Hairstyles of Ancient Rome
"Hairstyle fashion in Rome was ever changing, and particularly in the Roman Imperial Period there were a number of different ways to style hair. Much the same with clothes, there were several hairstyles that were limited to certain people in ancient society. Styles are so distinctive they allow scholars today to create a chronology of Roman portraiture and art; we are able to date pictures of the empresses on coins, or identify busts depending on their hairstyles."
"Busts themselves could have detachable wigs. There have been many suggestions as to why some busts have been created with detachable wigs and some without. Perhaps the main reason was to keep the bust looking up-to-date. It would have been too expensive to commission a new bust every time hair fashion changed, so a mix-and-match bust would have been preferable for women with less money." [X]
I would love to know how they managed to do this kind of elaborate hairstyling in ancient Rome when I can barely control the bangs on my pixie cut.
okay since yall seem to be incapable of identifying fake sj posts here’s a handy guide:
- go to the source of the post
- check the tags
- if it’s tagged with two thousand variations of “otherkin” and “headspace” and “sj” then it is 100% fake no exceptions
Oh man I’m gonna start showing people that bingo card.
marvel idea: give black widow a female love interest. me. hire me to kiss scarlett johansson.
There’s an incredible sense of both empowerment and vulnerability present in these black-and-white photographs, taken by Rotimi Fani-Kayode, that explores the complexities of sexuality and hypersexuality, eroticism, intimacy, agency - or lack of, tradition and race - all highly critical aspects that form part of the experiences of many black gay men.
With a short-lived career that spanned between 1982 and his death at the age of 34 in 1989, the Nigerian-born artist centered most of his work on the many factors in his life that spoke to the tensions in his life that resulted from his constant sense of otherness. Born in Lagos, Nigeria in 1955, Fani-Kayode was part of a prominent Yoruba family who eventually moved to Brighton, England in 1966 to escape a military coup in the country and the ensuing Biafra war. From the age of 12, Fani-Kayode would continually struggle with frictions caused by his layered and intersectional identities of being a black, African, gay man, something he would eventually convey and express through his art work.
“On three accounts I am an outsider: in matters of sexuality; in terms of geographical and cultural dislocation; and in the sense of not having become the sort of respectably married professional my parents might have hoped for.”
"My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms.”
the stars on the american flag are actually asterisks for all the restrictions on the freedom it boasts