Been to a lounge yesterday she was wearing a tight crop one shoulder top Satin her every curves was give a Sexy view to …
Anddd The skirt with Slit Was satin tooo
Her Thighs damn Hott …
The best part was Her ass Shapes while she was walking with her Heels ….to be honest my I was So horneyy Excited Guys Lusting at her ….I was Oozing precum😉
Hi everyone! It’s been a while since I’ve written a Cosplay 101 post but here I am with the latest tip from me to you. :)
Lately I’ve developed a bit of a pet peeve (or more accurately an irk) for something I’m noticing more often: Mirror Imaging. What do I mean by “mirror imaging”? When you look in the mirror you are seeing a mirror image of yourself, everything appears reversed. For example: Writing on your shirt will be backwards in the mirror, a pin you are wearing over your heart appears on the right side of your reflection’s chest, etc. When creating a costume many people mirror their characters instead of putting themselves in that characters’ shoes, sort of speak. Let’s say you’re creating Elsa’s (from Disney’s Frozen) skirt. The slit is on the right side of the skirt but many times people mirror the character and thus it winds up on the left side. As a dance instructor I would often mirror what I wanted my students to do when facing them. This insured that they were using the side of the body that I wanted. If I wanted them to use their right arm, I would use my left when facing them so they could mirror my movements. To achieve a mirror image you are reversing everything. That’s not what you want when creating costumes based on accuracy. You have to flip everything when looking at a still image. If that slit is on the left in the photo that means it will be on the right when worn by you. I hope this makes sense and will help you with your accuracy in the future!
A post wherein film writer Kimberly Luperi explores Edith Head’s costuming for THE LADY EVE (’41).
Harrington: Ah, there you are. Well, it certainly took you long enough to
come back in the same outfit.
Jean Harrington: I’m
lucky to have this on. Mr. Pike has been up the river for a year.
How Charles Coburn and Barbara Stanwyck got away with those
lines in THE LADY EVE (‘41) during the Production Code era is beyond me, but
that’s beside the point. The dress the “Colonel” alludes to in this
scene, a stunning black two piece, ranks as one of my favorite ensembles of all
time. The glistening crop top and high slit skirt are exceedingly glamorous,
sexy and revealing - just the right
combo for Jean to work her magic. It’s a flawless marriage of costume and
character, officiated by Hollywood’s most famous designer, Edith Head.
Stanwyck assumes two very different identities and wardrobes in
THE LADY EVE ('41). As Jean, a card shark out to con the wealthy on a South American
ocean liner, her attire skews flirty and brash, with a global streak. As Lady
Eve, a British socialite guise Jean dons to access the aristocracy in
retaliation for Charles Pike (Henry Fonda) breaking up with her, her outfits
appear refined and regal.
In 2014, designer Deborah Nadoolman Landis introduced THE LADY
EVE (’41) as part of a UCLA Film and Television Archive series on Edith Head and
quoted the celebrated designer as proclaiming the “basic test is if the
clothes submerge the personality into the character… That is what the costume
designer must do - disguise the actress.” While it’s obvious to viewers
that Jean and Eve are one and the same, Charles is humorously blind to this
fact, and without a doubt, Head’s styles played a sizable role in seducing and
concealing the reality from him. “I had to keep Jean’s look as different from
Eve’s as I possibly could,” Head affirmed, and that she did.
As color translated to the screen in THE LADY EVE (’41) in shades of
black, gray and white, Head resorted to more particular methods to convey her
multi-faceted leading lady’s intentions and personalities. For one, she used contrast to great effect in
early scenes. Shading disparity exists in Charles and Jean’s garments when they
appear together, like her black dress and his light colored suit in the scene
described above, which emphasizes the difference in their characters. Additionally,
Head tended to outfit Jean in black, white or a combination of both to make her
appear “a tad coarse.” The designer also brought the Latin look “out of
resort life and into the everyday working world,” since Jean meets Charles
on a boat coming from South America. Believing that Stanwyck looked terrific in
serape and poncho cuts, Head added items likes capes and tie-front pieces to
Jean’s wardrobe. Finally, she made use of reflective
materials such as sequins, crystals and beads as well. These
objects injected a blithe, amorous touch to Jean’s attire.
Head switched gears with Eve, often styling her in lavish
fabrics and lighter, more modest colored gowns, which provided an aura of
distinction. Head also designed with reflective items on Eve’s ensembles, as
evident in the intricately beaded, illustrious white gown she first appears in.
On this character, these classy objects serve to enhance Eve’s attempt at
The designs certainly did the trick - for Jean, Eve and the
leading man, too. According to columnist Hedda Hopper, when Fonda witnessed
Stanwyck in Eve’s introductory outfit, he exclaimed: “Gosh! No wonder that
script says I’m to fall in love with you. You’re making it mighty easy.”