#Textile Dyes Market

[oddfactory21]

[dresshistorynerd]

How did cotton win over linen anyway?

In short, colonialism, slavery and the industrial revolution. In length:

Cotton doesn't grow in Europe so before the Modern Era, cotton was rare and used in small quantities for specific purposes (lining doublets for example). The thing with cotton is, that's it can be printed with dye very easily. The colors are bright and they don't fade easily. With wool and silk fabrics, which were the more traditional fabrics for outer wear in Europe (silk for upper classes of course), patterns usually needed to be embroidered or woven to the cloth to last, which was very expensive. Wool is extremely hard to print to anything detailed that would stay even with modern technology. Silk can be printed easily today with screen printing, but before late 18th century the technique wasn't known in western world (it was invented in China a millenium ago) and the available methods didn't yeld good results.

So when in the late 17th century European trading companies were establishing trading posts in India, a huge producer of cotton fabrics, suddenly cotton was much more available in Europe. Indian calico cotton, which was sturdy and cheap and was painted or printed with colorful and intricate floral patters, chintz, especially caught on and became very fashionable. The popular Orientalism of the time also contributed to it becoming fasionable, chintz was seen as "exotic" and therefore appealing.

Here's a typical calico jacket from late 18th century. The ones in European markets often had white background, but red background was also fairly common.

The problem with this was that this was not great for the business of the European fabric producers, especially silk producers in France and wool producers in England, who before were dominating the European textile market and didn't like that they now had competition. So European countries imposed trade restrictions for Indian cotton, England banning cotton almost fully in 1721. Since the introduction of Indian cottons, there had been attempts to recreate it in Europe with little success. They didn't have nearly advanced enough fabric printing and cotton weaving techniques to match the level of Indian calico. Cotton trade with India didn't end though. The European trading companies would export Indian cottons to West African market to fund the trans-Atlantic slave trade that was growing quickly. European cottons were also imported to Africa. At first they didn't have great demand as they were so lacking compared to Indian cotton, but by the mid 1700s quality of English cotton had improved enough to be competitive.

Inventions in industrial textile machinery, specifically spinning jenny in 1780s and water frame in 1770s, would finally give England the advantages they needed to conquer the cotton market. These inventions allowed producing very cheap but good quality cotton and fabric printing, which would finally produce decent imitations of Indian calico in large quantities. Around the same time in mid 1700s, The East Indian Company had taken over Bengal and soon following most of the Indian sub-continent, effectively putting it under British colonial rule (but with a corporate rule dystopian twist). So when industrialized English cotton took over the market, The East India Company would suppress Indian textile industry to utilize Indian raw cotton production for English textile industry and then import cotton textiles back to India. In 1750s India's exports were mainly fine cotton and silk, but during the next century Indian export would become mostly raw materials. They effectively de-industrialized India to industrialize England further.

India, most notably Bengal area, had been an international textile hub for millennia, producing the finest cottons and silks with extremely advance techniques. Loosing cotton textile industry devastated Indian local economies and eradicated many traditional textile craft skills. Perhaps the most glaring example is that of Dhaka muslin. Named after the city in Bengal it was produced in, it was extremely fine and thin cotton requiring very complicated and time consuming spinning process, painstakingly meticulous hand-weaving process and a very specific breed of cotton. It was basically transparent as seen depicted in this Mughal painting from early 17th century.

It was used by e.g. the ancient Greeks, Mughal emperors and, while the methods and it's production was systematically being destroyed by the British to squash competition, it became super fashionable in Europe. It was extremely expensive, even more so than silk, which is probably why it became so popular among the rich. In 1780s Marie Antoinette famously and scandalously wore chemise a la reine made from multiple layers of Dhaka muslin. In 1790s, when the empire silhouette took over, it became even more popular, continuing to the very early 1800s, till Dhaka muslin production fully collapsed and the knowledge and skill to produce it were lost. But earlier this year, after years lasting research to revive the Dhaka muslin funded by Bangladeshi government, they actually recreated it after finding the right right cotton plant and gathering spinners and weavers skilled in traditional craft to train with it. (It's super cool and I'm making a whole post about it (it has been in the making for months now) so I won't extend this post more.)

Marie Antoinette in the famous painting with wearing Dhaka muslin in 1783, and empress Joséphine Bonaparte in 1801 also wearing Dhaka muslin.

While the trans-Atlantic slave trade was partly funded by the cotton trade and industrial English cotton, the slave trade would also be used to bolster the emerging English cotton industry by forcing African slaves to work in the cotton plantations of Southern US. This produced even more (and cheaper (again slave labor)) raw material, which allowed the quick upward scaling of the cotton factories in Britain. Cotton was what really kicked off the industrial revolution, and it started in England, because they colonized their biggest competitor India and therefore were able to take hold of the whole cotton market and fund rapid industrialization.

Eventually the availability of cotton, increase in ready-made clothing and the luxurious reputation of cotton lead to cotton underwear replacing linen underwear (and eventually sheets) (the far superior option for the reasons I talked about here) in early Victorian Era. Before Victorian era underwear was very practical, just simple rectangles and triangles sewn together. It was just meant to protect the outer clothing and the skin, and it wasn't seen anyway, so why put the relatively scarce resources into making it pretty? Well, by the mid 1800s England was basically fully industrialized and resource were not scarce anymore. Middle class was increasing during the Victorian Era and, after the hard won battles of the workers movement, the conditions of workers was improving a bit. That combined with decrease in prices of clothing, most people were able to partake in fashion. This of course led to the upper classes finding new ways to separate themselves from lower classes. One of these things was getting fancy underwear. Fine cotton kept the fancy reputation it had gained first as an exotic new commodity in late 17th century and then in Regency Era as the extremely expensive fabric of queens and empresses. Cotton also is softer than linen, and therefore was seen as more luxurious against skin. So cotton shifts became the fancier shifts. At the same time cotton drawers were becoming common additional underwear for women.

It wouldn't stay as an upper class thing, because as said cotton was cheap and available. Ready-made clothing also helped spread the fancier cotton underwear, as then you could buy fairly cheaply pretty underwear and you didn't even have to put extra effort into it's decoration. At the same time cotton industry was massive and powerful and very much eager to promote cotton underwear as it would make a very steady and long lasting demand for cotton.

In conclusion, cotton has a dark and bloody history and it didn't become the standard underwear fabric for very good reasons.

Here's couple of excellent sources regarding the history of cotton industry:

The European Response to Indian Cottons, Prasannan Parthasarathi

INDIAN COTTON MILLS AND THE BRITISH ECONOMIC POLICY, 1854-1894, Rajib Lochan Sahoo

[sapphicteaparty]

i've NEVER seen a single good faith discussions about pleather on this website and i want ppl to think critically for one second about the way businesses talk about their products. "vegan leather" is purely a marketing term and nothing else. it was invented by the fashion industry and it has nothing to do with vegans or veganism.

