#also! I know you like historical clothing

[marzipanandminutiae]

I do think one very interesting thing about not getting that stitcher job in the costume workshop is that it highlights the different types of sewing out there

I can sew. I can produce wearable garments. I have and I do and I usually have at least one project on the make at any given time

but

I only sew for myself, so I've never really had comprehensive training in a wide variety of diverse techniques. I know what I need to know to make my own clothing. if a project requires a technique, I learn it; if I never need it, it's not in my skill-set

how did I get to be a 31-year-old accomplished hobbyist dressmaker whose wardrobe is largely self-made, and not know how to do French seams until a week ago? simple. I never needed to know

I also make historical clothing, specifically mid-late Victorian, which was a HUGE proponent of Good Enough as far as construction goes. does it look good? will it hold together for its purpose? is it as comfortable as it's supposed to be? if so, the rest is unimportant. you had a lot of people producing garments with limited machine-sewing functions, who were being paid by the piece and whose clients expected the fastest turnaround possible- corners were going to be cut

speaking of machines...I don't really know what to do with them. I can Make Machine Go Forward and Back and that's really about it. my sewing knowledge is all gleaned from an era where machine-finishing was almost exclusively for underwear, because stitches weren't supposed to show on the outside. and I don't usually make my own shifts, combinations, or petticoats. I also prefer hand-finished buttonholes because doing buttonholes is satisfying and you have greater control over placement. so machine-finishing is largely a closed book to me

being picked out of the crowd on the street like that by the shop manager was exciting and very flattering. but I do think it highlights the fact that, just because someone can produce wearable garments, doesn't mean their skills are transferrable to another sewing arena with different needs

[sisididis]

HAPPY BIRTHDAY LUNIE!

This drawing was inspired by her fic, “Carnations” , in which Toni and Port meet in Granada, amid a sea of carnations, on the occasion of Carlos and Isabel’s recent wedding. In the background you can see the Alhambra, the palace where the royal couple spent their honeymoon.

[sdentii]

Hatsune Miku (Ticino edition)

[measureyourlifeincake]

my stp brainrot has combined with my casual interest in historical dress youtube and I decided to draw the Princess in a more historically-inspired outfit than her original design

If anyone's curious, her outfit/hairstyle is supposed to be from around 1828 ("around" bc my main reference/inspiration was definitely from 1828 but I had so many tabs open with different inspo images from nearby years and I don't remember which ones I actually used. also did you know it is surprisingly difficult to search for royal portraiture from a specific year) because based on some cursory googling, it seemed a lot of the elements of her canon base dress (off-the-shoulder, sweetheart neckline, poofy sleeves, straight waistline around the natural waist, skirt that isn't super full/poofy) seemed historically plausible for that time period

I also drew her hair in a more historically-accurate style for the period (but don't ask me exactly what's going on there because I'm not entirely sure myself) but I kept her canon tiara because it seemed plausible enough. anyway this was really fun to do!!!

[ded-lime]

my attempt at lily versions

[cringeborg]

1820s to 1840s Evening Wear - 2 suits

Two little edits of that one beloved Vampires suit, with three things in common: Wide hips, a slightly higher collar, and the same swatches.

From the 1820s until the mid-1830s, the fashionable silhouette for men's clothing was wide hips, a slender waist and full shoulders. This look was generally achieved through padding, corseting, and most of all, tailoring.

In the latter half of the 1830s, this silhouette began to change. The shoulders became sloped, and a "pigeon-breasted" look became more fashionable. Hips were still just as wide and the waist just as narrow. The 1840s look was, of course, also usually achieved through unnatural means.

Basically: V1 is this 1820s to mid-1830s look, and V2 is the mid-1830s to 1840s look. V1 has puffy sleeves while V2 has sloped shoulders. V2 also has a slightly fuller chest.

Swatch 1-48: Tie and vest in white, suit in many different colors.

Swatch 49-60: Suit in black, tie in white, vest in various colors.

Swatch 61-65: Suit in black, tie in black, vest in a few different colors. These are intended to be mourning swatches.

Both are BGC!

Both have the same 65 swatches

All LODs (except LOD3 which refused to cooperate with me, so it's the LOD3 of the original vampires suit)

Found in the Sets category

Appropriately tagged and disabled for random

Display index by decade

Download .zip (SFS)

Alt download (Mediafire)

V1 in swatches 1, 12 and 64:

V2 in swatches 38, 59 and 62:

Side views and back views:

[gingermintpepper]

What’s the significance of each color in Ancient Greece? So green is the only neutral color and it represents mostly natural and earthy things, thank you for telling me that part !! Anyway, as for my Hyacinthus design’s hair being brown, it’s due to the combination of it being a fairly common interpretation of his appearance and also because I find I like how it looks with his skin tone and the purple of his eyes.

Okay, firstly; thank you so much for answering my question too!

