Brigitte Bardot by Edward Quinn, Cannes Film Festival, 1953

The Princess Dies: Cast

Daisy Edgar-Jones · Amelia Thermopolis

Anne Hathaway · Helen Thermopolis

Michelle Fairley · Queen Clarisse Renaldi

Ruby Cruz · Lilly Moscovitz

━━━━━━━━━━━━━━━━━━━━

Timothée Chalamet · Michael Moscovitz

Corey Mylchreest · Nicholas Deveraux

Tati Gabrielle · Asana

Joseph Quinn · Andrew Jacoby

━━━━━━━━━━━━━━━━━━━━

Daniel Gillies · Philippe Renaldi

Mikael Persbrandt · Joe

Sarah Bolger · Charlotte Kutaway

Graham McTavish · Viscount Mabrey

━━━━━━━━━━━━━━━━━━━━

Olivia DeJonge · Lady Elyssa

Tilly Keeper · Lady’s Maid Brigitte

Aimee Lou Wood · Lady’s Maid Brigitta

Tom Blyth · Security Guard Lionel

━━━━━━━━━━━━━━━━━━━━

Lee Pace · Patrick O’Connell

Lucien Laviscount · Prince Pierre René Renaldi Alberto of Italy

Kristina Tonteri-Young · Matilda (my oc)

TBD · Palace Guards

Community Palette Project - Update!

We're currently at 464/720 shades claimed.

Things stalled out a little as life got busy, but I'd really love to see this project to its completion. Doing so will require some help, though!

I can't name all those remaining shades by myself. If you have any Cyberpunk 2077 Vs or OCs that you haven't added to the project yet, please feel encouraged to add them, no matter how new or minor they may be in your lore. Do not feel guilty about adding a dozen or two of your most obscure Cyberpunk2077 OCs at this point; I'd love it if you did.

You can also name shades after your fave Cyberpunk 2077 NPCs and Cyberpunk: Edgerunners characters! You can find a list of the main NPCs that are still missing colors beneath the cut, but please keep in mind - if you adore a rather minor NPC, they may not be on this list, but that doesn't mean you can't use the form to name a color after them <3

For Vs, OCs, and NPCs: You can ⭐complete the form here.⭐

Please reblog this post, as outside links can interfere with posts showing properly in the tags. <3 Also, please feel free to send this link to friends, or to share it on other platforms; any visibility that will help the project is appreciated.

"Main" Cyberpunk 2077 NPCs and Cyberpunk: Edgerunners Characters Up For Grabs (as of May 8th):

Behind Peau d’Âne (1970) - A

I want to talk a bit about one of the most famous French “fairy tale movies”, still very popular to this day: 1970′s “Peau d’Âne”, Donkey Skin by Jacques Demy. If you aren’t familiar with the movie this series of posts will... probably confuse you a lot, as what I will do is go over info about the movie’s production, creation, adaptation process. I actually decided to make this series of posts because there is a full article about this movie with ton of info and analysis - but given it is only in French well, why not share it in English for non-French speakers? X) So let’s go.

# So, Demy’s project for a “fairy tale” movie dates back as early as the 1950s: he had written a script for a Sleeping Beauty movie, but it never went anywhere. The two movies he did after that, “Lola” and “The Umbrellas of Cherbourg” did reference fairy tales, but they were not a full fairy tale movie. After a trip to the USA  between 1967 and 1969 for the making of his movie “Model Shop”, he returned to his fairy tale project out of a desire to make a movie fully into French culture and fully into the “merveilleux” genre. Out of all the tales of Perrault, Demy decides to choose “Peau d’âne”, “Donkeyskin” due to how weird this story of a girl hiding in a donkey skin to escape an incestuous father was, and because he felt it was the most complex of Perrault stories. In fact, Demy had already written a Donkey Skin script back in 1962 - and his original plans for the movie back then were to have as the Princesse and Prince Brigitte Bardot (which did happen) and Anthony Perkins (because he was then spending a lot of time in Europe). In fact both actors had agreed to the project, but due to financial reasons it was stopped, and if Demy putted it back together in 1969 it was because of the HUGE success of “The Young Girls of Rochefort” in 67. 