"vegan leather" is basically made of polyester (a type of plastic), but crucially a lot of clothes nowadays are made of polyester either fully or partially because it's cheaper to produce. so of course clothing companies are going to be producing and marketing things that make them more money.

these products are not even targeting vegans, they're making an average customer feel better about their purchases, same way they are now putting "eco" labels on some of their organic cotton clothing. it's just greenwashing. NOTHING in fast fashion is eco friendly in any way - this whole industry is extremely wasteful an exploitative on every level. when are ppl going to realize that these companies just say anything they can to make it seem like they care about anything other than their profit margins. because they don't.

my wish is that ppl that talk about how bad pleather is and how vegans are apparently responsible for all of the microplastic pollution in the world also talked or cared even a little bit about the absolutely horrific abuse and exploitation that happens in the clothing and fast fashion industry. talk about how this industry consistently fails (or outright refuses) to pay its workers a living wage or how they don't provide them humane working conditions - and how that led to thousands of garment workers dying and getting injured when a garment factory collapsed in Bangladesh (and that's not the only tragedy this industry is directly responsible for).

also microplastics are only the tip of the iceberg if you want to talk about the pollution that the clothing industry is responsible for (toxic chemicals and pesticides used in cotton production, garment dyes, the disposal of textile waste etc) - all of which has direct human costs tied to it.

but if your only concern ever was microplastics that clothes can shed then great! avoid all polyester and plastic clothing. but did you know textiles aren't even the primary microplastic contaminants? it's plastic bags, bottles and fishing nets by far. most ppl can't always avoid these plastic items in daily life. but do you eat fish? vegans don't.

i'm just so tired of the pleather discussion focusing on the wrong thing (vegans) when there are so many more aspects about the clothing industry and plastic pollution that never get addressed when they should. and the amount of misinformation on these topics is just laughable at this point. ppl sure enjoy reblogging posts that confirm their biases and free them from having to critically engage with complicated issues because it's so easy to just blame a group of ppl for it.

anyway if you're concerned about ethical clothing (i hope you are) then basically these are your best options:

wear what you already have and don't buy new clothes unless necessary

get second hand clothes

get upcycled clothes

this may seem a bit extreme but these are the only options that don't result in new clothes and textiles being produced because there is an overproduction issue in the clothing industry which is why over 80% of clothes end up in landfills. obviously these options aren't viable for everyone all the time but if the goal is sustainability then that's just the reality of things for now.

you can also do things like mend your clothes so they last longer, learn to sew to make your own clothes etc all of that is better than buying new clothes. donating clothes to a thrift store is also not ideal since they get so many donations that a lot of it ends up in a landfill anyway and recycling clothes is also not straightforward or even possible in a lot of cases. so not buying new/more clothes is the most environmentally friendly option. and before you go no ethical consumption under capitalism blah blah yeah we know. doesn't mean you are powerless and have no choices in anything ever.

please learn more about microplastics, the clothing/textile industry and veganism before you uncritically reblog another misinformed post about "vegan leather" or microplastics. also please don't uncritically believe what i wrote here either. if you're seriously interested in these topics then your source for this information shouldn't be some tumblr post in the first place. there are lot of studies, documentaries and articles about all the things i mentioned. i'm not a researcher or a scientist, so don't ask me. i'm just tired.

[ceiling-karasu]

Other Countries in the Squirrel and Hedgehog AUs, Part One, Plus OCs

Chaand Hadia (Moon Gift, Urdu)

For my AUs, I will have Flower Hill (North Korea) be very close to the country of Chaand Hadia (Moon Gift), located the left of the country. I'm ignoring the distance in between them for now, because this is fiction and I have decided it.

Location and Geography: Shares a border with Flower Hill. Plains, plateaus, mountains, rivers, fertile valleys, and ocean make for varied regions.

The Farmhouse Villa for Lily Bell in the Thorn Thicket most likely takes place a few hours from the border between Flower Hill and Chaand Hadia.

Government: democratic parliamentary federal republic but local cultural rules specific regions.

Economy: The economy is largely based off of herbs, medicines, and dyes, with large exports of textiles. Essential medical compounds are grown in villages around the country or on mountaintops. Herbalists are seen as an essential job, and doctors that travel between small villages and neighboring countries are commonplace.

Flower Hill provides a lot of silk to Chaand Hadia, and receives essential medicines, dyes, and weapon components (in secret) that they may not have been able to grow or find themselves.

Demographics: hog deer, goats, sheep, boars, mongoose, Indian pangolin, striped hyenas, black and brown bears

Culture: Each province has it’s own rules and specific clothing styles based on the standard. Important families carry a detailed pocket compass to identify themselves, although the meanings can vary, and the presence of one can be a coded message.

Foreign Relations: Balanced and outwardly neutral, although getting more and more friendly with Flower Hill. Very friendly with Chambelli Koh.

Relation to Flower Hill: Alongside regular trade, secretly smuggles extra weapons and medicines into Flower Hill, possibly even up to weapons of mass destruction. After all, if Flower Hill falls the the Weasel Unit, their own coastlines will be next. Will not do anything overtly to support their neighbor, though, unless pushed.

Traditional Clothing Style (Not military attire): Shalwar kameez, hijab, Niqab. Clothing used to be more plain until they began acquiring large amounts of silk from Flower Hill.

OC Character: Soor-Hiran (May appear Briefly)

Rei-Does-Stuff mentioned the idea of a goat that could smuggle weapons and such into Flower Hill, and to Geumsaegi. I made a joke about the deer I had made in Lily Bell in the Thorn Thicket, who does kind of do that. They responded with the concept of the Pakistani hog-deer, with absolutely no hesitation. Later, they discussed how Pakistan was such a close ally of North Korea, to the point that they smuggled nuclear weapons into the country. Well, that was also a background plot (not a spoiler), and the deer smuggling weapons and poisons may be a larger plot-line in the current AU. So, we got to talking.

As such, I would like to formally dedicate my Hog-Deer Smuggler, Soor-Hiran, to @Rei-Does-Stuff.

Gender: Ambiguous.

Country: Chaand Hadia (Moon gift, Urdu)

Alliance: Chaand Hadia

Attire: Hijab, loose trousers and shirts (Shalwar kameez), but province styles are blended together.

Skills: Herbs, medicine, espionage, deceit, eavesdropping, eidetic memory of mountain paths and plants, and schematics.

Weapon: Poison needles.

Day job: traveling herbalist, doctor. Is allowed to travel between Chaand Hadia and Flower Hill, and works with the commanders in Cherry Valley, as permitted by their own government. Alongside medicines, they bring materials for weapons, schematics, and messages pertaining to Weasel Unit movements and acquisitions. Their village is next to the border of Flower Hill, so it is easy to travel in between.

Works with: markhor goat group of apprentice herbalists and couriers. But they may be more than they seem to be...

Secret Job and backstory: While they will happily accept requests from Flower Hill, Soor-Hiran's group secretly works as a black market smuggler. Other weapons, foods, stolen items, jewels, and information are sold to those willing to pay the price. So far, the Weasel Unit has been unable to afford their cost, but how desperate will they get until they are willing to pay?

Likes: Silk, moths, flowers

Dislikes: being belittled for their culture

Personal Item: Beloved family antique pocket compass/sundial. This specific heirloom allows them free entry into Flower Hill.

OC Character: Pangulggot

Gender: Male

Country and Alliance: Chaand Hadia

Attire: loose trousers and shirts (Shalwar kameez)

Skills: medicine, ignoring things that don't apply to him.

