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#fabiola iglesias
roseillith · 1 year
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revys-closet66 · 6 months
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Height differences.
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drilanime · 19 days
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crass-myrtle · 2 months
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Black Lagoon Ch 72
The way she deconstructs Revy's worldview more than once. Revy's shocked face and instant defensiveness.
They're such a good contrast combo
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bloodyscott · 4 months
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the scene where fabiola tries relating to revy gives me internal chills, especially when she states that she got beat black and blue by her mother for stealing a cd. revy thinks of it as abuse, but fabiola sees it as out of love. fabiola realizes they have pretty similar backgrounds, but revy hates people trying to relate to her and has envy for people in loving families, perceived or otherwise. it retraumatizes her and makes her isolate and build a mental wall between her and other people because she fears relating to anyone on an emotional level and sees getting close to others as an opportunity to be disappointed.
fabiola also mentions this as why she idealizes rock as innocent when he’s much more corrupt than she wants to believe. she wants to be saved but feels trapped, and compensates by saving (or at least trying to save) the person she perceives as a hero (in this case rock) in her own dysfunctional way (trying to shield him from the evils of their life in roanapur, and generally trying to (unsuccessfully) preserve his innocence). he was her beacon of light in a time where she was/is disillusioned. she might try hiding via criticizing rock’s recklessness and habit of jumping headfirst into things but she deep down idealizes him to an unhealthy extent.
ultimately both fabiola and revy come from dysfunctional backgrounds which cloud their worldview and ability to communicate and relate to each other and leads to more mental barriers between them
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cardinal-island · 5 months
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Character Settei
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Hello there Fabiola Iglesias fans.
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dresspheres · 8 months
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160 Icons | Fabiola Iglesias | Black Lagoon
160 Icons for Fabiola Iglesias from Black Lagoon.
Please like or reblog this post if you plan on using them.
Credit me if you edit them! Otherwise, credit’s very much appreciated.
Download Here
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Down With The Sickness!
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roseillith · 1 year
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revys-closet66 · 4 months
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drilanime · 2 months
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tinybelieverflower · 2 years
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The maid and her Mini-maid.
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docpiplup · 2 years
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@asongofstarkandtargaryen I saw a new article and a bunch of pics from the filming.
I translated the article:
Two huge hoists cut through the streets surrounding the Bank of Spain in Donosti, a stately building closed and waiting to change its use in the Gipuzkoan city where the Balenciaga art team (provisional title) has rebuilt the Madrid house of Cristobal Balenciaga ( Getaria, 1895-Jávea, 1972), his first offices in the capital and the Parisian workshops in which the designer developed his work when he left Spain for the French capital in 1937. That is the moment in which this ambitious production starts of Disney +, the first developed entirely in Spain, with which the company intends to establish itself as a creator on the unstable board of streaming operators. The story will reach the last days of the genius and will cover four different decades of the 20th century.
The history of Balenciaga began like this. One day, Lourdes Iglesias decided to show a sketch of what would later become the script to Xabier Berzosa, who agreed to become the project's executive producer. Berzosa, who had worked on the films Loreak, Handia or La trinchera infinita, proposed that the directors of the three, José Mari Goenaza, Aitor Arregi and Jon Garaño, take the lead in the story and collaborate with Iglesias in the final development of the film. fiction –this is a biopic, yes, but not a typical one– . And they accepted. The only thing missing was to sell the idea to a distributor, and Disney + was the one that bet on them after a few meetings by Zoom. The trio, who have won 12 Goya awards throughout their career, dared to make the leap to the series. “It's something new in many ways because you have a lot more material to shoot, in different times and with a very large team. Change the dimension of the project”, confesses Garaño.
"Being such a little-known character, everyone has their own version and their Balenciaga, there is no unanimity," explains Iglesias. The truth is that the designer gave only two interviews in his entire life, there are hardly any photographs, there is only a thirty-second video recording in which he appears from behind and the entire production documentation process has been done through books and the story of those who came to know him. “We have informed ourselves a lot, we have read everything, we have surrounded ourselves with those who know the most about the subject and in no case have we been left over. We approach the story with a lot of respect”, adds the screenwriter. The responsibility is tremendous for a team that has decided to portray a character played by Alberto San Juan, who is accompanied in the cast, in which no key person in the designer's life is missing, by names such as Belén Cuesta (Fabiola de Mora y Aragón), José Bengoetxea (Nicolás Bizkarrondo), Adam Quintero (Ramón Esparza), Thomas Coumans (Wladzio D´Attainville), Gemma Whelan (Prudence Glynn) or Cecilia Solaguren (Virgilia Mendizabal).
