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La Mode illustrée, no. 22, 3 juin 1900, Paris. Collet avec écharpe pendante. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney
Ce collet, en mousseline de soie noire ornée de dentelle noire drapée, est exécuté sur un fond de taffetas blanc; on le ferme devant sous une écharpe à pans, fixée à la ceinture sous un motif de jais; le collet, découpé en dents, est bordé d'un volant en mousseline de soie orné de ruches et recouvert de dentelle noire; la jonction du volant est masquée sous un galon en jais bordé de franges et retenu sur chaque dent par un motif de jais. L'encolure est garnie d'une ruche en mousseline de soie et dentelle terminée devant sous un nœud fait en mousseline de soie, dentelle et velours.
Chapeau en paille de soie beige, à passe très relevée derrière, garni de draperies en mousseline de soie et de feuillage nuance.
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This collar, crafted from black silk muslin and adorned with draped black lace, is set against a white taffeta background; it fastens at the front beneath a sash with trailing ends, which is secured at the waist by a jet ornament. The collar—cut in a serrated pattern—is edged with a silk muslin ruffle featuring gathered ruching and overlaid with black lace; the seam of the ruffle is concealed beneath a jet braid trim, fringed and anchored at each point by a small jet motif. The neckline is finished with a ruffle of silk muslin and lace, culminating at the front in a bow fashioned from silk muslin, lace, and velvet.
A hat of beige silk straw, featuring a sharply upturned brim at the back, adorned with draped silk muslin and shaded foliage trim.
* Are elephants scared of mice? (They only did that because they were in Africa and had access to elephants.)
* Will a bull run amok in a china shop?
* Is it better to run zig-zag or straight when chased by an alligator?
I love these because NONE of them turned out the way they expected. They went into all three with pre-conceived ideas of how it would go, and each time they "failed." Elephants WILL cower from mice. A bull moves very gingerly through a china shop. It doesn't matter how you run because ALLIGATORS WON'T CHASE YOU.
And each time, they reacted with just... pure glee. "Holy shit, we were wrong! Oh my god! This is great! We were so wrong!"
And that, to me, is what science is. Being excited about being wrong because either way it's information.
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this doesnt just go for lesbians it goes for bi women and straight women too. i cant even count how many times straight women have told me “i wish i was a lesbian so i didnt have to date men” but guess what … u Dont have to date men
to be clear this also isnt necessarily saying ‘go date women instead!!’ its just saying…. u dont have to date men. u dont have to be dating women in order to not date men! in fact if ur not attracted to women at all please dont date women just as a substitute for men. but if dating men isnt making u happy… u dont have to do that. u dont have to make a space in ur life for men
i think we should be ridiculing them more for this. you don't get to try and go all "queer website" when your staff likes to go on nuking sprees targeting the trans fem users
would be remiss not to mention that the rainbow notably straight up just removed the trans flag colors from it. like they’re gone. it’s the progress flag minus the trans flag colors.
1913 To aid working mothers Dr. Josephine Sara Baker formed the "Little Mother's League" which taught girls twelve to sixteen to care for their infant siblings while their parents worked. Dr. Baker became the first woman appointed as a health official for a major U. S. city (New York). The girls received better public health education at the time than many medical students. The course was twenty lessons long, including such things as milk preparation, disease prevention and observing a sick baby. By 1915 25,000 girls were enrolled. Photo by Jesse Tarbox Beals. From New York City History and Memories, FB.
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By your friendly neighborhood pirate enthusiast. Remember the sources for most of these are often shoddy at best, we do with what we have.
1. EDWARD LOW
Spooky. Red. Makes your intent clear. Fitting for a man reputed for violence, sadism and a penchant for torture so strong he was compared to the Spanish Inquisition. 9/10 very Halloweeny.
2. EDWARD "BLACKBEARD" TEACH
Dramatic as fuck. Who hurt you, Ed? Also why is the devil so skinny. This design is a good idea but maybe a bit messy. 6/10 solid flag but makes me think of 2000s emo album covers.
3. STEDE BONNET
Meh. It tries to be symmetrical but fails because the dagger and heart aren't the same size. Trying too hard to be original but with no real creativity. 4/10 you bougie bitch.
4. BARTHOLOMEW ROBERTS
Very cool design. Always dubious of putting your own image on the flag, but overall the execution is good. You have the captain pointing at the hourglass to signify your time is up with Death by his side. 8/10 supervillain flag.
5. BARTHOLOMEW ROBERTS AGAIN
NOOO NO NO. This looks goofy as hell, Barty. The letters are supposed to stand for "A Bahamian's head" and "a Martinican's head" but putting letters on a flag is gauche. The flaming sword looks like a cactus. 2/10 You can't just draw yourself standing on the skulls of your enemies holding a flaming sword and expect people to take you seriously Bartholomew
6. SAMUEL BELLAMY
The classic. Can't go wrong with it. Points deducted bc a bunch of people used it and it's impossible to tell who started it. 5/10, neutral
7. OLIVIER "LA BUSE" LEVASSEUR
WHAT in the reverse slenderman is this shit? Get that out of my sight you French bastard. 100000/10 it lives in my nightmares.