Weapon: nothing other than his scales and claws. Is far too mild mannered to fight back if attacked for the most part. His scales prevent him from being harmed.

Day Job: traveling herbalist and medicine worker, bringing important medicinal components to Flower Hill

Works with: markhor goat group of apprentice herbalists, guards, and couriers

Likes: his job, Lily of the Valley flowers

Dislikes: People trying to eat Lily of the Valley Flowers. They are poisonous, but yet...

Backstory: They do very much love their name. However:

Pangulggot is aware that authorities act strangely when they say their name, and tries to hide it, since there is something going on that they probably should not know. Possibly a dangerous individual with the same name, or a military code word…?

Whatever it is, they sure notice that it gets them pulled into empty rooms while going through customs and checkpoints as ‘randomly selected,’ for extra questioning that sure sounds like they contain specific phrases for a specific person he is not.

[solarpunkbusiness]

Very interesting new and different business models and business ideas for rural markets in global North.

Millennial Farmers: The New Fashion Pioneers

One of the most exciting aspects of this movement is the connection between millennial farmers and the fashion industry. Here are some real-life examples.

• Regenerative agriculture for textiles in which millennial farmers are increasingly adopting practices focused on improving soil health, conserving water and sequestering carbon. Some farms are now growing cotton, flax and other fibers using regenerative techniques. These materials are used in fashion and represent a significant shift away from traditional, resource-intensive farming.

• The use of organic and eco-friendly dyes in textile production is on the rise. Many millennial farmers are experimenting with plant-based dyes — such as indigo — and incorporating them into fashion. These natural dyes not only reduce the environmental impact but also create unique, earthy colors.

• Farms that raise animals for wool, leather and other textiles are taking a more ethical approach. By ensuring the welfare of the animals, these farmers are producing high-quality, sustainable materials for fashion brands that prioritize animal welfare.

• Millennial farmers are embracing the direct-to-consumer model, much like they do with farm produce. They sell fibers and materials directly to fashion brands, cutting out intermediaries and ensuring transparency in the supply chain. This connection appeals to fashion brands that want to know where their materials come from.

• Millennial farmers are also choosing to wear and support sustainable fashion brands that align with their values. It’s a way of living the principles of slow living not just in farming but in every aspect of their lives.

[cure-icy-writes]

i don't know how many people here follow me for textiles or even have any interest, but i'm just going to say it anyways.

I FUCKING LOATHE HOW THE BEIGE TREND IS CREEPING INTO CLOTHING UNDER THE GUISE OF BEING MORE ECOLOGICALLY FRIENDLY.

Beige is not a good color. Beige is not an elegant color. It lacks the old fashioned charm of off-white and the muted elegance of brown. It can, in some circumstances, be used efficiently to give a professional look, or to bring out the brightness of another color by contrast. Maybe there are even a few uses where it looks good! I'll admit to some bias in this regard.

But for such a drab color, it's far oversaturated the market. And now, rather than taking responsibility for putting out shitty garments and encouraging the fast fashion cycle, manufacturers are creating the most horrendously ugly unfinished garments that "save water" but look and feel like wearing a fucking potato sack.

And like. I get it. We really should be doing more to help the planet. And it's possible that I'm not educated enough on the fashion cycle. But I think that humans, especially those who have historically been good stewards of the environment, have been consistently making some gorgeous clothing from vibrant dyes all throughout history, and making ugly muted clothing is performative at best.

[eopederson]

Tesoros turísticos: telas, mercado seminal, Otavalo, 2008.

Unlike the textiles shown in an earlier post, these are intended for the tourists who frequent the weekly market in large numbers. Those knowledgable in the field of handcrafted textiles would quickly point out that these are not local Andean designs but rather generic "Latin American" ones which look much the same from New Mexico south to Chile. Many are poliéster puro and factory made, certainly not pure wool, natural dyes, or hand-loomed. In fairness those traits apply to many of the fabrics sold to local consumers at the Otavalo market.

[nqynhhh]

Slow Fashion in Vietnam: A Movement Gaining Momentum

Slow fashion is not just a trend; it's a shift in mindset. It's about valuing quality over quantity, investing in timeless pieces, and supporting sustainable practices. In recent years, the slow fashion movement in Vietnam has been steadily gaining momentum as consumers become more conscious of the environmental and social impacts of the traditional fast fashion industry. Fueled by a growing awareness of sustainable practices and a desire to support local artisans, Vietnamese brands and designers are embracing the principles of slow fashion and offering thoughtful, ethically-produced alternatives to the mass-produced garments that have long dominated the market.

Embracing Sustainable Practices

One shining example of the slow fashion ethos in Vietnam is Kilomet109, a Hanoi-based brand that showcases the country's rich textile heritage. Founded by designer Vu Thao, Kilomet109 meticulously crafts each garment, utilizing eco-friendly materials and traditional techniques (Ngo Quynh,2022). Their dedication to sustainability extends beyond the production process, as they actively promote environmental awareness and encourage responsible consumption habits among their customers.

Another notable brand, Fashion4Freedom, shows the desire to use fashion to liberate and develop. Each F4F product is a true work of art thanks to its uniqueness in concept and processing. Dragon Shoes is an example. The sole of the shoe "takes advantage" of jackfruit wood purchased from local families, intricately carved. F4F also has many impressive products such as patterned costumes of the Ta Oi people, jewelry collections from phones and computers. and broken tablets, wooden jewelry... When looking at products from F4F, we have the right to be proud of a carving culture coming from traditional craft villages (Nhi Nguyen, 2022).

Environmental Benefits and Cultural Preservation

The environmental benefits of slow fashion in Vietnam are undeniable. Slow fashion brands typically utilize natural, organic materials like organic cotton, hemp, and Tencel. These materials require less water, energy, and harmful chemicals compared to conventional fast-fashion fabrics. Additionally, slow fashion emphasizes smaller production batches, minimizing textile waste, a significant environmental concern in the global fashion industry.

Furthermore, slow fashion in Vietnam celebrates and revitalizes traditional craftsmanship techniques. Many brands collaborate with local artisans who possess skills in weaving, dyeing, and embroidery passed down through generations. This not only preserves cultural heritage but also empowers local communities by providing sustainable livelihoods for artisans. Brands like Gia Studio, which uses natural dyes and handwoven fabrics to create traditional Vietnamese clothing, are examples of this cultural preservation (Pameyla Cambe,2024)

A promising for future

The slow fashion movement in Vietnam is still in its early stages, but it has the potential to make a significant impact on the global fashion industry. As more and more Vietnamese consumers embrace slow fashion principles, the industry is poised to play a significant role in reducing the fashion industry's environmental impact and promoting ethical labor practices.

The rise of slow fashion in Vietnam signals a promising shift towards more sustainable and socially responsible consumption. As this movement grows, it not only brings environmental and economic benefits but also strengthens the cultural fabric of Vietnamese society, weaving a future where fashion respects both people and the planet.