"It was an irrefutable proposal, possibly the role of the greatest dimension that I have been given in my work in the audiovisual field," acknowledges Alberto San Juan in an office from the first Balenciaga offices created for the occasion. The actor walks the sets dressed as Cristobal Balenciaga would have done, with an outfit sewn from scratch by the series' costume designer, Bina Daigeler. "Cristóbal Balenciaga is a person about whom not much is known, but he is a very interesting guy not only for his value as a creator and as a technician in his trade, but also as a human being." The series will delve into aspects of the couturier's professional life, but also into other aspects of his personal life. Balenciaga married a woman, but lived what in today's eyes can be understood as two affective relationships with men, with the businessman Ramón Esparza and first with Wladzio D'Attainville, a Frenchman of Russian origin who was always considered the great love of the creator and whose death, in 1948, is said to have never been recovered. "The series deals with the contradiction, the conflict created from the prohibition of experiencing desire freely, when it does not coincide with the norm at that time in that society," explains San Juan. “He was a guy who wanted to live on the fringes of politics, no public acceptance in a political sense is known to him, ever, and in a very confusing period such as the Civil War in Spain, the Second World War or the invasion Nazi of France He lived in the contradiction of not wanting to get involved when the story involves you”, he adds. For Jose Mari Goenaga, that attitude towards life has a clear explanation: “We have always imagined his head to be tormented. For the fact of having to have control of everything, but also for living within a family that functioned as a protective helmet so that nothing escaped him. Cristobal Balenciaga existed at a time when expressing himself freely was completely penalized and clashed head-on with his strong religious convictions. “We have not stopped talking about homosexuality. Between us, with Alberto and it's something we didn't know how to give a clear focus to. We have chosen not to hide it, but he is a person who does not talk about this in the series, ”admits the director.
Beyond the twists and turns of the designer's life, Balenciaga will also show the work of someone who is still considered one of the best designers in history today. The costume work has had the aforementioned Daigeler as designer and Pepo Ruiz Dorado as costume designer. “Balenciaga is doing two projects at the same time. You have the normal shooting, which means making costumes for a lot of people, the actors, and there is also the aspect of having to produce all the shows and collections that appear in the scripts”, explains the designer. All the mythical designs that endure in the collective imagination will be in the series, from the tonneau silhouette dresses to the fisherman-inspired coats that the designer saw in his childhood. To do this, the team has had access to the archives held by the firm in Paris, to those of the Galliera museum in the French city and has had the advice of Miren Arzalluz, director of the Paris Fashion Museum and former head of collections of the Balenciaga Museum in Getaria. Even with that clearly invaluable help, it hasn't been easy. "We are facing a problem of fabric suppliers, because what is there now is not the same as it was before," admits the designer.
“Finding heavy wool is very difficult and many fabric suppliers are in London, and since Brexit it is super to work with them. Due to the pandemic there are not the same quantities, there are many that are out of stock, and then there is the issue of gazar [a textile created by Balenciaga in collaboration with the Swiss company Abraham], there is only one supplier and it is not exactly the same as the original ”, deepens. Although Bina Daigeler does not like to talk about numbers, about 200 replica dresses and the outfits of hundreds of participants in the series have come out of her head, assembled from original garments from the 40s, 50s, 60s and 70s. Those are In addition, the decades of the couturier's life in which the make-up director, Karmele Soler, has had to work to achieve a realistic Cristobal. “Making it go through all those ages is really complex, but we have tried not to have too much artifice. A subtle aging has been achieved, finding Balenciaga, but there comes a time when you have to abandon it and focus on Alberto”, explains the make-up artist just before checking that everything is ready for the parade that illustrates these lines.
The look at Cristobal Balenciaga that this series will offer has the approval of the renewed Balenciaga, from whom Berzosa acknowledges that they have only received facilities. The firm headed by Demna Gvasalia pays homage to the designer in its collections and has allowed access to the archives, but also to shoot outside the boutique that the brand has recently recovered and which served as the setting for the return to Haute Couture of the house after 53 years last fall. The interior, yes, has been faithfully reconstructed – the elevator covered in red velvet, the sofas or the clock that hangs in Paris are also there – in the Zinealdea studios in Oiartzun, on the outskirts of Donosti, thanks to the work of the director of art Mikel Serrano. "We have built a world that in some cases no one is going to be able to refute because there is no documentation either, but obviously trying not to turn it into a fantasy, to make it implausible," he says between shots.
For Disney +, the series represents a turning point in its strategy within Spain. They arrive later than other operators to their own production, so the project had to be up to the task. Sofía Fábregas, the company's vice president of original production, defines it as follows: “We were looking for something very big that would speak for itself about the commitment to original production that we are going to make. The idea was to combine local authorship with the international budget and that is the differential that we believe we can contribute”. Now all we have to do is wait for the final result, but don't be fooled. Balenciaga has taken years to start, it has taken its time with the shooting and promises to work as hard or more in its post-production, so it will not hit the screens until 2023.
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