# Before Demy’s movie, there was only ONE French cinematographic adaptation of “Donkey Skin”, a mute 1908 short film by Albert Capellani, which itself was an adaptation of a “féerie” as they were called (a sub-type of theatrical performances) from 1838 and was a big success of the 19th century stage. But this original theater play (by Emle Vanderburch and Laurencin), and the later short movie, had removed the incestuous nature of the story. The princess was forced into the donkey-skin as a punishment for her vanity. As a result, Demy’s movie was the first attempt at making a faithful cinematographic adaptation of the story exploring the incestuous thematic. It was quite a bold and audacious move compared to the landscape of 60s French cinema, but Demy had grown quite bold and audacious during his trip to the United-States. He wanted to get rid of his reputation of a “maker of pastel movies” that the “Young Girls of Rochefort” earned him, he wanted to do something “simple and true” like the “Umbrellas of Cherbourg”. And he had this to say to his experience in the USA: he discovered America as a “baroque and garish world where the notion of “taste”, the French good taste we are injected with like a vaccine, did not exist”. He said he was “transported by” and “adored” the “American bad taste”. 

# Despite his first American movie, “Model Shop” being a failure, Hollywood producers wanted Demy to make another project, “A Walk in the Spring Rain” with Ingrid Bergman and Anthony Quinn. But Demy refused because he really wanted to just do his “Peau d’âne” and return to his own passion projects. So he launched his Donkey Skin project, riding on the fame of “The Young Girls of Rochefort”, and using the famous and iconic actress Catherine Deneuve for the main role. In fact her presence in the movie was a big help in finding financial means, because while producers refused to spend anything on a “movie for kids”, they were all aboard to fund a “Catherine Deneuve piece”. 

# The costumes were created in a complex way. They were first imagined and conceived by Agostino Pace in fifteen days, because he was very busy with theater work and so only had fifteen days to co-work with Demy to create all of the costumes (Demy himself checked Pace’s work almost every fifteen minutes, and gave constant feedback and review other those days as Pace worked actually at Demy’s house for those fifteen days). It is notably when Pace had the idea to split the two kingdoms into two colors - he wanted to make visuals “just like children would”, to deliberately play on the “childish freedom” of such a movie. The costumes however were created, physically, by Gitt Magrini, who made them all in Italy before shipping them to France. And Magrini added his own touch and twist to the costumes by taking inspiration from the fashions of the Renaissance and from the era of Charlemagne (in fact, the way the beard of the Red King is covered in flowers is a nod to Charlemagne’s nickname “the emperor with the flowery beard”). The dresses of the Princess were inspired by the Louis XV fashion, but with references to the Walt Disney movies ; as for the Prince’s outfit they were taken out of the Henri II fashion. For the Lilac Fairy however they completely mixed the “Hollywood glamor” style (with a vaporous negligee) with classical “Cour fashion” (such as the big collar). The three dresses asked by the Princess (the Weather, Moon and Sun dress) were actually very heavy (just like the fake donkey skin), and Deneuve had a lot of troubles walking around with them (especially since they shot in the Chambord castles which TONS of staircases), so she had to slide between shots a stool under her dresses to be able to rest. Deneuve notably remembers that Demy was very uncaring when it came to the difficulties of the costumes, as he didn’t care if an outfit was practical or not, or if it caused actors problem, because for him as long as it looked good in the movie it had to go. 

# When there is the sequence of the Ball of the Cats and Birds, Demy wanted to recreate the works of Leonor Fini (which notably greatly inspired both the surrealists and Jean Cocteau). As for the donkey-skin... I have to correct what I said earlier, it wasn’t fake. It was a real donkey skin, taken from a slaughterhouse - which, even if it was cleaned up and adapted as a movie costume, still was a very heavy thing to wear, and smelled quite bad. In fact, Deneuve was not told it was a real skin - she thought it was fake all the way until the movie was finished shooting. 

# The sets were conceived by Jim Leon, famous for his love of the “oniric art of the 19th century”. He was chosen by Demy after a meeting at San Francisco where Leon showed him drawings he mades of butterflies, as well as an erotic drawing of Alice in Wonderland. 