References

Cambe, P. (2024, April 2). Vietnamese Fashion Brand Gia Studios Is Crafting The Ultimate Minimalist Wardrobe. Grazia Singapore. https://grazia.sg/fashion/gia-studios-lam-gia-khang-vietnamese-fashion-brand-minimalist-interview/

Maker Profile: Kilomet109. (2017, September 21). THE KINDCRAFT. https://thekindcraft.com/kilomet109/

Nguyen, N. (2022, July 18). 5 thương hiệu thời trang việt bền bỉ theo đuổi sự bền vững. Vietcetera. https://vietcetera.com/vn/5-thuong-hieu-thoi-trang-viet-ben-bi-theo-duoi-su-ben-vung

Quynh, N. (2022). Top 10 thương hiệu thời trang bền vững nổi tiếng tại Việt Nam. Coolmate. https://www.coolmate.me/post/cac-thuong-hieu-thoi-trang-ben-vung-tai-viet-nam

[mariacallous]

Crisco is a vegan cooking fat and an icon of the Ashkenazi-Jewish American Dream. 

For over a century, the strange, oily gloop has graced kosher restaurants, holiday cookbooks and hand-scribbled recipe cards in Jewish homes across the nation, becoming a (contested) symbol of Jewish American identity and culinary tradition . 

But how did Judaism get to Crisco as America is to apple pie? The answer lies at the intersection of early 20th-century consumerism and Jewish American culture. 

First, we need to take a look at the origins of Crisco itself. Debuted in 1911 as a product of Cincinnati’s Procter & Gamble Co., it started as a strange solution to a strange problem. Textile production skyrocketed during the Industrial Revolution, leaving America with a surplus of leftover cotton seeds. No one could figure out what to do with them — until chemists learned to extract the oil and combine it with hydrogen, which created a cheap alternative to animal-based fats like lard and tallow. Initially, Procter & Gamble intended to use the new substance to make candles. But they ended up selling it as a food product, instead. 

The public wasn’t totally sold on the idea. Aside from sneaky CEOs cutting costs by substituting it for pricier olive oil, cottonseed oil wasn’t typically used in the food business. It was primarily intended for soap, artificial dyes and explosives. There was even some debate over whether cottonseed oil is really a food (spoiler: it isn’t; Procter & Gamble would later switch to other vegetarian oils). 

Eventually it caught on with the help of some clever, if somewhat dishonest, marketing. But sales still weren’t remarkable among established Americans. Given the product’s versatile non-dairy, non-meat nature, Procter & Gamble’s PR team decided to give a hard sell to the nation’s newly minted community of Eastern European Jewish immigrants. One 1913 newspaper advertisement, printed in English and Yiddish and distributed throughout the United States, made the lofty claim that “The Hebrew Race has been waiting 4,000 years for Crisco.” 

4,000 years! 4,000 years spent wandering through deserts and across the globe, all for… non-dairy shortening? Shockingly, the ploy worked; American Jews went wild for Crisco — and haven’t looked back since. 

There are evident perks: It’s kosher, and pareve, too. That means that, when she has Crisco on hand, the good Jewish housewife doesn’t need to buy both schmaltz — for meat — and butter — for dairy — thus saving money and resources. And, a hundred or so years ago, Crisco was considered (or, at least, marketed as) a healthy alternative to traditional animal-based cooking fats. 

But more important was Crisco’s cultural significance. For new immigrants, the feeling of belonging was vital. There was a constant struggle between old and new, religion and nation, and tradition and assimilation. Here was a practical solution that didn’t require compromise. Kosher enough for the rabbi, stylish enough for the all-American woman and economical to boot, Crisco was a tasty, practical reminder that you could be both Jewish and American — and be so with class and tact. 

Procter & Gamble’s 1933 cookbook, “Crisco Recipes for the Jewish Housewife,” cemented the product’s popularity within the Jewish community. Each recipe was printed in both English and Yiddish. Offerings ranged from traditional favorites, like kugel, to American icons such as southern fried chicken and macaroni salad — all, of course, with a generous helping of Crisco. Despite the economic hardship of the Great Depression, sales continued to soar. Over the course of a century, Crisco grew from its resourceful beginnings to the heart of American Jewish cooking. 

In recent years, though, Crisco has amassed slews of controversy. For one thing, it’s been condemned for ruining the magic of traditional (i.e., schmaltzy) Jewish cooking with its sub-par flavor. Perhaps more shocking is the revelation that Crisco, marketed as an “all-vegetable shortening” doesn’t actually include any vegetables — at all. Even though it’s no longer made from cottonseed oil, Crisco’s modern key ingredients, soybean and palm oil, aren’t derived from vegetables, or even fruits, but from grains. They’re not particularly healthy or environmentally friendly, either. So, while definitely a little more edible, modern Crisco is not exactly a huge improvement on its cottonseed predecessor. 

Why do we continue to use Crisco? I think that, like with many Ashkenazi Jewish cultural rites, the answer can be most accurately summed up by Tevye in “Fiddler on the Roof”: TRADITION! So next time you bite into a Crisco-coated latke, or hamantaschen, or maybe even fried chicken, you too can follow in the footsteps of our foremothers and savor the unctuous, oily flavor of Jewish American history. 

[pangolinheart]

FFXIVWrite 2023 DAY 12 - DOWDY

Rhiki, Thancred, and Tataru go on a shopping trip!

I took this prompt in the direction of "generally unfashionable" and used it to vent my and Rhiki's shared sentiments about the design of Tank armor. I can almost always count on the gear designers for award winning mmorpg final fantasy xiv to disappoint me.

Rating: General Genre: Fluff, humor Characters: Tataru Taru, Thancred Waters, Z'rhiki Irhi (Warrior of Light) Word Count: 1,330 Content Warnings: None

“Oh, this is cute!” Z’rhiki held up one sleeve of the jacket to turn it on its hanger towards Tataru. “I love all of the orange parts! Ooh! And the waist is adjustable. And I think this scarf is actually attached….”

Tataru giggled as she watched Rhiki whirl around the shop excitedly. “I think it would suit you!”

“Right?” Rhiki beamed. It had been too long since she had gone shopping with friends – it felt like a lifetime ago. Recently she had been either busy, or trapped somewhere without a particularly expansive market. Sharlayan had very few redeeming qualities (at least in her opinion) – the food was bad, the people were rude, everyone was always reading or studying – but it did have a marketplace, stocked with enough wares that one could pass the time perusing them.

“I’m not sure how practical the color is,” Thancred pointed out. She had been a bit surprised that he had offered to come with them, but it seemed that even he had tired of sifting through dusty tomes with the rest of the Scion’s book club.

Rhiki rolled her eyes. “What do you know about practical color schemes. You wear white and then stand in spattering range of whatever you’re fighting!”

Their chatter must have drawn the attention of the shopkeeper, because all three noticed him hovering before Thancred could marshal up a witty retort. Seeing that he had caught the attention of potential customers, the middle-aged elezen gestured towards the jacket that Rhiki was still holding.

“Ah, this is from one of our latest collections: Moonward. It was inspired by the designer’s dreams of soaring through the stars. And I can assure you, it is very practical – every piece has been carefully tested for its durability in battle – not that you couldn’t wear it for fashion’s sake, of course. This jacket, for example, is perfect for hunters and ranged fighters. It’s warm enough for even snowy climes, it offers enough padding to protect you from the typical hazards of the unforgiving wilderness as well as any brief scuffles you may find yourself in, but is also flexible enough to allow for a wide range of motion, such as the drawing of a longbow’s string! Should the color not be to your tastes, we offer a range of dyed colors!”

