 More refined vintage and industrial styles are returning

Industry has always been known for its rustic decoration, neutral colors and emphasis on metal. We see it making a comeback in another form. If you look at modern industrial lighting, you will feel that it has some obvious legal differences from the traditional industrial style. The new name we give it is "upgradedindustrial" or modern retro style. Unlike the warehouse-like styles common in industrial styles, we see more stylish metals, richer, more diverse shades and alternative designs. Walking around you will find the details of retro installations are more delicate and look more like an art form.

If you are interested in introducing some industrial elements in your home. Then the new modern industry should be a good choice.

How to use: Use modern retro lighting to create a unique style for the area. These lighting designs are ideal for places like kitchen workspaces, restaurant areas or wall lamps. You can even use the luminaire itself as the artwork on the wall or the main element of your home.

3 retro edison style light bulbs, warm retro style

Retro Edison-style light bulbs add to the retro lighting trend in 2019. Many owners like the nostalgic design of these lamps. The conical shape makes the signboard particularly warm and suitable for residential and kitchen light areas. Even better, you can use Edison-style bulbs in modern LED lighting. If you want a fixture that can last longer and consume less power, you can use an Edison-style bulb with LEDs.

How to use: Retro Edison bulbs are best used in retro / industrial styles. They can add some warmth and softness to industrial elements. For maximum results, use a complete set of lamps instead of a single bulb. For example, a chandelier made of Edison bulbs or a row of connected Edison lamps above your kitchen work area. If you are looking for a retro-styled softness, these lights are a great place to start. And you can find plenty of design references on the market.

4 Medieval modern and decorative arts are making a comeback

For many years, decorative arts and medieval modern styles have been favorites for interior design. For some reason, lighting has not followed the same trend, and it is difficult to encounter artistic installations in these nostalgic early century styles. But this is changing as more and more medieval and decorative art designs fill the market. When it comes to medieval modernity with clean lines and weakened forms, people think of the popular Sbnik chandelier. Art Deco and medieval modernity formed continuity from the 1920s to the 1970s. They all emphasize simple lines, unique designs, and a balance of form and art.

Art Deco lighting focuses on sharp lines and fascinating geometric designs. When you adopt modern lighting in the Middle Ages, you will find this style is a love of natural shapes that combines functional form and aesthetics.

How to use: Art Deco is a clever lighting style. Overhead decorative art installations are particularly good at adding strong geometric designs to spaces. The medieval lighting trend in 2019 tends to be more fun and leisurely, using it to add a sense of pop art to the space. Unlike many years ago, it is not difficult to find decorative arts and modern installations in the Middle Ages today. You can go to the accessory store to see them or check them online.

5 Reduce cluttered lines

Modern decoration is mainly based on clean forms. Whether it is a modern sofa, a modern kitchen, or modern lighting, excessive decoration is losing favor. Old lighting fixtures often have ornate metalwork. But in modern homes, complex designs may not blend well in a clean style space. Therefore, to this day, owners prefer to choose simpler and cleaner lighting designs that fit perfectly with modern decor.

As more low-key luminaires enter the market, the trend of minimalism will become more popular in 2019. These luminaires focus on simple geometric designs, neutral pastel colors and accentuated points of aesthetic form.

How to use: Whether it's a living room, kitchen or bedroom, you can use modern, clean lighting in any space in your home. It is best suited to accentuate the sense of house design, especially when used on the roof, to create a simple and bold look. Let the lighting fixture stand alone and not be squeezed by other fixtures. It is more suitable when used as a reading light, ceiling light or main light.

6 LEDs are getting cheaper

Incandescent lamps are a huge waste, and most of the electricity is wasted in the form of heat. This is why it is necessary to transform it into other more effective and environmentally friendly lighting forms. More and more homeowners are turning to LED lighting because they have the characteristics of saving money and electricity, and have a much longer effective life than incandescent lamps. Another advantage of LED lighting is that it can provide a variety of styles. You can get LED lights in many colors, brightness, shapes and more. They are a great choice when you need unique home designs.