# Demy insisted on having “natural” sets and shooting in real buildings and real nature - notably the shooting of the movie took place during eight weeks at the height of 1970′s summer. Several of the “Loire castles” were used for the movie; Chambord’s castle for the Red castle and the wedding scenes ; the Plessis-Bourré castle for the Blue castle. Other castles included the Neuville castle and his park (Yvelines) for the farm and cabin-in-the-woods scene ; and the Pierrefonsds castle (Oise) for the final scene of the “guests parade”. As for the “dream of the lovers”, it was shot in the Eure-et-Loir countryside, near Rouvres and the house of Michel Legrand.

# Demy insisted on the actors using a lot of gestures ; and he asked them to over-play, to exaggerate everything from the looks they cave to the emotions they expressed. In fact, they over-played so much they often had fits of laughter (and you can still see hints of them trying not to laugh in the movie). It was all to play in the “aesthetic and literary marvel”, in a “surreal” feeling. 

# The movie had some budget restrains, which made it less grandiose than originally planned: most of the money went towards the sets and the costumes, and both Jacques Demy and Catherine Deneuve agreed to be paid less than they should have to help the movie go forward. A part of the financial problems came to Bernard Evein, in charge of the decoration, being unable to clearly estimate the price of the sets due to lacking any type of comparative element - Peau d’Âne was THAT much of an unusual movie. When the sets were finally done, it turned out they costed twice as much as initially planned. There was a lot of “last-time fix-up”, such as the bed of the Princess in her bedroom, which was apparetly a fixing of a “catastrophic mess” and not at all what was originally planned. It was originally supposed to be an enormous pink flower that would open when the Princess came near it and close itself when she slept in it - but their attempt at doing so was disastrous, and so to replace it they just took two of the statues actually already present at the Chambord castle and they improvised a bed with them. 

# Despite all that, Demy and his actors apparently had a great relationship: he included them in his talks of the scenario, annd it was so smooth that Jacques Perrin (the actor of the Prince) declared that he wouldn’t place “Donkey Skin” with his other cinema works, because it wasn’t true “work” like the others, but more of a pleasant and memorable experience. But the relationship between Demy and his production director, Philippe Dussart were... poisonous to say the best, as the movie went not only over-budget for what was initially planned, but over-budget for what ANY French movie of the time usually did. Demy notably explained how he had to basically cut half of the sets, half of the actors and half of the costumes, which saddened him as he wanted to make a truly grand, majestic, magical piece, and in his own word “magic costs A LOT”. 

# The team was thankful for being able to shot at the Chambord castle... BUT it came with a lot of problems. They shot in a part of the castle not accessible to the public, and given it had barely any furniture, you often heard the sound of the tourists and guides from the rest of the castles, arriving through echoes to the set. Jacques Demy notably had a lot of patience as he calmly stopped shooting every time there were “tourists noises” and they resumed once the group was away. 

# Demy insisted on having a lot of “artisanal” special effects, to recreate the type of movies of George Méliès and Jean Cocteau. In fact there is a great mystery surrounding one specific trick: how were the clouds on the “Weather Dress” able to move? According to Demy, Deneuve and Agnès Varda (a producer of the movie) the dress was made out of the same material used for cinema screens - the clouds moving were shot separately by a 16 millimeters camera, and then projected onto the dress, with the projector constantly following the actress. However, despite those three testimonies, there is a problem... In 2013, in honor of the movie, the dresses were recreated, and when the Weather Dress had to be re-created, the team in charge realized that such a “projection technique” was impossible, pointing out how the waves and folds of the dress would have deformed the picture. They pointed out how the material of the dress seemed “too soft”, and pushed forward the idea that the cloud images were added later as the movie was edited. But another theory was also pushed forward: it is possible that the dress was made out of Translex, a specific “reflective material” on which the picture was projected through a complex system of colorless mirrors. But we will probably never know the truth as the men in charge of the special effects for the movie ALWAYS refused to reveal their trick. 

