#Robes Embroidery

[tcustodisart]

Remember that outfit I designed for Connie? Yeah...

[lt-kaollumn]

i feel like im breaking some secret tumblr rule showing my face but i can trust you guys? right? right?

Look i made a vulcan robe it took months of hand-sewing cause i dont have a sewing machine

hand embroidered! and then i met jonathan frakes at a convention! i got a picture with him but it’s Just For Me

based on spock’s kolinahr robes from the movies

[catz4ever]

I AM ABSOLUTELY 100% GOING TO COSPLAY THIS LITTLE SHIT.

I HAVE THE RED HAIR AT THE RIGHT LENGTH. JUST NEED TO CREATE HIS ROBE AND PUT IN SOME BLUE CONTACTS.

*SIDE NOTE: I'VE NEVER COSPLAYED BEFORE SO THIS WILL BE A KICK ASS FIRST*

[toaster-fire-art]

no thoughts, just hualian

[neuvoid-writes]

Danmeitober 2024 Day 7 - Folktale

"Have you ever heard of the Crimson Rain Sought Flower?"

It's Hua Cheng! :D of course yesterday was Xie Lian! today is Hua Cheng ehehhe.

This one is a bit of a struggle ahhaha... what can i say? Boy jingles with accessories! it about killed me here hahaha...

Enjoy!

[fashionsfromhistory]

Robe (Kosode)

Early 17th Century

This sumptuous robe is among the earliest extant kosode (garment with small sleeve openings). The natural scenery of Japan’s coast, with its beaches strewn with shells and sea grass, inspired the delicate embroidered design. The foundation fabric, woven in an intricate key-fret pattern with floral motifs, was likely imported from China in its white, undecorated state. It was then resist dyed to achieve the effect of irregular sandbanks, and the marine motifs were embroidered on top. The alternating bands of light blue were further embellished with gold-leaf accents.

The MET

[ghw-archive]

A silk kimono finely embroidered with wisteria, Japanese for the European market, 1910-20 the flower-heads in ombré shades of purple to white, pale pink blossom amongst the trailing vines, with original matching, fringed sash

[klngfili]

his outfit is very humble very mindful very demure

[digitalfashionmuseum]

Silk Embroidered Robe à la Française, 1730-1740, European.

Met Museum.

[subzeroparade]

Hello! I really liked the clothes you designed for Laurence in the last artwork. I was wondering if it's just an alternative design to the usual one or if it's how you'll draw him from now on. Is it maybe something he wore before he started wearing the choir clothes?

Thank you anon (・‧̫・) Also you made the mistake of asking me about fashion, so - *inhales*

I’ve drawn Laurence in version(s) of the Choir garb before (you'll notice I change his sleeves a lot lol), but I normally almost never draw characters in the same outfits all the time, even if they are canon - just by virtue of being bored of it, and wanting to invent. 

The one you’re referencing was early Church, in my timeline - there’s two similar ones that I’ve more or less described in fic that are simpler, and closer to typically clerical/in-game Church garb. One of the first scenes in The Feast We Were Promised (which deals mostly with early Church timeline) is Laurence changing from the weighty, jewelled chasuble he wears in the context of ministration/communion in the Grand Cathedral into a modest black cassock to return to the Chapel of the Good Chalice down in the poorer quarters of old Yharnam. There is a certain canny strategy for the Church to remain humble in what they wear, if only to imply a sort of modesty and separation from the main religious powers of the time - there’s an established church, in this timeline, with all its pomp and splendour (because sects don’t just spring up in a religious vacuum).

I think that changes with the founding of the Choir, and the domination of the Healing Church as the main religious organisation over time, consolidating its power on the reputation of the blood. I think the Choir garb feels like a kind of mix between clerical clothes and Byrgenwerth-style robes (this should not be surprising - Willem’s imagery in his chair is very papal). This reflects the Church’s eventual takeover of Byrgenwerth, and how the Choir is established - which is to say an "order", or faction of the Church only in name, but solely focused on using the Church’s resources to attain ascension/communion. I like to imagine that Laurence would wear a different variation of the Choir garb at the height of his power, to distinguish himself - incorporating some of these more traditional liturgical symbols, since he retains the title of vicar. 

On the other side of the Church’s heyday, I think the more things get out of hand, the more ostentatious their dress - a sort of visual power, if you will, that negates what is happening in the streets with the coming scourge. A veneer of material splendour to mask the reality - a show of control, and mastery, even as the Church is impotent in the face of what's happening. In that sense I’d imagine Laurence wearing really ornate chasubles, or the kind of stunning cope that Lenny wears (minus the hat) in the Sistine Chapel scene in The Young Pope (which I am a big fan of). To bring it back to your first question, that white and black ensemble is a play on both real ecclesiastical garb but also specifically Lenny’s wardrobe, and his countenance when he wears it. (The costume designer, Carlo Poggioli, did a spectacular job working from the existing pieces in the Vatican museum). The red shoes in that final design above are a bit of a joke - the pope actually wears red shoes in real life, but the version on set are Louboutins and were nicknamed by Poggioli “the Ferraris” (extra inside joke - my Laurence has partly Corsican roots for obvious parallels with another historical tyrant).  

