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I suddenly remembered that I'd read somewhere that at first the zouave jacket for women was considered a bit mannish. I've tried looking it up again, to make sure I didn't have false information, and all I could find where just descriptions of what it looked like or simple comments on how it was worn in the 1850s/60s and nothing that might imply it was seen as a way for women to be less feminine while still fully adhering to the ruls of clothing of the time.
Did I receive misinformation, did I dream this, or am I correct in my belief?
It was both mannish and wildly fashionable, yes! So think of it like "military-inspired" jackets today. Because that's exactly what it was, based on the distinctive short, open jackets worn by French Zouave soldiers of colonized north Africa (some of whom were local Berber/Amazigh people and brought a version of their traditional clothing to the uniform).
Here is the But Make It Fashion (Mostly For Western Women) zouave jacket of the 1860s:
A black-and-red color scheme was most similar to the uniform and therefore most common, but the name really refered to the jacket's shape and a fair amount of artistic license could be taken that pushed the design into more conventionally feminine territory:
Dress c. 1867, Museum at FIT.
Variations also remained popular for quite a long time:
(Mary Fields, AKA "Stagecoach Mary," the second female mail carrier in the country. Probably c. 1880s-1890s.)
So yeah, it was a bit of socially acceptable menswear inspiriation that women might adopt to look more androgynous- OR simply because they liked the shape. Depending on the trim and the rest of the outfit it was paired with.
i've seen a few people draw hobie with the unlabeled pride flag which i feel is maybe a bit antithetical to his whole view. he just slaps whatever flags he can find on his jacket & lets people make their own assumptions while he goes about his day unbothered like g-d intended
Le Salon de 1874 by Camille-Léopold Cabaillot-Lassalle (on sale at Ary Jean Art Gallery). From their Web site 1574X2000.
1875 Lady in Black with a Dog by James Archer (location ?). From meisterdrucke.de-kunstdrucke-James-Archer-197600-Porträt-einer-Dame-in-Schwarz-mit-einem-Hund,-1875 2308X3878.
1877 Toilette by Jules James Rougeron (Tokyo Fuji Art Museum - Tokyo, Japan). From facebook.com/MimiMatthewsAuthor/photos/toilette-by-jules-james-rougeron-1877-this-is-the-painting-thats-on-the-cover-of/2377279908990463/ 1174X1725.
Florentia Maria Crawshay 1849-1920), née Woods, as a Young Woman by ? (Cyfarthfa Castle Museum & Art Gallery - Merthyr Tydfil, Merthyr Tydfil, UK). From Wikimedia; fixed more obvious spots w Pshop 936X1200.jpg,
Princess of Wales Alexandra by W. & D. Downey (Royal Collection). From teatimeatwinterpalace.tumblr.com/post/167945509352/queen-alexandra-when-princess-of-wales-x 540X810.
Two elegant sisters in a luxurious interior by Gustave Léonard de Jonghe (location ?). From tumblr.com/artthatgivesmefeelings; fixed spots & some cracks w Pshop 2048X2809.
1879 Jacqueline Paton en robe noire by Léon Comerre (location ?). From tumblr.com/random-brushstrokes; fixed spots & flaws w Pshop 1627X3072.
Arthur was godsend in this entry. Now we know why Lucy chose him to be her husband, and I could not agree more that she chose perfectly. Arthur cares so much for Lucy and can notice that she is not doing well, and he immediately does something to help her because he doesn't want her to suffer.
He is the first person in the novel who ditched the idea of telling no one about something horrible, and waiting for the right moment™ to do something for a proactive response, and a start to help Lucy's condition. Arthur saw through Lucy's facade of being happy and healthy, despiste of what she wrote to Mina yesterday, and rightfully went and wrote to Seward to come to see her because Lucy needs medical attention right now. And I can't thank him enough for doing that.
Lucy has been suffering from being drained, she has been getting worse and worse while pushing herself to appear happy and cheerful even if she was in pain the whole time. Lucy doesn't know yet that Arthur called Seward to examine her, but I think that she will feel a little relieved now that finally someone not only noticed how bad she feels, but also went to search for help.
After this entry, I can say that Arthur is not the victorian cryptid who we know almost nothing, but a very caring man who thought about what to do to help his sick fiancee in the most clever way possible in order to not raise alarms (looking at you Mrs. Westenra).
Edit: Arthur actually tells Lucy about his idea and she agrees, my brain is stupid because that is the only bit of information that I didn't remember (⊙_⊙).
I so deeply appreciate your posts about Nope because when I saw it this past Saturday, I was definitely impacted by That One Scene, but it wasn’t till I started thinking about it later and seeing posts dissecting the implications that the horror and fear and disgust started to really hit. I needed time to digest it (sorry) and really come to grips with it.
Well, it is a lot to................take in. (drum riffs, booing)
I really have to hand it to Peele for how well he composed That Scene. The concept itself is already horrible to think of, but it's also a premise that isn't too many steps away from the kind of cosmic/body horror folks can get on the regular in this type of fiction. A lot of the scary bits of horror media can be mishandled or delivered so poorly that their watered down depiction leaves an audience shrugging, checking it off on their monster bingo card, and coming away with little to no impression.
That Scene could have gone the same way. Lackluster, underselling the punch of the threat, and moving right along to mundane sci-fi thriller antics. But Peele sets the whole thing up artfully. The menacing lead-up in the first half with the vanishing horses and the screaming in the sky. The full view of the innocent audience of strangers stopping for a fun tourist show, Jupe's wife and children, the shadows of terrified victims spinning up into the air, that closeup shot of epiphany on Jupe's face as he realizes his mistake too late.
And then, That Scene itself. The music, the sheer smallness of the people compared to the creature's innards, the tracking shot, the claustrophobia, the way you can see and hear just enough to understand what's happening and what's coming next.
You only see it once. You only need it once. Because the reality of the UFO's threat now gets to hang like a sword over the necks of our protagonists for the rest of the film (or something worse, because at least a sword would kill them quick, rather than...that), and whatever mild discomfort you had at the start of the movie when you were blissfully ignorant of the danger is now transformed into white-knuckled High Octane Terror (c) for these people.
I've said it before, I'll say it again. Fear of the unknown is powerful, but easy. Fear of the known, because the knowledge is just that horrific, is powerful and so, so much harder to pull off. But Jordan Peele nailed it and I love and fear him for it so very much.