Rhiki had returned to examining the jacket as the man spoke. “How do you think it would hold up against more than a ‘brief scuffle?’ Or if you were… closer to the action? Like with a sword?”

The shopkeeper’s pleasant, well-trained smile faded. “Not well, I’m afraid. I couldn’t recommend it for a swordsman. While the padding will protect from rugged environments and the occasional glancing blow, it isn’t enough to stop a swinging blade.”

“I see,”

Seeing her smile fade, the man quickly added, “However, I do have a set from the same collection that would serve you better in close-quarters combat.”

Tataru nudged Rhiki’s leg with an elbow, but looked towards the shopeeper “Oh, do you? We’d love to see it!”

Rhiki nodded along, hope in her heart.

“Wonderful, right this way, please.”

He led the trio past displays of richly colored textiles and dyes, weaving past mannequins draped in scholarly robes, towards the back of the shop.

“Naturally, Sharlayan doesn’t produce many warriors, but knowledge is knowledge and knowledge of armor is no different, so we try to keep some sturdier fare in stock. It’s greatly appreciated by the huntsmen who visit Sharlayan to accept or turn in bounties, many of whom seek more challenging prey than the usual game animal,.” the older man prattled as he walked. Tataru either listened, or made a good show of pretending to listen, and Rhiki tried to do the same, only pausing to look at a few items before taking quicker steps to catch up. Thancred, for his part, looked uninterested, his eyes listlessly roaming the shop.

“Here we are! The Moonward Fending Set! I expect you will find it well-suited, pardon the pun, to your needs.” He came to a stop in front of a row of mannequins lining the furthest wall from the entrance, and extended one arm in a flourishing motion.

“Ah.” Was all Rhiki said, the disappointment setting in almost immediately. Adorning the mannequin the shopkeeper had indicated was a heavy, silver cuirass with spiked pauldrons and a straight blue cape dangling behind it, apparently attached somewhere to the back of the collar. It wore matching flat-heeled sabatons that extended all the way up the leg before disappearing beneath the bottom edge of the chest piece. For reasons she couldn’t understand (certainly not fashion) there was no metal plating covering the arm, just a pauldron on the shoulder and a gauntlet that extended partway up the forearm. Between the two was only the white of the mannequin’s arm and two thin gold wires that crossed paths connecting them. At least there was a narrow golden belt slung across the waist so one was able to tell where the waist was supposed to be.

“Well, it certainly looks more… functional.” Thancred pointed out.

Functional? It doesn’t even protect your arms! She wanted to snap at him, but held her tongue. She didn’t want to offend the gentleman who was clearly trying to be helpful. There was no helping the forlorn look on her face as she stared up at the set, though.

She pondered what could possibly connect this design with the jacket she had been examining earlier to form a “collection”. They looked like they had been designed on different planets by two people who had never met nor spoken to each other.

Seeing her crestfallen expression, Tataru offered, “Maybe it will look better if you try it on?”

“Oh, yes,” The shopkeeper hastily tacked on. “Seeing it on oneself makes a world of difference! If you’ll step behind one of those curtains, I’ll see if I can find a set that might fit you!”

----------------------------------------------------------------------

“Well?” Z’rhiki said, stepping out from behind the curtain. Her tone was flat. She already knew how she looked.

Tataru looked her up and down, eyebrows drawn together in sympathy. “It’s not… that bad.” She tried to comfort her.

To her surprise, the curtain next to her rustled, and Thancred stepped out, having heard the snippet of conversation. He looked to her, then to Tataru.

“Tataru, I understand wanting to spare a friend’s feelings, but don’t lie to the poor woman.” He chided, though his eyes twinkled with amusement.

Tataru scowled at him. “Don’t listen to him, Rhiki. It’s not like it’s awful.”

She groaned loudly.

“You know, I don’t think it looks half bad on me.” Thancred said, examining himself.

Rhiki took a moment to actually look at him, gaze combing over the details of the armor.

“UGH! You’re right!” She lamented. Whereas the pauldrons perched awkwardly on either side of her, their spikes getting caught in her peripheral vision when she moved her eyes from side to side, on him they accentuated the strong line of his shoulders. The cape that only drew attention to her diminutive stature looked downright heroic hanging behind him. With the more defined muscle tone of his biceps and forearms, she could almost see what the designer might have been intending when constructing the outfit. On her the exposed skin just looked… silly. The light, shining silver even matched his hair. Damn him.

He smirked, and she found herself grumbling, “Shut up, Thancred,” despite the fact that he hadn’t actually said anything.

He laughed, but reached over to pat her on the shoulder, carefully avoiding the pauldron’s thorny protrusion. “Never fear, we’ll find something that fits you one of these days.” His self-satisfied grin flickered back to life. “Or, if we don’t, you can at least take heart in the fact that you can use the time the enemy spends laughing at you to catch them off guard!”

“Thancred!” Tataru scolded as Rhiki stormed back behind the curtain.

[corixosports]

Corixo Sports

Elevate Your Game: The Evolution of Soccer Uniforms

Introduction: Soccer, the beautiful game, transcends boundaries and unites people across the globe. Beyond skill and strategy, the aesthetics of soccer also play a crucial role in its allure. Central to this aesthetic appeal are the soccer uniforms – a symbol of team identity, tradition, and evolution. Let's delve into the fascinating journey of soccer uniforms, from humble beginnings to the high-tech designs of today.

Body:

1. The Origins: Soccer's origins can be traced back centuries, to informal matches played in open fields. Initially, there were no standardized uniforms. Players wore whatever they had, often in street clothes or simple jerseys. As the game formalized, rudimentary uniforms emerged, mainly comprising of cotton shirts and shorts in team colors.

2. Evolution of Design: With the sport's growing popularity, the design of soccer uniforms underwent significant evolution. In the early 20th century, the introduction of synthetic materials revolutionized soccer apparel. Polyester blends offered durability, moisture-wicking properties, and flexibility, enhancing players' comfort and performance.

3. Symbolism and Identity: Soccer uniforms serve as potent symbols of team identity and pride. Colors, badges, and emblems represent the heritage, culture, and values of clubs and nations. The iconic jerseys of teams like Brazil, Argentina, and Manchester United evoke strong emotions and allegiance among fans worldwide.

4. Technological Advancements: In recent decades, advancements in textile technology have propelled soccer uniform design to new heights. High-performance fabrics such as Nike's Dri-FIT and Adidas's ClimaCool are engineered to regulate temperature, manage moisture, and enhance ventilation, optimizing players' comfort and endurance on the field.

5. Fashion and Marketing: Beyond the pitch, soccer uniforms have become fashion statements and marketing tools. Collaborations between sportswear brands and fashion designers have resulted in stylish and trendsetting kits. Limited-edition releases and retro designs capitalize on nostalgia and collector's appeal, driving commercial success for clubs and manufacturers.

6. Sustainability and Innovation: In an era of increasing environmental awareness, sustainable practices are shaping the future of soccer uniform design. Eco-friendly materials, recycled fabrics, and water-saving dyeing techniques are gaining traction, reflecting a commitment to environmental responsibility and ethical production.