# Jim Morrison visited the shooting of the movie at the Chambord castle, with his friend Alain Ronay (they had studied cinema together apparently). He took pictures of the shooting of the movie, and while very discreet on the scene he did agree to one autograph, for Duncan Youngerman (the son of Delphine Seyrig, the Lilac Fairy). 

# The scenes of Donkey-Skin working at the farm were apparently really difficult, not just because of the problems of the donkye-ksin itself, but because due to it being the heat of summer it was really hot, AND the manure... was just as real as the skin. 

i have a personal concept which is the lonely starlet concept (i have some posts about it!). it’s heavily based on The Weeknd’s second mixtape Thursday. i have been apart of other subcultures such as goth and grunge so these have an effect on my style. i also wish i was a rockstar’s groupie back in the 60s or 70s so that impacts my style too.

music is a huge part of my identity and style. i get inspiration from the music and aesthetics by artists such as Lana Del Rey, The Weeknd, Marina, Stevie Nicks, Courtney Love, Melanie Martinez, Halsey, Taylor Swift, Siouxsie Sioux, Kali Uchis, Taylor Momsen, etc. i also get inspiration from other icons such as Pattie Boyd, Marilyn Monroe, Brigitte Bardot and Liv Tyler.

characters from movies and tv shows also influence my style. some of them are Quinn Morgendorffer, Veronica Lodge, Dolores Haze, Daisy Jones, Brooke Thompson, Daphne Blake, Cher Horowitz and Mathilda Lando.

red lipstick, clear lipgloss, heart-shaped sunglasses, chokers, cardigans, platform boots, mary janes, lace cami tops, tennis skirts, flare jeans, band shirts, gingham dresses, bardot tops, headbands, bows, stockings, winged eyeliner, messy hair, denim jackets, bell sleeve tops, friendship bracelets, frilly socks, denim shorts, pinafore dresses, shawls, crystal necklaces

thank you @cinnamonspicevanilla for tagging me! this is such a cute idea!

For REAL this time... Full list of available models for requests/commissions below the cut:

Brandi Paxton as Harley Quinn

In this electrifying cosplay, Brandi combines Stevie Nicks' mystical charm with Brigitte Bardot's allure, giving Harley a fresh, captivating edge. 🔥💋

Dressed in Harley's iconic red and blue, Brandi adds her own style. Her platinum blonde hair and deep blue eyes complete the look. 🌪️✨

Show some love for this unique take on the Joker's muse! 🤘💖

Find Brandi and other pinups on my DeviantArt page

DEFINITELY all of my TVD muses. I think Katherine and Nora would get along FABULOUSLY tbh. Lexi and Katherine would fight probably immediately (Lexi would fight her on principle). Bonnie and Elena - the besties. Stefan and Elena - love them. Stefan and Katherine - also love them.  THEN There’s also all my other vampires - the Twilight ones, or my version of Snow White that’s a whole OC at this point I have reclaimed her. Harley Quinn and Katherine Pierce would be a strangely fascinating duo.  Brigitte being a werewolf would be interesting. She’s not quite the same as TVD wolves so it could be a good crossover. 

Young Brigitte Bardot - 1952 By Edward Quinn

Coeli's Picks: Multicolo(u)r, part 2

One Dress a Day Challenge

Birds of Prey (2020) / Margot Robbie as Harley Quinn

Contempt (Le Mépris) (1963) / Brigitte Bardot as Camille Javal

Midsommar (2019) / Florence Pugh as Dani

House of Flying Daggers (2004) / Zhang Ziyi as Xiao Mei

Mad Men (s7e4, "The Monolith") / Elisabeth Moss as Peggy Olson

The Adventures of Robin Hood (1938) / Olivia de Havilland as Maid Marian

Words and Music (1948) / Vera-Ellen as herself

Scott Pilgrim vs. the World (2010) / Mary Elizabeth Winstead as Ramona Flowers

Brigitte Bardot photographed by Edward Quinn on set of And God Created Woman, 1956

Edward Quinn Photographs: Cars & Stars

Muse List

RWBY Team RWBY Nora Valkyrie: Goth Nora “Sigyn” Pyrrha Nikos Lie Ren Winter Schnee Willow Schnee Whitley Schnee Sienna Khan Ilia Amitola Kali Belladonna Sun Wukong Neopolitan Emerald Sustrai Cinder Falls

