At work everyone is talking about babies and getting married and it’s so not my world.

… and then they talked about where they are going to spend their holidays, looked at pictures of their beach resorts in Turkey and Italy, and how glad they are when there’s international food and that they won’t have to eat TURKISH food in TURKEY.

100% done




Head wraps have served as a head cover for Africans, mostly women, since at least the early 1700s. According to Danya London Fashions For All, a group of African slave women appear in a 1707 painting that was created by Dirk Valkenburg, a Danish painter, that depicted them wearing head wraps that appeared high on the forehead and above the ears. However, it is believed that African cultures used head wraps before the days of slavery so that men could show off their wealth and the level of their social status and so that women could prove that they were prosperous and spiritual

African head wraps come in many bright bold colors that animate the face. According to Africa Imports African Business, in West Africa, head wraps are referred to as “gele” in Yoruba or “ichafu” in Ibo. Some African American women continue to wear head wraps to boast their spiritual strength.


  • Many of the headdresses worn by Egyptian royalty had their roots in Nubian culture. The “Nubian wig” purposefully resembled the thick hair of Nubian people. Depictions from the 18th Dynasty show both Kiya, a secondary wife of Pharaoh Akhenaten, and Tiye, the mother of Akhenaten and Great Royal Wife of Pharaoh Amenhotep III, wearing this headdress. Queens during the Amarna era typically wore the “khat,” a single-colored headcloth.



  • Ancient Nubian queens wore headdresses more than head wraps. Some headdresses consisted of elaborate fabrics and flowers woven together. Another headdress had the appearance of a vulture, later referred to as the Egyptian double crown and worn by Egyptian queens during the New Kingdom era.


  • "Gele" refers to the Yoruba word for the head wrap commonly associated with Nigeria and West Africa. Both common women and royal queens wore the gele in ancient times, but queens had wraps made of finer material, such as damask — often used for special occasions and worn with a shawl — and colorful aso-oke, material made of silk.

Slave Women and the Head-Wrap

Originally the head-wrap, or turban, was worn by both enslaved men and women. In time, however, it became almost exclusively a female accessory. In the photograph above, the women wear head-wraps, while the men wear hats.

For their white European masters, the slaves’ head-wraps were signs of poverty and subordination. Accounts of clothing distribution show that masters sometimes allotted extra handkerchiefs to their female slaves, ostensibly to be used as head coverings. In fact, in certain areas of the South, legislation appeared that required Afrakan women to wear their hair bound up in this manner.

The head-wrap, however, was more than a badge of enslavement imposed on female slaves by their owners. Embellishment of the head and hair was a central component of dress in various parts of Africa, particularly in West Africa. From the time European fabrics were made available to them, African women wore head-wraps similar to those worn by their enslaved counterparts in America. For these women, the wrap, which varied in form from region to region, signified communal identity. At the same time, the particular appearance of an individual head-wrap was an expression of personal identity.

Detail from the photo of a large group of women wearing head-wraps

In America, the head-wrap was a utilitarian item, which kept the slave’s hair protected from the elements in which she worked and helped to curb the spread of lice. Yet, as in Africa, the head-wrap also created community — as an item shared by female slaves — and individuality, as a thing unique to the wearer. Cassandra Stancil, enslaved in her youth, insisted that she never asked another woman how to tie her head-scarf. “I always figured I could do it,” she said, “I could try and experiment and if not get that, get something that I liked.”

The head-wrap was an object of oppression from one vantage point. But from the other, the perspective of the slave community, it was a vehicle of empowerment and a memento of freedom.

The headwrap which originated in sub-Saharan Africa carried symbolic meaning in reference to spirituality, wealth, prosperity and class. It later took on a prominent identity in the times of the slavery in America and thereafter continued to be a fashionable but conscientious statement for women of African origin.

The colorful wraps also kept a person eyes to the face of a woman and not here body!

I want some scarfs and head wraps…idk where to buy them though. ..sad tears

(As always, when I tag something with “The Icarus Event” it’s because I am using it as reference for my graphic novel. I need to track down information specifically pertinent to Senegal and Dakar street fashion, but these images are still excellent visual aids more generally.)



At work everyone is talking about babies and getting married and it’s so not my world.

Israel: “Your unity agreement is a sign that you don’t want peace so we show you how much WE want peace! *attacks children via drone*”

My cat just licked my arm for about 10 minutes straight. She must really love me, haha.


Auguste Rodin ( French 1840 -1917 )

Don’t date someone you’re dependent on. Date someone who makes you more independent and makes you want to be better.

Note to self (via unpoeticheartbreak)


(via phantomthetiger)

(Source: soupmagazine)

Since I’ve been to the Middle East, I just laugh at white people in Central Europe who whine about how shitty everything about the system is. Of course, there are many things wrong, but most of you are living in luxury here.


Art history meme | 3/8 artists

Vilhelm Hammershøi (1864–1916)

Born in Copenhagen, Denmark, Hammershøi is known for his poetic, low-key interiors. Many of these feature his wife, Ida Ilsted, often seen from behind, and many were painted in their homes in Copenhagen.

Throughout his career, Hammershøi remained independent of any group or movement: a fact which contributed to his work being largely forgotten until relatively recently. While their limited colour-palettes give Hammershøi’s works an air of calm elegance, they can also evoke a sense of mystery and even tension, and, despite their understated aesthetic, they were enough to unsettle the artistic establishment of Hammershøi’s day.

(Source: m-lky)

(Source: 1109-83)