As for Ludwig, I almost always give him a different outfit - even in plainclothes - but I like the idea that he only starts wearing that pseudo-Executioner’s garb after the Cainhurst massacre (in my timeline, anyway). I always try to add a little element of armour to his clothing and to distinguish him from both the clergy and other Church-affiliated folk, be they Prospectors or Hunters. Beyond actual historical sources, I’m obsessed with Jany Temime’s work in House of the Dragon, and so you’ll find traces of the Kingsguard armour in Ludwig’s overall look, but without making it too medieval. 

I also have a headcanon (developed alongside some mutuals) that the blindfold part of the Choir cap is a very late introduction, during the scourge. In my work Laurence’s disdain for Willem’s dumbfuck pope hat is evident, and so there’s none of that shutting-your-eyes-to-the-world stuff - until most everyone’s eyes, including his, start to change by way of the scourge. 

Anyway tldr I like playing dress-up with them. 

[princessfromthelandofporcelain]

Uchikake (outer robe) with peonies, plum blossoms, and butterfilies

Japanese, Edo Period, late 18th or early 19th century

silk damask embroidered with silk and metallic thread

Metropolitan Museum of Art

[chicinsilk]

Pierre Balmain Haute Couture Fall/Winter 1952-53 “Jolie Madame” Collection. Geneviève Richard in the gray embroidered tulle evening dress called “Katherine Hepburn”

Pierre Balmain Haute Couture Automne/Hiver 1952-53 Collection "Jolie Madame". Geneviève Richard dans la robe du soir en tulle brodé gris baptisée "Katherine Hepburn"

Photo Willy Maywald

[bananahkim]

Sometimes I like pretending that I actually talk to my ocs while I design them.

[zaruba-needslove]

Three generations of GARO Knights~

[avionvadion]

For the AU where Ilia ends up getting zapped into the past (by Zelda, unintentionally, oof) because Demise’s essence was never fully destroyed within the Master Sword, and when it breaks the essence recognizes Ilia as the descendant of the Hero of Sky and lunges at her. She ends up waking up to Ganondorf holding a sword to her throat (Insert Princess Mononoke meme here, lol) and trying to figure out why the hell his head feels like it’s splitting as a voice is demanding he kill her. 

Turns out when Ilia got zapped into the past, so did the essence, but being the essence of a god it was able to manipulate the time space around them and went back even further and kind of... situated itself into Ganondorf, who is already an incarnation of Demise’s hate, leaving Demise to try and take over him. Being a descendant of the goddess, Ilia is able to keep Demise’s essence at bay within Ganondorf, and so Ganondorf kind of just... decides to keep Ilia by his side until she can purify him, even though Demise really wants her dead.

But how best to keep a Hylian, an enemy, by his side without arousing suspicion? By making her his queen, of course! Does their relationship remain platonic or does it delve into romance? No idea! Either way is gonna be fun! Lol.

Also, for those curious, since I headcanon there’s a six year time skip between games, Ilia is about twenty-seven here. 

[royalty-nobility]

Portrait of King Philip II of Spain

Artist:  Tiziano Vecellio

Genre: Portrait

Depicted People: King Philip II of Spain

Date: circa 1488–1576

Medium: Oil on Canvas

Collection: Cincinnati Art Museum

This portrait of King Philip II of Spain was made around 1550/1551 by the Italian artist Tiziano Vecellio, called Titian, who lived from about 1488 to 1576. It is an oil painting on canvas and was bequeathed to the Cincinnati Art Museum.

Here we have the life-sized portrait of a young king, seated in an armchair turned three-quarters toward the viewer. Behind is a heavy silk curtain decorated with silver embroidery and an open window on the left. His head faces forward, but his eyes look sideways, out at us. He wears a jeweled crown over his short brown hair and is dressed in robes of state that are loosely brushed in and, in some areas, look unfinished. They are white with long, puffed sleeves, decorated with alternating areas of black and white vertical stripes from his shoulder to elbow. Dark fabric is draped over his shoulders and falls to his legs. Philip’s left hand rests on the armrest of an elaborately gilt decorated chair. His right hand holds a scepter that is braced on his right thigh. Hanging over his chest is a large gold chain with a sheep pendant -- the Order of the Golden Fleece.