Currently, the main disadvantage of LED lighting is that it is relatively more expensive. Although they can save some money in the long run, they are quite expensive to buy compared to other lighting options. Most owners can only replace one fixture at a time. As technology advances and the adoption rate of LED lighting rises, the cost of LEDs should decrease in 2019 and beyond. Soon, the owner may switch in place at once.

7 bigger and better

For certain areas of the house, the owners fell in love with the larger fixtures, the purpose of which was to create a "Wow" effect and attract the attention of users. These lamps were not only used for lighting, but also served as central decoration. Some designs are gorgeous, focusing all attention on the space of the light fixture. Large chandelier lighting fixtures can be used for walkways in kitchens, dining tables, hallways and other areas.

How to use: Use larger luminaires with great care. For best results, use it in the central area that produces the most effect, and you can balance it with smaller fixtures around the room to create a beautiful overall look.

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fishermariawo · 6 years

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The Pros & Cons of Hormone Replacement Therapy for Primal Women

A Primal woman’s first reaction to the prospect of taking synthetic hormone replacements for menopause? Probably a healthy dose of skepticism. We in the ancestral health community, after all, tend to view pharmaceuticals as a last resort—interventions that are overprescribed by vested interests, create their own set of side effects, and may even do more harm than good. To suggest that we “need” this or that prescription raises our hackles.

Besides, it’s not like menopause is a product of modernity or an aberration our ancestors never experienced; it’s a physiological stage that evolution has protected and selected in humans. It’s perfectly natural. Rather than the debilitating, miserable experience many women report having, menopause should be easier. Graceful, even. But it often isn’t.

And nature unfortunately doesn’t care about that. Menopause is nature’s way of preventing undue discomfort and reducing genetic damage to the group. Your average 50-year-old woman has a lot to offer the tribe in terms of wisdom, child care, and general know-how, but natural selection has also determined that it’s better for everyone if middle-aged women don’t easily get pregnant. Menopause achieves this by down-regulating the hormones and weakening the tissues necessary for conception. The problem is that these same hormones and tissues also figure prominently in a woman’s enjoyment of life and overall health.

What can happen when Mother Nature decides to step in?

Anxiety

Irritability

Loss of libido, vaginal atrophy

Night sweats

Hot flashes

Weight gain

Forgetfulness

Longer-term, menopause increases the risk of serious diseases like osteoporosis, heart disease, and breast cancer.

Those aren’t mere inconveniences. They can mar the beauty of what should be an enjoyable part of a woman’s life, interfering with her relationships, her productivity, her cognitive function, her sleep, and her basic ability to enjoy living.

Mother Grok didn’t take pharmaceutical hormone replacements, you might counter. She didn’t hit up the shaman for a compound blend of hormones, so why should you?

First of all, maybe she did. Pre-scientific peoples have been known to develop folk cures that seem primitive but end up getting scientific validation. Think of the medieval garlic-based concoction that we just found out can eliminate medication-resistant staph infections. Or the indigenous Amazonian tribes who somehow figured out if you brewed a certain vine with a certain leaf and drank the finished product you’d visit the spirit world, all without knowing the vine contained DMT and the leaf contained an MAO-inhibitor that made the DMT orally active. Or, to bring it back to menopause, the yam, which cultures have used for hundreds of years for menopause treatment without actually knowing it contains an estrogen mimetic with clinical efficacy.

Second of all, the basic Primal stance on pharmaceutical interventions is that they are useful and suitable when correcting a deficiency, a genetic proclivity, or an evolutionary mismatch—particularly when dietary and lifestyle interventions aren’t cutting it. If they can help us treat a condition that seriously impedes our life or pursuit of health, we should avail ourselves of the fruits of modern science. Hormone replacement therapy may very well qualify.

Philosophical qualms aside—does hormone replacement therapy (HRT) work? What factors play into its effectiveness—and safety?

First, Is It Safe?

This might just be the most contentious topic in medicine.

For decades, HRT was the standard treatment for postmenopausal women. Not only was it given to treat the symptoms of menopause, it was billed as an antidote to many of the chronic diseases that increased in frequency after menopause like breast cancer, osteoporosis, and heart disease. Most of this was based on observational data and small pilot studies. That changed with the Women’s Health Initiative (WHI), a massive series of randomized controlled trials involving tens of thousands of postmenopausal women. Finally, the establishment would get the solid backing they needed to continue prescribing HRT to millions of women for prevention of chronic disease.

