Ancient Theater of Epidaurus, Greece, 1956. People gather to watch Anna Synodinou in Sophocles’ Antigone, directed by Alexis Minotis.
occasionally subtle

roma★
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Ancient Theater of Epidaurus, Greece, 1956. People gather to watch Anna Synodinou in Sophocles’ Antigone, directed by Alexis Minotis.

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Eagle Books edition of The Woman in White by Wilkie Collins, 1957. Paperback detail.
Moss Farm Prehistoric Standing Stone, Machrie Moor, The Isle of Arran, Scotland
Jonny Quest (1964), "The Curse of Anubis"
George Harrison at Friar Park, 1974, taken by Terry O'Neill. ㅡ From the book "THE BEATLES" by Terry O'Neill.

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Gregory Peck, Ingrid Bergman, and Salvador Dalí during the making of Spellbound, 1945
Zander & Labisch :: Paul Graetz mit Schauspielerin Valeska Gert in ’Hiob’ von Kokoschka, 1920. Foto: Zander & Labisch. | src and hi-res Getty Images
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The Alma doll as Venus (Munich 1919).
In 1918 after Alma Mahler ended her relationship with the artist Oskar Kokoschka, he commissioned a life size replica of his lost love from the doll maker Hermine Moos. Kokoschka took a strong hand in the doll’s design, sending sketches, full scale drawings, measurements and detailed physical descriptions. “Yesterday, I send a life size drawing of my beloved and I ask you to copy this most carefully and transform it into reality. Pay special attention to the dimensions of the head and neck, to the ribcage, the rump and the limps. And take to heart contours of body, e.g., the line of the neck to the back, the curve of the belly. Please permit my sense of touch to take pleasure in those places where layers of fat or muscle suddenly give way to sinewy covering of the skin. For the first layer (inside) please use fine, curly horsehair; you must buy an old sofa or something similar; have the horsehair disinfected. Then, over that, a layer of pouches stuffed with down, cottonwool for the seat and breasts. The point of all this for me is an experience which I must be able to embrace! Can the mouth be opened? Are there teeth and a tongue inside? I hope so!”. (Oskar Kokoschka)
Untitled #12, Photo by Catherine Opie, 1999
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Elliott Smith
Sexuality Through Clothing in Daughters of Darkness
Daughters of Darkness also had absolutely perfect styling from The Countess’s vampy, mature sexiness, Ilona’s mysterious introverted style and Val’s All American turned New Money blend. The Countess’s lush extravagant textures and necklines she absolutely gave the air of a timeless and seductive older woman too many movies nowadays are afraid of making older women sexy. Ilona was the epitome of European sensuality, she was mysterious, lush, aloof and just a bit coquettish there was something hiding behind her eyes. Valerie was by contrast the All-American beauty, just the right amount of sensual without being vulgar, vanilla, and a little innocent, it made her the perfect target.
The Countess oozed wealth and seasoned sexuality. They gave her a slightly 1920s style to signify her immortality seen in her finger waves and super arched eyebrows i believe the actress based her performance on Marlene Dietrich as well, she is an image of the classic vamp archetype both literally and figuratively. She exuded a maturity and glamour that made her extremely enticing it’s not hard to be seduced by her.
She also loves gauzy fabrics furry trims and deep colors like rich purples, reds and blacks, it also helps assert her dominance over her assistant Ilona. There’s plenty of traditional 70′s silhouettes, look at the red dress it has flower natural lines with the scarf. But mixing it with older styles like the 1920s influence helps her give a timeless look. It’s impossible to know her age.
ilona is a more youthful beauty but shes also very sensual with short hems sheer tights and a rlly luscious pout they play on her lips more than her eyes in her makeup shes also european to give another layer of exoticness compares to Valerie. They keep her color palette dark and her clothing modest, again playing into a more mysterious sense of seduction and sensuality.
The mushroom haircut also adds another layer of coquettish sensuality to her character shes the antithesis to valeries beachy american blonde waves if val is the all american beauty ilona is the lush european. It’s short which was uncommon in the 70′s and slightly boyish. It gives her an exotic look.
Val is the epitome of the perfect 70s woman, long flowing blonde hair, a tall slender body blue eyes she looks out of place is this gothic European setting she belongs on a California beach. She represents an American ideal and a more natural kind of beauty, her makeup isn’t as heavy as the Countess and Ilona and instead looks almost non existent. She’s also considerably tan compared to the others, as tan skin was popular in the 70s.
Shes also implied to not be as rich as stefan and she tries to overcompensate and LOOK rich notice how hes wearing what looks to be a real leather jacket and a simple turtleneck standard rich ppl affair she looks like new money and is slightly too extravagant. The constant use of whites, tans and browns also betrays her naivety. She tries to match Stefan’s libido but always falls behind as her innocence and repressed sexuality cannot satisfy his violent impulses.
Here we see her try to match Stefan’s European flare, but it looks disharmonious on her, looking much more comfortable and confident in her trendier, American clothes. Shes modern and trendy compared to stefans more sleek old money look his clothes probably cost her whole rent but you couldnt tell off glance.
'Broomend of Crichie' Pictish Symbol Stone, Port Elphinstone, Aberdeenshire
universal monsters + their actors
Spellbound (1945) dir. Alfred Hitchcock

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Jim Morrison at The Houdini Estate, December, 1967 Photo © Paul Ferrara
Have you never wanted to look beyond the clouds and the stars, or to know what causes the trees to bud? And what changes the darkness into light? But if you talk like that, people call you crazy. Frankenstein (1931) dir. James Whale