8. HENRY EVERY
BLACK. IT'S CALLED THE BLACK FLAG ASSHOLE. Otherwise, it's a solid design, unique and simple. 6/10 unusual but not bad.
9. JEAN THOMAS DULEAIN
Just no. Too much stuff. Three skulls is nice but then you add all the other things and it becomes a confusing mess. Pick one thing and stick to it. 3/10 what the hell
10. JAQUOTTE DELAHAYE
We don't even know if she was real but what I do know is that this design fucks. Dancing with Death over a bleeding heart? Showing your prey that they're going to be bested by a lady? I stan. 11/10
La Mode nationale, no. 22, 2 juin 1894, Paris. No. 10. — Corsage de lainage Suède. No. 14. — Corsage en drap vert-Nil. No. 16. — Pèlerine-collet en moire noire. No. 18. — Corsage de mousseline de soie. Bibliothèque nationale de France
No. 10. — Corsage de lainage Suède. Corsage plat, orné dans le haut par un plastron de velours noir, encadré dans une cordelière même nuance, nouée en trèfle sur le devant; ceinture noire. Manches gigot.
No. 10. — Suede wool bodice. Flat bodice, decorated at the top with a black velvet bib, framed in a cord of the same shade, tied in a cloverleaf pattern on the front; black belt. Lamb sleeves.
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No. 14. — Corsage en drap vert-Nil, à basques sur les hanches. Devant, grands revers directoire encadrant un plastron de guipure de Venise; choux de ruban fermant le corsage à la taille. Manches gigot, recouvertes du hat par des jockeys partant de l'encolure; col montant.
No. 14. — Bodice in Nile green cloth, with peplums on the hips. In front, large directoire reverses framing a Venetian guipure plastron; ribbon bows closing the bodice at the waist. Leg sleeves, covered with the hat by jockeys starting from the neckline; collar.
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No. 16. — Pèlerine-collet en moire noire. Le haut de la pèlerine forme empiècement garni par une bande droite gaufrée, séparée de l'empiècement par une berthe de dentelle; au bas, deux rangs en dentelle formant volant. Col montant, surmonté d'une ruche.
No. 16. — Cape collar in black moire. The top of the cape is in the form of a yoke trimmed with a straight embossed band, separated from the yoke by a berthe of lace; at the bottom, two rows of lace forming a flounce. High collar, topped with a ruffle.
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No. 18. — Corsage de mousseline de soie noire. Devant froncé à la taille et mis dans la jupe sous ceinture drapée en moire noire. Il est encadré dans un fichu de guipure blanche faisant pointes devant et rond derrière. Manches courtes, bouillonnées, recouvertes par deux volants de mousseline de soie indéplissable.
No. 18. — Black silk muslin bodice. Front gathered at the waist and tucked into the skirt under a draped belt in black moire. It is framed in a white guipure kerchief with points in front and round behind. Short, bubbled sleeves, covered by two ruffles of non-wrinkle silk chiffon.
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L'Art et la mode, no. 14, vol. 26, 8 avril 1905, Paris. Les Représentations de la Duse au Nouveau-Théâtre. Dessin de Lucy. Bibliothèque nationale de France
La Seconde Mme Tanqueray.
Robe en mousseline de soie toute brodée de tubes de cristal, garnie au bas d'un volant de Valenciennes et de cordons giviés autour autour de médaillons de dentelle blanche et paille.
The Second Mrs. Tanqueray
Dress of silk chiffon, entirely embroidered with crystal bugle beads, trimmed at the hem with a Valenciennes lace flounce and frosted cords encircling medallions of white and straw-colored lace.
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La Femme de Claude
Costume en drap vert foncé garni de brodeire assortie et de velours vert même nuance.
La Femme de Claude
Ensemble of dark green cloth, trimmed with matching embroidery and green velvet of the same shade.
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La Femme de Claude
Robe de velours noir, demi-ajustée, recouverte d'une tunique de gros tulle noir brodé de tubes de jais noir et de fleurs de chenille noire à cœur de strass avec franges de jais. Guimpe de tulle blanc bordée d'un étroit velours noir et d'Irlande piqué de strass.
La Femme de Claude
Dress of black velvet, semi-fitted, overlaid with a tunic of coarse black tulle embroidered with black jet bugle beads and black chenille flowers featuring rhinestone centers, finished with jet fringe. White tulle guimpe, edged with narrow black velvet and Irish lace studded with rhinestones.
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