Conclusion: From humble beginnings to high-tech marvels, soccer uniforms embody the spirit of the sport – unity, tradition, and innovation. As technology continues to advance and cultural influences evolve, the evolution of soccer uniforms promises to remain a captivating journey, enriching the game's legacy for generations to come.

Postscript: Join the conversation and share your favorite soccer uniform moments and designs! Let's celebrate the artistry and innovation behind the jerseys that define the world's most beloved sport.

Keywords for SEO: Soccer uniforms, evolution of soccer uniforms, soccer apparel, soccer fashion, team identity, sportswear technology, football jerseys, soccer jersey designs, iconic soccer kits, sustainable sportswear.

[floccesyfluff-fest]

The main event, the wool market, starts in the gymnasium of the Floccesy school, spilling out into the halls and even behind the building. Vendors from all over have come to sell their textile wares or handicraft goods. There is a constant flow of people coming in, with patrons stopping to shop or watch craftsmen work at their booths.

Gymnasium Vendors:

The main area for textile vendors. They have sections roped off for various displays to educate potential customers about the processes involved with their wares.

Fleece Dyer: They have set up a stand with their dye pots to show the process. While the rovings used in the display are not for sale, they have a rainbow of pre-dyed rovings to purchase.

Plush vendor: A vendor who has crocheted a whole pokedex has them on display in national dex order and quite a few shiny variants.

Fluff Station: Various tables of freshly cleaned fluff from Pokemon. The fluff rolls are arranged by the typings of Pokemon it came from. Staff are at each table to explain how the fluff is gathered and what are various uses for it.

Spinning: The station with the most action. The worker is using a machine to spin fluff into yarn. Their daughter is using yarn to make kumihimo braids when she is not manning the cash register. The braids she does finish are being sold as “friendship bracelets”. If people ask, the girl can show them how to make twist braids for quick custom bracelets.

Hallway Vendors:

These vendors have various handicraft goods. As the halls are more cramped than the gymnasium, the vendors have smaller stands and are not able to make custom goods on the spot. Some are willing to make custom orders that would be mailed.

Painter: A local artist has set up their table of paintings and advertisements for their studio. Browsing their works, you see that they have been all over Unova, getting paintings of the Relic Castle, the Pokemon League, and Skyarrow Bridge. They have framed paintings, full size prints, and miniature canvases on sale.

Stained Glass: A glass artisan has various sun catchers of various designs hanging on the wall. They have a form for making custom pieces, with price ranges for various sizes and complexities.

Pokeball Painter: A custom Pokeball painter. There are balls for sale with designs according to types, some painted to look like Pokemon, and others are painted to mimic other pokeballs. There are a couple that look like the masterball. Despite the lack of space, the artist has their station set up to paint simple designs on Pokeballs on the spot.

Custom jewelry: Different racks of jewelry section off the space this seller occupies, all crowded with different charms, pendants, and earrings. The majority of the charms that make the jewelry have Unovan sports team logos or semi-precious stones. The children’s racks have plastic cartoon characters on them.

Face painter: The most popular booth for kids! Two painters are set up with their kits and a book of designs to pick from. Many kids are just hopping up onto the provided stools and asking for something without looking.

Outside:

The area in the back is noisy, with a roped off path that leads the crowd around a petting zoo. 

Duck Slide: recently hatched duckletts are hopping down a slide! They waddle back up on ramps on both sides of the slide. There’s a quaxly mixed in with them for some reason.

Skiddo feeding station: For a small fee, visitors can buy a handful of feed for skiddo. The grass types are raised by local children to be shown in the summer fairs later.

Wooloo pen: A pen of freshly shaved wooloo. These Pokemon will headbutt the fencing to try to get pets from visitors.

Yamper run: Yampers are chasing a Boltund who is teaching them how to herd. The smaller yampers will run to the fencing to beg for treats or pets.

Buneary Den: Several buneary are let out to hop around freely. A farmhand is nearby to help show off the tricks the buneary learned! They even have treats for people to feed the pokemon.

Wool Market Starters here!

[mansipatel5]

Immerse Yourself in Authenticity: Exploring Bhuj Through Homestays 

Bhuj, located in the heart of the Gujarat Kutch region in India, is a city steeped in history, culture, and a diverse range of traditions. With its markets, landmarks, and the world-famous Rann of Kutch nearby, what truly immerses visitors in the essence of Bhuj is the experience of staying at a homestay. In this article, we will explore the charm of homestays in Bhuj, highlighting their unique offerings and the enriching experiences they provide.

The Essence of Bhuj Homestays

Bhuj, known for its hospitable residents, offers a variety of accommodation options called homestays that suit tastes and budgets. Unlike hotels, these homestays provide an opportunity for guests to truly experience and engage with the culture, traditions, and way of life. From traditional havelis to cozy cottages, each homestay in Bhuj has a story to tell, weaving together the past and present.

Heritage Homestays: A Glimpse into Bhuj's History

One of the most captivating aspects of staying in a homestay in Bhuj is the opportunity to reside on a heritage property. Many homestays are converted from ancestral havelis, showcasing the architectural grandeur of a bygone era. These accommodations transport guests to a time when intricate carvings, vibrant frescoes, and spacious courtyards were the norm. Heritage homestays offer a unique blend of history and comfort, allowing visitors to live amidst the echoes of Bhuj's past.

Local Cuisine and Culinary Experiences

One of the parts of staying in a homestay is getting to enjoy the local food. Bhuj, with its traditions, offers an enticing selection of authentic dishes that will leave you craving for more. Guests can relish homemade delicacies prepared by skilled local chefs, offering a delightful blend of flavors unique to the region. From Kutchi Dabeli to the delectable Kutchi Thali, every meal becomes a gastronomic journey through Bhuj's culinary landscape.

Cultural Immersion: Connecting with Bhuj's Art and Crafts

Bhuj is a hub of artistic expression, with a rich tradition of handicrafts and textiles. Staying in a homestay provides visitors with a firsthand experience of the region's artistic vibrancy. Many homestays collaborate with local artisans, organizing workshops and demonstrations for guests to learn the intricate crafts of tie-and-dye, embroidery, and mirror work. This immersive experience fosters a deeper appreciation for Bhuj's artistic legacy.

Personalized Hospitality and Local Insights

Homestays in Bhuj offer more than just a bed to sleep in—they provide a personalized touch that is often missing in conventional accommodations. Hosts, often local families, extend a warm welcome to their guests, sharing stories, traditions, and insider tips about Bhuj. This intimate interaction creates a sense of belonging, turning a mere stay into a memorable experience.

Exploring Bhuj: Beyond Tourist Attractions

While the city boasts well-known tourist attractions like the Aina Mahal, Prag Mahal, and Bhujia Hill, homestays open doors to hidden gems and off-the-beaten-path experiences. Hosts, with their deep-rooted connection to the community, guide guests to lesser-known places, providing a more comprehensive understanding of Bhuj's diverse landscape. Whether it's a quiet village stroll or a visit to a local craftsman's workshop, homestay hosts are invaluable companions in exploring the city's soul.

Community engagement and responsible tourism

Homestays in Bhuj often contribute to the local community by promoting responsible tourism. Many homestays collaborate with nearby villages, promoting sustainable practices and supporting local businesses. Guests, in turn, become part of this positive impact, fostering a sense of responsibility towards the environment and the communities they visit.

