Love Like Yours Will Surely Come My Way

You don't know the true whimsigoth aesthetic unless you've witnessed the early 2000s Pascualina planners

FORGIVENESS - PARAMORE // BOTH SIDES NOW - JONI MITCHELL

every ask to neil gaiman goes about like this:

greetings sire, i am but a worm beneath you, but my dear sister is deathly ill and your work is the only thing that brings her happiness still. anywho, in season 2 of good omens do crowley and aziraphale have fucknasty butt sex? thank you!

Sister Michael could have handled the yellowjackets but coach Ben could not handle the Derry Girls

what a beautiful ending

I saw this shirt advertised on insta and had to buy it immediately. Seeing Paramore live in Summer 2014 was like she grabbed me by the shirt collar and yanked me out of Narnia with how deep in the closet I was.

i started this post so short and made it into a full on tour outfit camp/fashion post accidentally

hope everyone knows that gerard’s skirt suit tie is like. literally a vintage “women’s” tie. when middle class women entered the workforce with gusto the fashion of professionalism and suits etc had an existential crisis about what to do with the ties…… like the ties of skirt/women’s suits are specifically bows and ribbons.  i can’t give any sort of statement as to why, aside from the fact of arbitrarily and subtly keeping gendered difference while “copying” men’s standard dress and attempting to move away from 60′s professional dress, which was largely the same as women’s social and public dress. anyway. the fact of choosing this tie 

and the fact that the tie reveals itself to be a scarf only after the jacket is removed is amazing… idk. it reveals the distinction between men’s and women’s dress and how gender is forcefully adapted into all ways of life, even in movements to remove it. the same goes for the kitten heels, 

kitten heels are another perfect camp example of gender adaptation imo. heeled and uncomfortable, explicitly gendered but “professionalized”, largely considered frumpy to a certain degree and unsexual due to their low height. translating the professional uniform of men to women’s attire was a sort of a second wave assimilation approach to gender. 

50s’/ 60′s workplace attire, which emphasized busts, hips, and waist. 

and then the more 70′s / 80′s look of gerard’s tie and heels - boxy, “androgynous”, padded and square shoulders, adopting suit jackets and patterns

the tour (mostly the dresses and skirts, designed outfits) has been largely 70s to me, even with the explicitly  60′s and ww II looks.

 they’re incredibly boxy and have a “boyish” silhouette, a hallmark of women’s fashion of the 70s, considering women’s lib and the gender revolution. it’s so cool to see because part of that was a move TOWARDS androgyny, and now even the pants looks are identifiably “women’s” or androgynous.  even the sunglasses are “women’s”.  

“women’s” sunglasses, “women’s” ties, and “women’s” specially adapted uniforms, be it nurse or office worker. all of these looks are seeded from the historical urge to de-gender and androgenize fashion, yet to our eyes it’s unmistakably “women’s” 

camp by my definition  in its purest form is the re-contextualization of needlessly gendered practices, society, and fashion, and the shifting context is used to satirize the  notion that things are “naturally” gendered and dimorphic. camp, when effective, describes the constructed nature of gender and sexuality. women’s suits DESIGNED to be “more masculine” are  by modern standards (well i mean. by modern feminist standards LOL) still obviously so far from the mark of “genderless”. it highlights the fact that gender is so insidiously woven into EVERYTHING, even  social efforts to be more egalitarian, so to speak. it makes us see the gender we quietly perform as “natural” in modern life. 

i’m not a fashion historian or anything else so if i’m wrong i’m sorry LOL. but i give such a huge fuck about gendered fashion in camp and also gerard way

Joni Mitchell: A Woman of Heart and Mind (2003), dir. Susan Lacy

Sunset Strip billboard for Joni Mitchell’s Blue, released June 22, 1971.