Except it didn’t turn out so well. Midway through, they stopped the trial because they weren’t getting the desired results.

There were two different HRT study groups. In one study, women without uteruses either got placebo or estrogen alone. In the other, women with uteruses got a combo of estrogen and progestin (a progesterone analogue) or placebo. The estrogen was Premarin, a conjugated estrogen. The progestin was Prempro, or medroxyprogesterone acetate.

The E/P combo increased the risk of heart disease, breast cancer, pulmonary embolism, and stroke, and reduced the risk of colorectal cancer and fractures (but not enough to offset the increased risks).

The estrogen alone had no effect on heart disease (contrary to their hypotheses), but it did appear to increase the risk of stroke while decreasing the risk of breast cancer and fractures.

Following the publication and wide dissemination of the WHI results, HRT use plummeted among women. Breast cancer cases subsequently dropped by 15-20,000 per year. Hormone replacement therapy developed a bad rap that it has yet to shake.

Is it deserved? Yes and no.

While the WHI results highlight some very real risks associated with HRT, they don’t tell the whole story. There are other variables to consider when deciding on HRT.

How Early You Start Taking HRT Matters

Most of the women in the WHI study began HRT when they were very post-menopause: older, in their 60s and upward. They got worse results.

A much smaller proportion of the women in the study were under 60 when they started HRT. They had better results. In fact, among those women who initiated HRT before age 60, total mortality actually dropped by 30%.

Another analysis of the Women’s Health Initiative data found that women who started taking HRT during early pre-menopause were less likely to see the negative effects, like increased breast cancer and heart disease.

Another study found that older post-menopausal women taking estrogen took hits to their working memory that remained after therapy cessation, while younger post-menopausal women had no such reaction.

Women who took oral estradiol 6 years after menopause saw their subclinical atherosclerosis slow down. Those who took it later (10 years after) did not.

A recent large Cochrane meta-analysis found that while in general postmenopausal women taking HRT had a moderately increased risk of heart disease, breast cancer, and other diseases, a subgroup of healthy, 50-59 year old (so, younger) HRT users only had a slightly increased risk of venous thromboembolism.

The longer you wait to initiate HRT after menopause, the more adverse effects occur. Start earlier, if you do start

How You Administer the HRT Matters

Oral hormones have different metabolic fates than transdermal hormones. When you swallow a hormone, it goes to the liver for processing. This creates various metabolites with different bioactivity. One example is oral estrogen. When you take estrogen orally, you raise CRP, a marker of inflammation. Transdermal estrogen has no effect on CRP.

Oral HRT has been shown across multiple studies to increase the risk of venous thromboembolism, while transdermal HRT does not. This is because oral HRT increases thrombin generation and clotting, while transdermal HRT does not.

In the Women’s Health Initiative that found negative effects, the HRT given to the subjects was oral. Perhaps this was the issue.

For local vaginal symptoms, local application is probably ideal, while oral application is suboptimal. In one study, vaginal estriol was far more bioactive than oral estriol, despite the latter resulting in higher serum levels of the hormone.

However, topical isn’t always best. In one study, sublingual users of bioidentical hormones saw relief from night sweats, irritability, hot flashes, anxiety, emotional lability, sleep, libido, fatigue, and memory loss, while topical users only saw relief from night sweats, emotional lability, and irritability.

The Type Of Hormone You Take Matters

Another factor the WHI failed to address was the composition of the medication itself. They used synthetic hormones—conjugated estradiol and medroxyprogesterone acetate. Could bioidentical hormones, exact replicas of endogenous hormones which exploded in popularity following the WHI, have a different effect?

The amount of research into conventional HRT dwarfs bioidentical hormone therapy (BHT) research, but what we have looks pretty compelling.

