Aching to Pupate

Femme, feisty, feminist, finding it harder to alliterate than I expected. Twenty-something, vegan, queer, sex- and body-positive, book-loving, Jewish, kinky almost-college graduate. My feminism is intersectional or it isn't worth shit. Directing my life marginally better than a butterfly in a hurricane.

I'm kinda in love with my best friend.

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blackandwhitestriped:

Last night’s outfit! Collar and dress made by me!

aclockworkpink:

Freja Beha Erichsen, Vogue Paris, May 2013

aclockworkpink:

We Are Handsome S/S 2013, Australia Fashion Week

"So many fashion “rules” are simply sets of guidelines to managing the connotations of womanhood. The shorter the skirt, the lower the heel. The smokier the eyes, the more neutral the mouth. The tighter the pants, the more billowy the shirt. The more colorful the top, the plainer the bottom; the bigger the earrings, the smaller the necklace; the bolder the nail polish, the shorter the nail. I’ve seen all of these “rules” written out in fashion magazines and the like (which isn’t to say that there aren’t plenty of contradictory “rules” or guidelines on how to best break those rules, but these are generally considered to be within “good taste” instead of being fashion-forward), and what stands out isn’t so much the rules themselves as the fact that they’re presented without explanation. You’re supposed to know inherently why you wouldn’t pair a short skirt with high heels, a loud lipstick with a dark eye.
Now, some of these rules make a certain amount of visual sense: If you’re trying to showcase a gorgeous pair of earrings, wearing a bunch of other jewelry will just compete for attention. But other rules make visual sense only because we’ve adopted a collective eye that codes it as “right”—anything else betrays our sense of propriety. A micromini with four-inch heels? Coded as tramp. It doesn’t matter if the visual goal is to lengthen your legs, or if the woman next to you garnering not a single sneer is wearing a skirt just as short with a pair of low-heeled boots. You’ve failed to manage the stigma of womanhood correctly. You haven’t made the right choices, the right tradeoff. You haven’t found that ever-present marker of “good taste”: balance. And while there are all sorts of stigma attached to womanhood, none is so heavily managed and manipulated and contradictory and constantly on the edge of imbalance as sexuality."  -

Autumn Whitefield-Madrano, “Wearing Stigma” (via eibmorb)

I always hated the “rule” that you can’t wear boobs AND legs - one or the other. You know how many times I used to want to wear a miniskirt with a tank top? It can get hot!

(via fuckyeahfeminists)

blackandwhitestriped:

Tumblr’s Drag Race play-along, Main Challenge #1

”For this first main challenge, we want you queens to serve us Gothic realness. We’d like for you to incorporate an outfit, since it is a main challenge.”

Usually when I do gothy looks they’re more like this, but I thought it might be fun to try something new so I went with a deathrocker meets trad-goth type thing? Looking back there are a few things I probably would have changed, but overall I’m pretty happy with it!

edge-to-edge:

Givenchy SPRING 2011 READY-TO-WEAR

aclockworkpink:

Ralph Lauren SS 2013

fiberistanora:

lyndsayfaye:

tutu anna

I need these tights yesterday.

Man, I’ve gotta figure out a way to print on tights…

homicidalbrunette:

hautekills:

Christian Dior haute couture s/s 2011 by John Galliano

Fashion is obsessed with its own history, nowhere more so like in the rarefy world of haute couture. Within this dress the illusions to fashion’s past are two, the first obviously being the 1947 ‘New Look’, created by the designer who’s name is still stitched inside this gown, Christian Dior. The other reference is to the mid-19th century second empire fashion spotted by the Empress Xiaozheyi, that was devised by the godfather of the entire industry of haute couture and indeed in fashion as we know it, Charles Frederick Worth.

The designer of this dress is another Englishmen, John Galliano, who’s approach to historical fashion is ideally suited to the world of couture. Galliano’s obsessions are not just aesthetic, but also in the constructions of his garments.Dior himself often created dresses that could stand by themselves and Galliano while reinventing that construction for the modern world pays homage to Dior’s love of highly artificial silhouettes.

This ballgown has layer upon layer of tulle to give the fullness to the skirt while the bodice itself is constructed by a corset and patted around the breasts.  The embroidery on this dress is another throwback, again, not only to the 40’s and 50’s and to the second empire but to the bellapart of this dress . The color of this dress, the pastel shade of yellow is very much the turn of the century color redundant of Christian Dior’s mother, it was apparently his inspiration when designing the full skirt ‘New Look’; it’s also reminiscent to my eyes of Charles James, an anglo-american couturier who non less than Balenciaga, credited as the world’s best and only dressmaker. James is again quoted as Dior’s inspirations in the full skirt that became the ‘New Look’ and was credited by many as being one of the very few couturiers who was able to raise fashion from an applied art form to a pure art form, in my opinion John Galliano is another. 

                                       -Alexander Fury

TEARS IN MY EYES. 

fyeahkozueakimoto:

Kozue x Smir Nasli

londie:

Who the heck let someone design so many pretty dresses in one season I’m writing a letter to the president.

aclockworkpink:

Milly F/W 2013