Fire Emblem (Awakening, Fates, 3H, Misc) Lucina  Tharja Sumia  Cordelia  Robin: Male, Female, Grima  Corrin: Male, Female, Fallen  Azura  Camilla Elise Hinoka Sakura

Byleth Eisner: Male, Female Hilda Valentine Goneril Mercedes von Martirtz Dorothea Arnault Marianne von Edmund Lysithea von Ordelia

Lyndis/Lyn (Blazing Blade) Eirika (Sacred Stones) Anna 

Persona 5 Ann "Panther" Takamaki Makoto "Queen" Niijima Futaba "Oracle" Sakura Haru "Noir" Okumura Kasumi "Violet" Yoshizawa

Square Enix Cloud Strife (Final Fantasy 7) Tifa Lockhart (Final Fantasy 7) Fran (Final Fantasy 12) Y'Shtola Rhul (Final Fantasy 14) 2B (NieR: Automata) 9S (NieR:Automata)

Superhero Comics (DC, Marvel) Rachel "Raven" Roth Koriand'r "Starfire" Pamela "Poison Ivy" Isley  Harleen "Harley Quinn" Quinzel Kara Zor-L / Karen "Power Girl" Starr Kara Zor-El / Kara "Super Girl" Danvers Diana "Wonder Woman" Prince

Gwen “Spider Gwen/Ghost Spider” Stacy  Felicia “Black Cat” Hardy  Natasha “Black Widow” Romanov  Carol “Captain Marvel” Danvers Cindy "Silk" Moon

Manga Media (MHA, DB) Uraraka “Uravity” Ochako  Asui “Froppy” Tsuyu  Ashido “Pinky” Mina Momo “Creati” Yaoyorozu Toru “Invisible Girl” Hagakure Nejire “Nejire-chan” Hado Camie “Illus-o-Camie” Utsushimi Nemuri “Midnight” Kayama

Bulma Brief (Dragon Ball) Android 18 / Lazuli (Dragon Ball) Chi-Chi (Dragon Ball) 

Overwatch Genji Shimada  Kiriko Kamori Lena “Tracer” Oxton  Emily Brigitte Lindholm Angela “Mercy” Ziegler Fareeha “Pharah” Amari Amelie “Widowmaker” Lacroix Olivia “Sombra” Colomar Hana “D.Va” Song Echo

Transformers Arcee Airachnid Strongarm Blackarachnia Airazor Windblade

Miscellaneous Franchises: Motoko Kusanagi (Ghost in the Shell) Albedo (Overlord) Tsukino “Sailor Moon” Usagi (Sailor Moon) Seras Victoria (Hellsing) Uzaki Hana (Uzaki-chan wa Asobitai) Uzaki Tsuki (Uzaki-chan wa Asobitai)

Ahsoka Tano (Star Wars) Zuko (ATLA) Azula (ATLA) Ursa (ATLA)

Samus Aran (Metroid) Cynthia (Pokemon) GLaDOS (Portal) Jill Valentine (Resident Evil) Karlach (Baldur's Gate 3) Juri Han (Street Fighter) Chun Li (Street Fighter) Cammy White (Street Fighter)

Due cose ci salvano nella vita: amare e ridere. Se ne avete una va bene. Se le avete tutte e due siete invincibili. (Tarun Tejpal)   Brigitte Bardot fotografata da Edward Quinn al Festival di Cannes, 1956 

Avrà avuto 15 anni...bellissima!

The Anatomy of an American Beauty

By Kitty Quinn, Photographed by Milan Lazovski, Makeup by Kitty Quinn, Styled by Kitty Quinn & Milan Lazovski, Model: Ashtyn Vanlerberghe

Lovely, luscious and exotic are just a few of the adjectives that could be used to describe the illustrious blonde bombshell. She’s the golden girl of Hollywood, a quintessential aspect of the American dream and serves as the embodiment of femininity according to societal standards. The blonde bombshell is a vessel for love and sex but is disregarded in all other respects. Though presented in a more sensationalized fashion, she is not treated much differently than the average woman and can represent a reflection of the collective view on femininity and womanhood.