Conclusion:

In the bustling city of Bhuj, homestays stand as serene oases, offering a unique blend of comfort, culture, and connection. Beyond the walls of conventional hotels, these accommodations invite guests into the heart of Bhuj's heritage, where every stay is a story waiting to be told. Whether you are a culture enthusiast, a history buff, or simply seeking a tranquil escape, a homestay in Bhuj promises an experience that goes beyond accommodation—it's an immersion into the soul of a city that proudly wears its traditions on its sleeve.

[c-r-ash-crash]

Keep The Faith Ch 27: An Alliance

Scott strolled through the marketplace leisurely.  Beside him, Lusha rattled off a string of information, reading off one of the multitudes of papers stacked in her hands.  “Textile sales are up, leading to an increase in domestic profits.  However, most of those profits are lost because they have to reenter the international economy in order for us to purchase the dyes we need to produce the textiles,” she said.

Scott nodded along, idly taking note of how busy the various stalls were.  Today was a slow day, but that was to be expected.  The marketplace rarely saw much traffic during the middle of the week.  “The Sheep Shack has been producing at maximum capacity and is responsible for producing more than seventy percent of our textile exports.  However, we are struggling to keep up with demand as we are severely limited by our raw wool supplies.”

Scott’s brow furrowed.  “I thought our rural villages were mostly shepherds?”  Lusha nodded curtly.  “They are, but Rivendell is also one of the smallest of the empires.  Combine that with the landscape, most of which is largely inhospitable for typical livestock populations, we are severely limited in what we can farm.”  Scott hummed to himself, puzzling it out.  The two of them continued through the marketplace.  Lusha was silent, allowing him time to think.

“So, we need large quantities of dye and hopefully more land in order to raise sheep,” Scott murmured to himself.  “The dye is a priority, since the whole textile operation depends on it if it has any chance of keeping up with the market.  More land for the sheep would be nice, but we can probably find another solution if it comes to it.  We can afford to put it on the backburner for now.”  He glanced over at Lusha.  “What would the consequences be if we can’t keep up with market demand?”

“Well, aside from the issue of potential lost profits depending upon the cost of the dye, we might also lose quite a bit of social and economic credit among the other empires.  That would mean sales would go down and we’d lose many secular connections.  Right now, we have a near monopoly on the textile industry, but if we were to lose any kind of standing, the other empires would sense the opening and swoop in.”

Scott’s eyebrow rose at that.  “Would it be such a loss if the other empires were to begin their own textile markets?  We could still turn a profit with healthy competition.  We’d just have to focus on keeping the quality good and the prices relatively low.”  Lusha shook her head.  “Maybe.  But the sale of textiles makes up for nearly ninety percent of all income.  We might be able to survive with healthy competition but the blow to the economy wouldn’t be worth it.”

“So the best thing to do would be to find an ally that would be willing and able to trade us the vast quantity of dye that we need and that we’re hopefully on good enough terms with to ask that they lend us land to raise livestock.  We know anyone like that?”

Lusha began muttering under her breath, cycling through the other empires and their various exports.  Finally, she seemed to land on one that satisfied her.  “The Overgrown is known for its dyes, seeing as it’s situated in one of the most fertile flower forests on the continent.  From what I’ve heard, Lady Katherine of House Blossom is quite the generous ruler, and our peoples have historically been close allies.  I can’t say for sure whether the request to borrow land will go over well, but of all the empires that can also provide us with the dye we need, they're the best option.”

“Got it,” Scott said.  “Do we think she would appreciate a formal visit and negotiation, or would it be better to just pop in and ask her for it up front?”  “The Overgrown doesn’t stand on ceremony overly much,” Lush mused.  “Of course, without having met Her Ladyship in person, I can’t say with any certainty.  I think the direct route would be the best route however, as it would be both sincere and expedient.  I’ve been informed that both of those are things that are heavily valued in the Overgrown.”

“When would the best time to go be?”  

“You’re clear for the rest of the day, if you’d like to go now.  The concern with the dye was the only thing that we truly needed to address.”  

“Great,” Scott said.  “I’ll be back by this evening then.”

He spread his wings, and prepared to launch himself into the air.  Then he paused.  “Which direction do I need to go?”  

“Due west,” Lusha said with a hint of a smile.  With that, he took off.

⸎

Wind whistled through his wings and tousled his hair.  It was getting longer now.  He probably needed a haircut.  But then again he kind of liked the feeling of having it longer.  Maybe he’d braid it.  That might be nice.  He remembered Sunflower had liked braiding it.  He shoved that thought down quickly.  He really didn’t want to think about his nightmares right now.

Beneath him, the landscape changed from dark, snowy mountains to flat green plains.  Sparse trees turned to a lush carpet of flowers.  The untamed landscape turned to a well beaten stone path and small houses started to appear, dotting the valley with soft pinks and blues.

Scott touched down on the path, and wandered along it, keeping his eyes peeled for any signs of Katherine.  The houses never seemed to get larger, simply gathering in small clusters instead, as if the tenants had simply built themselves their own little residence rather than moving out.

Gardens sprawled out around the properties, decorating the sides of the paths with bright tulips and poppies and cornflowers.  In nearly every house, someone was attending to the plants.  They were pruned and watered and planted with the utmost care.  It was fascinating to watch.  Scott found himself lingering in front of more than a few houses and watching as the people nurtured their gardens.

No one seemed to think it strange, though.  When they noticed him, they simply gave him a smile and a wave.  Scott couldn’t help but find himself returning the friendliness.  Eventually, the path seemed to reach its end.  

A gate rose over him, carved of soft white stone and engraved with designs of the flowers and rivers.  Behind it sat a grove, ringed by a thick circle of oak and birch trees.  Flowers spread over the ground, making it look as if it were a swirling carpet of color.  The path cut through it all, draped in moss and grass.  In the center of the grove sat a small fountain, carved of the same soft white stone.  Water flowed from it, feeding the whole valley.  Sitting by the edge of the fountain and tending to the flowers sat Lady Katherine herself.

Scott cleared his throat awkwardly, hoping to get her attention.  She glanced up and smiled when she saw him.  “Hello,” she said with a small wave.  “You’re Scott, right?”  He nodded.  “Yup.  Is it Katherine?  I know we met in passing, but it’s nice to meet you properly this time.”

“Yeah, it is.”  Katherine stood and brushed the dirt off her dress.  It was lilac, the same shade as some of the flowers in the grove.  An amethyst crown sat perched on her head, sparkling in the sunlight.  A belt hung around her waist, holding a sword sheath.  Scott could tell by the weathering on the handle that it was very much well used.

“So,” Katherine said.  “What can I do for you?  Are you here for business or pleasure?”  “Business, technically,” Scott said.  “But I wouldn’t mind sticking around for a bit.  Your kingdom is really nice.”  Katherine beamed.  “I’m so glad!  Everyone has an equal hand in helping the Overgrown and I’m glad to hear that their work is paying off!  If you want to stick around a bit, I recommend going to see the tower.  It’s up the hill just a little ways, and we recently refurbished it.  It’s really pretty.”

“I’ll definitely check it out,” Scott said with a nod.  “But let’s go ahead and get the business out of the way, first.  If you don’t mind, obviously.”  

“Oh, it’s no hassle.  What can I do for you?”  

“Well, I was wondering if I could arrange to get dye from you guys in bulk.  We need a lot of it.  Is there anything I might be able to give you in return?”

Katherine considered it for a moment, her fingers trailing over some of the taller flowers.  They seemed to lean into the touch, responding to her magic with their own.  Distantly, Scott wondered how exactly he knew it was magic that seemed to be bleeding from the palm of Katherine’s hand, calling all the nearby plants to her.

“Would a kingdom wide discount on textiles work?” she said, pulling him out of his thoughts.  Scott blinked, trying to process what it was Katherine had asked.  “Oh, um yes, that’ll work.  I mean, I’ll have to consult with some of my advisors to work out the logistics, but I can’t see an issue with that.  Is that all you guys might want?”

The flowers nudged at Katherine’s ankle.  She rolled her eyes fondly at the motion.  “The Overgrown requires a tribute,” she said.  “Oh.”  Scott’s eyes widened.  He began digging through his inventory.  He had a few things in there that would work, but it wasn’t much.  Hopefully it would be enough to please the ancient kingdom.

He dug out the items, a bouquet of flowers and a handful of emeralds.  Katherine’s eyes widened.  “Oh wow,” she murmured.  “That’s…that’s so generous.  You can, uh, you can put that in the fountain if you want.”

Scott placed the items in the base of the fountain, the flowers clearing a path for him as he did so.  As soon as he placed them in the water they dissolved, evaporating into the air in a shimmering cloud of glitter.  

He stood there for a moment, awed by the display.  He was no stranger to magic, but to have it run through the whole kingdom, to have surround him in a soft warmth…it was wonderful.

Eventually, he shook himself out of his stupor.  “Why don’t you show me around that tower?  I’d love to see it.”  

“Sure!”  Katherine led him back through town, in the direction of her newly refurbished tower.

⸎

He was running, tearing through the trees and rocks.  Get away.  He needed to get away.  There, the peak.  He’d have more power there.  He could call for help there.

He practically threw himself at the rock face, hand closing around a hold and forcing himself to heave his uncooperating body up the cliff.  He risked a glance over his shoulder once he reached the halfway point.  

It was still following him, racing across the rocky ground faster than he could possibly run, too powerful to ever escape.  He’d be staring into those glowing red eyes as the creature’s antlers dug into his skin and muscle and tore and ripped and killed him.

He forced those thoughts down and forced himself to keep climbing.  Just make it to the top.  Make it to the top and his god would save him.  His god had to save him.  Didn’t he?

Just as he set his hand against the flat cliff top, he felt something slam into the back of it, the bone shattering with a deafening crack.

He looked up to see those horrid red eyes and mottled black fur.  Death clung to the thing like a disease, poisoning the very air around it.  Its eyes were the same color as his brother’s.  

How had the stag beaten him to the cliff?  That should have been impossible!

A bird circled overhead, its bright plumage burning against the night sky.  Its cries sounded almost like it was laughing.

The stage bent its head, its face carved in a snarl, and he felt one of its antlers pierce his lung.  The other embedded itself in the side of his stomach.  He hung there limply, whimpering in fear as the thing pulled him off the rock face.

He didn’t want to die.  He had so much life to live.  His brother needed him.  Rivendell needed him.  His god needed him.  He had so much left to do.  But he was helpless against the stag.  He didn’t want to die.

“Please, Aeor,” he begged.  “Save me.”

The stag shook its head, flinging him loose and sending him tumbling across the ground.  He could feel the warm blood beginning to pool underneath him, draining his life force drop by drop.

The stag stalked towards him, a bird nestled in the crook of his antlers.  The horns were painted the same red as the bird’s feathers, all of it dyed with his blood.

He was dying.  He was going to die here.  He would leave his people alone, would leave his brother alone.  Everyone who was relying on him, praying that one day he would save them from this disease…he’d leave them alone.

He took a rattling breath in and looked to the north star.  “I’m sorry.”

And then, he felt something be torn out of him.

Ice spread across the plateau, rising in jagged pillars and shielding him.  One lucky pillar rose just beneath the poisoned stag, spearing it through the heart.  Despite himself, he breathed a sigh of relief.  At least the damn thing was dead.  The parrot was nowhere to be seen.

As suddenly as it had begun, the ice stopped, and once again the night was silent.  He continued to stare up at the sky, tracing the constellations as blood continued to stain the ground beneath him.

His eyes traced the constellations, following the lines of The Trident.  He’d always loved Pixandria’s version of the myth behind it.  A sign left by the original Prophet of Death, pointing to the desert he’d led his people into as they fled a war that threatened to destroy the world.  An assurance that there would always be a refuge from fear.

He had always wanted to leave a sign like that.  He’d always wanted to protect his people from the evil’s of the world.  He supposed he’d never get that chance now.

Beside him, someone knelt down, and placed a hand over his wounds, not caring for the sticky blood.  He turned his head to look into their faces.  

“It is alright, child,” they assured.  “I will not have my champion dying so soon.  Sleep now.  Get some rest.”  Scott slid into unconsciousness as his wounds began to heal.

⸎

Scott jolted awake, chest heaving with fear.  The feeling of antlers in his chest and stomach still lingered.  His whole body ached, and he felt himself instinctively checking for blood.  The dream had felt so real.  It had hurt so much.  He had been about to die.  Somehow, he knew that if the strange figure hadn’t saved him, he would have died.  

But even that wasn’t as important as something else in that nightmare had been.  Because Scott had never had a brother.  Right?

[fashionbooksmilano]

When Indian Flowers Bloomed in Europe

Masterworks of Indian Trade Textiles,1600-1780, in the Tapi Collection

Ebeltje Hartkamp-Jonxis

Niyogi Books, New Dehli 2022, 220 pages, 28 x 21 cm, all colour, ISBN  978-93-91125-17-2

euro 70,00

email if you want to buy :booksinprogressmilano@yahoo.it

It is a fascinating story that the merchant companies of Europe, established with the aim of sourcing exotic eastern spices, stumbled upon Indian handmade textiles and found these a highly profitable product for their home markets. This process was to have far-reaching consequences for colonial history.  

In When Indian Flowers Bloomed in Europe the author takes us on a tour of 30 masterpieces of Indian textiles from the TAPI Collection, commissioned by European patrons in the 17th and 18th centuries. Presented here are outstanding examples of large, intricately hand-drawn, dye-painted cotton chintzes made in the Coromandel Coast, and embroidered palampores and garment pieces made in Gujarat and the Deccan. Textiles made for Dutch and British patrons demonstrate the aesthetic high point achieved by Indian artisans in the 17th and 18th centuries. Indian patterned cottons such as these, with their infinite variety of floral motifs, left a profound and enduring impact on textile designers in the western hemisphere, unexpectedly setting the stage for the Industrial Revolution.

The informative text is accompanied by rarely seen images from museums and private collections, offering fresh insights into these iconic examples. Three essays followed by individually explained catalogue entries for each textile add to a greater understanding of an important, historical phase in the development and global recognition of India’s textile art, now preserved in museums and collections worldwide as a testament to the handiwork of the skilled artisans of India.

07/01/23

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