Breast cancer is a major concern for HRT users. Most breast cancers respond to estrogen, just over half respond to progesterone, and traditional HRT seems to increase their risk. Yet, at least in healthy postmenopausal women, a combination percutaneous estradiol gel (inserted into the skin) and oral micronized progesterone—both bioidentical to their endogenous counterparts—had no effect on epithelial proliferation of the breast tissue, while reducing activity of a protein that protects cancer from cell death. The conventional HRT had the opposite effect, increasing epithelial proliferation and breast volume (a risk factor for breast cancer). This wasn’t about cancer, but it’s suggestive.

In another study, postmenopausal women on BHT (which included estriol, estradiol, progesterone, testosterone, and DHEA) saw improvements across all measured cardiovascular, inflammatory, immune, and glucoregulatory biomarkers despite being exposed to high levels of life stress.

Then again, in a recent study, bioidentical hormones performed poorly compared to the pharmaceuticals equine estrogen and medroxyprogesterone acetate. The pharmaceutical hormones resulted in a lower risk of breast cancer, although the bioidentical hormones still reduced the risk compared to placebo.

Which Hormones You Take Matters

The vast majority of postmenopausal women take estrogen, progesterone, or some combination of the two. But there’s another hormone that, despite plummeting during menopause, gets ignored—testosterone.

Although testosterone is the “male hormone,” it also plays a vital role in female physiology, especially sexual function. Menopause reduces testosterone by about half, and studies indicate that topical testosterone replacement therapy can improve sexual function and desire (combined with estrogen) as well as musculoskeletal health and cognitive performance in postmenopausal women. More importantly, topical testosterone improves sexual function without causing any of the adverse effects commonly associated with testosterone usage in women, like hair loss, voice deepening, body hair growth, facial hair growth, breast pain or tenderness, or headaches.

Adding low-dose testosterone to a low-dose estrogen regimen may even be better at reducing somatic symptoms of menopause (sleep disturbances, hot flashes, and other physical symptoms) than a higher dose of estrogen alone.

Your Expectations Matter

Our big mistake was treating HRT as a panacea for the chronic conditions of aging. It’s not that smart hormone replacement can’t or won’t reduce the risk of certain diseases, like osteoporosis or heart disease. It’s that we’re still figuring it out.

A better, safer move is to focus on what we know HRT can treat: the symptoms of menopause.

Want to reduce hot flashes and get more sleep? HRT works.

Want to reduce anxiety? HRT works.

Want to improve cognitive function and your sense of smell? HRT works.

The use of bioidentical hormones may be safer or more effective against the bigger stuff. It remains to be seen. Until then, treat symptoms, not chronic disease—but keep in mind your overall risks and discern whether treating the symptoms is worth any additional risk for that bigger stuff.

Your Personal Context Matters

Women with a history of estrogen-responsive breast cancer (80% of breast cancers) should exhibit caution and check with their oncologist before taking any kind of HRT.

ApoE4 carriers should seriously look into taking HRT. In one recent study, postmenopausal ApoE4 carriers exhibited rapid cellular aging—except if they were taking HRT.

Whatever You Decide…

Don’t feel guilty if you decide to take some form of it. I myself take a small dose of testosterone to get my levels up to where they should be. My wife, Carrie, has taken bioidentical hormones in the past (a modest compound blend of estrogen, progesterone, and testosterone) to deal with the symptoms of menopause, including persistent brain fog that didn’t respond to any other herbal or alternative measure in her case. There’s no shame. This is restoration of what’s healthy and supportive of a good life.

Heck, I know women who are both aware of the potential long term risks—heart disease, breast cancer, and the like—and enthusiastic about the shorter-term, more immediate quality-of-life benefits they currently enjoy. They prefer the definite benefits over the small and uncertain absolute risk increases. Some have even said that feeling better day-to-day gives them the energy to continue living a healthy life in other ways.

I also know women who do the opposite, who either are lucky enough to not experience any profound symptoms in their transition or who prefer to use other methods and interventions to deal with their symptoms in order to avoid any increased long-term complications. (I’ll delve more into this in the future if there’s interest.) Regardless, it’s all a choice.

Hopefully after today you feel better equipped to make an informed one.

What about you, folks? I know I have thousands of readers who are facing this very question—or who have already faced it. What did you choose? How did you handle the HRT question?

Thanks for reading. Take care!