The term “bombshell” being used to describe an attractive woman can be traced back to a popular sex symbol of the 1930s, Jean Harlow. Known for her striking platinum blonde hair, Harlow was appropriately casted in the 1931 film, Platinum Blonde, which garnered her the title of the original blonde bombshell. By 1933, Harlow was casted to play in the film Bombshell, where the posters outlined her as the “Blonde Bombshell of filmdom”. Following this, the term “blonde bombshell” became a common descriptor for blondes within Hollywood. However, according to the Online Etymology Dictionary by Douglas Harper, the term “bombshell” cannot be fully traced within widespread vernacular until 1942. Following the establishment of the term, during the 1940s to the 1960s, it became widely popular due to icons such as Marilyn Monroe, Mae West, Brigitte Bardot, and more. Moreover, during these times counterparts to the blonde bombshell began to appear in the form of brunette and ethnic resembling women as well. In order to easily identify a bombshell, there are a few factors such as hypersexual behavior, a curvaceous figure, a tantalizing personality and a beauty sought after by women and lusted for by men. 

Even in times where sexuality is frowned upon, she appears like a shining star of sensuality in the darkness; perhaps that’s what makes her alluring, or maybe its the fact that she owns her power and uses it accordingly. In that way, the bombshell can be viewed as empowering to a certain degree. Despite this however, she is merely a pawn to the American dream. She isn’t her brains or ambitions, she is to be sought after above all. During the golden age of Hollywood, it seemed to many that the American dream was alive and breathing within the heart of Los Angeles. Thousands traveled in hopes to make it big after seeing the success of the stars that spangled the silver screen. What made the American dream so appealing to men especially was the possibility of possessing things like fame, fortune and even the woman of their dreams. The concept of blonde bombshell within itself represents this “all American” image that is in such high demand; however, it also represents the darker side of it as well.

For the most part, the blonde bombshell has typically caucasian features such as the obvious blonde hair, blue eyes and fair skin. While bombshells of all races and hair colors were seeing a rise, especially in the latter half of the 1950’s and 1960’s, the blonde bombshell always seemed to be able to reach prolific heights of stardom while other bombshells and women of color were pushed aside. Women of color were rarely given the bombshell title despite being highly sexualized. Rather than being idolized and rewarded, these women were vilified for their sexuality instead. 

That’s not to say women like Eartha Kitt, Lena Horne, Dorothy Danridge, Diahann Carroll, and many more weren’t admired— in fact, they were. However, due to racist ideologies and large focus on the “American ideal”, they could never be mythologized like Marilyn Monroe and her other white bombshell counterparts.

The bombshell archetype is harmful to all women, just in different ways. While women like Marilyn Monroe would never be racially discriminated against, a nearly universal experience for all bombshells is the mistreatment that they face. Far too often people see a sexually liberated woman and feel entitled to sexual favors because they are seen behaving a certain way. This isn't just an issue of the past, but something that continues on even in present times. For example, when Pamela Anderson’s sex tape with Tommy Lee leaked in 1995, Lee was admired while Anderson faced more sexual harassment than ever before. Lee was able to move on with his life, but Anderson continues to experience the negative effects 27 years later. With the release of the Disney+ series Pam & Tommy this year, Anderson’s power was taken away once more and her story was told without her consent. Countless other bombshells like Anna Nicole Smith, Jayne Mansfield, and nearly all of the aforementioned women also have tragic experiences that endlessly haunted them throughout their lives. 

There is a common misconception that because our society values beauty and because these women are beautiful, that they would lead relatively unproblematic and happy lives. Past surface level, it is easy to see that this is quite the contrary. Although deified and highly valued, the bombshell is hated for the same reasons that she is so loved. In film, bombshells were either killed or tamed with marriage as punishment for provocatively due to the shame that sexual desires provoke within our society’s puritanical ideals about sex. The bombshell archetype is just another case of women being condemned for the carnal desires that they bring out in men.

For Real This Time

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Full list of available models for requests/commissions below the cut: