When they first moved in together, Phil’s biggest pet peeve was the fact that Clint wouldn’t put away Phil’s clothes after he did laundry. Coming home from a four week deployment and finding stacks on the dresser and in the closet, waiting for him to take care of, made Phil hurrumph and stomp around as he put them in their correct places. After having to teach Clint how to do laundry correctly – “No, you don’t put machine wash cold hang dry in with machine wash cold tumbles” and “I don’t care if it says wash in warm, the fabric will pill if you do. Put it in hand wash” – and how to fold each item so it fit into the drawers easily, Phil was more than put out by the neatly placed stacks left out.
Only after a day filled with passive aggressively leaving Clint’s things out of the sorting did Phil realize Clint was worried about making a mistake when he mumbled “Damned if I do, damned if I don’t” under his breath. Clint had spent his childhood worried about saying the wrong thing, breathing the wrong way, missing the shot, and getting punished by a slap or a punch or a shot in the gut. Of course he thought if he messed up Phil’s clothes, Phil wouldn’t want him. It was the pattern of his whole life. After that, Phil went out of his way to make sure he never complained about how something was folded or put away; instead, he mentioned how glad he was to have clean underwear when he got home and how the sheets’ smell made him want to get away to that cabin in the woods. Clint caught on quickly; even years later, when Clint was sure that Phil loved him and he could make mistakes without fear of Phil leaving, sometimes Clint would put a shirt in the wrong place, a silent thank you to Phil for understanding.
After the whole Loki mindfuck, Phil dying and coming back, the fall of SHIELD, and Phil becoming the erstwhile Director of an organization that didn’t exist, Clint’s pet peeve was the way Phil worked all the time. They never seemed to have a moment alone when Phil wasn’t on his phone, making notes, working on his tablet, or thinking about tomorrow. Even when they were in bed together, sated and sleepy, Phil would roll over and grab his phone to jot down something he wanted to remember. Too many of their already infrequent nights together, Clint would sit on one end of the couch while Phil was on the other, tapping away at a screen rather than watching the movie. And if Phil wasn’t working, he was sleeping his way through the last half of The Martian or whatever they were watching (once even a Knicks game). He simmered about it, keeping his frustration hidden (or so he thought) because Phil was the Director, inhumans were popping up,, Ultron got delusions of grandeur, and Ross was working on the Accords. Phil didn’t need Clint’s insecure bullshit to deal with on top of all that.
Then Melinda grabbed his arm, pulled him aside and said “Get the man to relax, Barton. Saving the world by himself isn’t going to make up for what’s been done.” For a guy with 20/10 eyesight, Clint could be blind when it came to people he loved. Of course Phil felt he had to justify his return from the dead – and all Fury did and risked to make it happen – because that was Phil Coulson, man who took every responsibility seriously. Arguing that Phil needed time to rest wasn’t going to fly, so Clint decided to on a different plan. Clint began telling Phil when he needed him – “Been a bad day, Phil. I could use a good cuddle” and “Got a message from Barney. Come with me to blow shit up on the range” and “No tablet in the bedroom tonight, Phil. You won’t be able to see straight after I’m done with you anyway” – and, surprisingly, it worked, not only for Phil but for him too. He felt better and Phil started to relax; of course, Phil was no dummy. He eventually recognized what Clint was doing, but he was so proud of Clint for using his words that he didn’t complain about being manipulated into taking time off. Plus, the world didn’t fall apart any more than usual.
With huge numbers of Ashkenazi Eastern European Jewish immigrants - many of whom were skilled in tailoring - arriving in New York City at the turn of the 20th century to escape antisemitism in Europe, the city became a hub for clothing manufacturing. By 1910, New York City produced 70% of the United States’s women’s clothing and 40% of its men’s clothing. During this time, an estimated 60% of New York City’s labor force was employed in the garment industry with 75% of those being Jewish immigrants.
“WE HAVE A DREAM OF CREATING DESIGNS WITH A MINIMALISTIC AESTHETIC AND A STRONG IDENTITY SHOWN IN EVERY PIECE IN THE COLLECTION” - INTRODUCING JUST FEMALE . ANOTHER BOLD LINE FOR THE HUB CLOTHING REPETOIRE
The starting point of inspiration for Alice’s Spring Collection “Flower Drum” were her memories of her grandmother’s vanity table treasures and perfume bottles. Somewhere inbetween, this grew to a larger theme of fragrance and flora.
With this in mind, alice McCALL’s signature candy cotton shades were given a heavenly update – as an abundance of floral prints, laces and embroideries cut through block colours in plumes of cascading bluebells, daisies, anemones, poppies, water lilies and roses. Watercolour florals make up Parisian summer dresses with gossamer chiffon peplums.
Gold thread is woven into cherry blossom branches on bell-sleeved dresses and back-baring jumpsuits. Even denim is even given a fragrant treatment - appliqued with giant lotus flowers across dungarees, dresses and even a sweet cloud-sleeved romper.
Standout pieces include an ivory white oversized floral lace jumpsuit, scalloped lace delicately framing the décolletage. Also on the list: jet black and tea rose gowns embroidered with folds of swooping Oriental birds and blossoms. Moniker alice McCALL can be seen in a wide-legged set of pastel and heavily embroidered overalls-come-trousers, with a clever detachable bib.
Basics come in a few forms: gracefully cropped tuxedo jacket and matching short shorts made from petals of fabric, as well as denim crop tops, jogger shorts and jumpsuits – all with summer-camp rope toggles. Graphic striped stretch-jersey basics are made equally for island hopping adventures as they are for pavement-pounding everyday errands.
Shades of lipstick-red appear in ribbons across diaphanous floral Palazzo pants and a very 70s playsuit, while lashes of poppy-red make skin-baring bodice jumpsuits and party-dresses radiate.
Alice’s pick? A black lace two-piece, striped and scattered with polka-dots.With an irreverent mix and match approach to print and signature silhouettes, the collection is the embodiment of streetstyle.
Introducing Alanna Bess; HUB clothing is introducing the romani inspired line with an array of necklaces, bracelets and earrings. Layer it with some leather and lace and do an homage to Stevie Nicks….the good years.