References:

Wu WH, Liu LY, Chung CJ, Jou HJ, Wang TA. Estrogenic effect of yam ingestion in healthy postmenopausal women. J Am Coll Nutr. 2005;24(4):235-43.

Murkes D, Lalitkumar PG, Leifland K, Lundström E, Söderqvist G. Percutaneous estradiol/oral micronized progesterone has less-adverse effects and different gene regulations than oral conjugated equine estrogens/medroxyprogesterone acetate in the breasts of healthy women in vivo. Gynecol Endocrinol. 2012;28 Suppl 2:12-5.

Ruiz AD, Daniels KR. The effectiveness of sublingual and topical compounded bioidentical hormone replacement therapy in postmenopausal women: an observational cohort study. Int J Pharm Compd. 2014;18(1):70-7.

Stephenson K, Neuenschwander PF, Kurdowska AK. The effects of compounded bioidentical transdermal hormone therapy on hemostatic, inflammatory, immune factors; cardiovascular biomarkers; quality-of-life measures; and health outcomes in perimenopausal and postmenopausal women. Int J Pharm Compd. 2013;17(1):74-85.

Zeng Z, Jiang X, Li X, Wells A, Luo Y, Neapolitan R. Conjugated equine estrogen and medroxyprogesterone acetate are associated with decreased risk of breast cancer relative to bioidentical hormone therapy and controls. PLoS ONE. 2018;13(5):e0197064.

Schiff I, Tulchinsky D, Ryan KJ, Kadner S, Levitz M. Plasma estriol and its conjugates following oral and vaginal administration of estriol to postmenopausal women: correlations with gonadotropin levels. Am J Obstet Gynecol. 1980;138(8):1137-41.

Scarabin PY. Hormone therapy and venous thromboembolism among postmenopausal women. Front Horm Res. 2014;43:21-32.

Espeland MA, Rapp SR, Manson JE, et al. Long-term Effects on Cognitive Trajectories of Postmenopausal Hormone Therapy in Two Age Groups. J Gerontol A Biol Sci Med Sci. 2017;72(6):838-845.

Hodis HN, Mack WJ, Henderson VW, et al. Vascular Effects of Early versus Late Postmenopausal Treatment with Estradiol. N Engl J Med. 2016;374(13):1221-31.

Santoro N, Allshouse A, Neal-perry G, et al. Longitudinal changes in menopausal symptoms comparing women randomized to low-dose oral conjugated estrogens or transdermal estradiol plus micronized progesterone versus placebo: the Kronos Early Estrogen Prevention Study. Menopause. 2017;24(3):238-246.

Yazici K, Pata O, Yazici A, Akta? A, Tot S, Kanik A. [The effects of hormone replacement therapy in menopause on symptoms of anxiety and depression]. Turk Psikiyatri Derg. 2003;14(2):101-5.

Doty RL, Tourbier I, Ng V, et al. Influences of hormone replacement therapy on olfactory and cognitive function in postmenopausal women. Neurobiol Aging. 2015;36(6):2053-9.

Jacobs EG, Kroenke C, Lin J, et al. Accelerated cell aging in female APOE-?4 carriers: implications for hormone therapy use. PLoS ONE. 2013;8(2):e54713.

Kingsberg S. Testosterone treatment for hypoactive sexual desire disorder in postmenopausal women. J Sex Med. 2007;4 Suppl 3:227-34.

Davis SR, Wahlin-jacobsen S. Testosterone in women–the clinical significance. Lancet Diabetes Endocrinol. 2015;3(12):980-92.

Achilli C, Pundir J, Ramanathan P, Sabatini L, Hamoda H, Panay N. Efficacy and safety of transdermal testosterone in postmenopausal women with hypoactive sexual desire disorder: a systematic review and meta-analysis. Fertil Steril. 2017;107(2):475-482.e15.

Simon J, Klaiber E, Wiita B, Bowen A, Yang HM. Differential effects of estrogen-androgen and estrogen-only therapy on vasomotor symptoms, gonadotropin secretion, and endogenous androgen bioavailability in postmenopausal women. Menopause. 1999;6(2):138-46.

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cynthiamwashington · 6 years