Admittedly you can't beat out good, old fashioned colour theory so that's completely fair haha! I still think it's very interesting that brown became the common interpretation of his features so I'm always glad to hear other people's view on it <3

With respect to what colours meant or symbolised in Ancient Greece, it's a super fascinating topic because the Ancient Greeks had a very different perception of colour than how a lot of people - and in this case I'll generalise and say english-speaking people - perceive colour. In a lot of languages, especially older ones, colour wasn't just a way to describe the physical perceptional reality of an observable object (that is, the light reflecting off the object that gives it its perceived hue - the way we perceive colour now) but colour was also used to describe the way in which the people experienced the world. A really good way to think about it is now, if you wanted to distinguish between two types of blue, you would instinctively make a distinction between their shades ("This blue is darker/lighter!") whereas these older people would distinguish based on things in their present, shared world that best matched what they were being asked to describe ("This blue is like the sky/the sea!")

That's an important concept to keep in mind because ancient greek was very unique in that, in addition to this concept of colour being completely intertwined with physical objects (and therefore also acquiring the properties of these objects in the minds of the people), the ancient greeks also did not particularly care about distinguishing between different colour hues (that is, differences in specific individual colour) but rather they were entirely focused on a colour's value - that is, whether it was considered light or dark.

Taking all of this into consideration, the question 'what is the significance of the different colours in Ancient Greece' is a bit of a tricky one to answer because unlike say, Ancient Egyptian which has very clear colours (red, white, green), very clear physical objects that give those colours their property (the desert sand, the sun, people's skin) and very clear symbolic meanings that arose from the natures ascribed to those physical objects due to their influence on the people's lives (hostility, power, new life), Ancient Greece's colours and the perception of those colours was much more abstract and poetic, contingent on their understandings and perceptions of things like light and dark, the sense of touch or taste (sweet and bitter/wet and dry) and what quality was ascribed to the object whose colour is being perceived. Colour was a matter of cosmology, of philosophy and there were many different schools of thought on it from Empedocles' physicalist theories to Anaxagoras' realist theories.

All of this is to say, take the meanings I outlined in this handy-dandy table with a tablespoon of salt! These are based on my understanding of the language used to describe things in classical writings that have survived and my own bias towards Empedocles' physicalist theory of colour and the nature of colour which I also think is very useful for people into greek mythology as a whole due to it making clear links between various gods creating things from mixtures of the four basic elements of nature and the colours that are the result of these mixtures.

I hope this helps even a little and I very much encourage you to do some research into different Greek schools of thought when it comes to colour and the perception of colour as well as how colour affects/reflects the innate nature of all things!

(Also, slight extra note, I left out Kokkinos (scarlet/blood-red) from the table because I didn't really think it was relevant for this outline despite it definitely being an ancient colour. It's a bit difficult to find examples of it with the kind of descriptors Empedocles outlines and I don't want to make assumptions based on third hand knowledge on the greek concept of the nature of things. I'd like to believe it was addressed in more detail in Empedocles' original document - only a fragment of the original some two thousand lines have survived after all - it is confirmed that Empedocles spoke on the recipe for blood and flesh, an equal mixture of all four elements as opposed to bones' four parts fire, two parts earth and two parts water (which is why bones shine white, there's more fire than earth or water) - and I don't want to conject or make assumptions.

I also left out Erythros or basic/primary red according to Plato's list of basic colours because that seemed to have specifically been preferred by Egyptian Greeks according to linguistic data. If I opened up that can of worms with respect to the shared Egyptian-Greek colour language including the way the Greeks like many early peoples did not culturally perceive blue until the invention of Egypt's blue dyes then I would be writing forever and you would never get an actual clear answer about Greek colour symbolism separate and apart from Egyptian cultural influence lmfao. )

A few of the documents that helped me consolidate this information include Sassi's 2022 Philosophical Theories of Colour in Ancient Greek Thought and Ierodiakonou's Empedocles on Colour and Colour Vision. There are also a fair few translations and discussions of the fragments of Empedocles' On Nature still floating about - my copy is a somewhat archaic volume of Leonard's 1908 translation but I never went out searching for updated interpretations and translations of the text since its constantly referenced in perceptional philosophy papers LOL

Anyway, yeah, hope this helps! :D

[uygfiug]

hi anna!!! :)))

i hope you are doing well and getting through exam season alright!!!

i wanted to let you know that i watched the first episode of granada holmes (a scandal in bohemia) and it was so fucking good i am obsessed. i was a little nervous to watch their adaptation since irene adler usually gets done so dirty but i was very pleasantly surprised at how they treated her!!!! she was an icon from the moment she came on screen with a gun <3333333

i also love the holmes and watson dynamic so far!!!! watson did a lot in the episode to help holmes and it was so fucking funny watching holmes give zero fucks about social normals and watson working overtime to make up for holmes, lmao

thanks again for the recommendation, friend :)))) i'd love to know if you have any particular thoughts/feelings/opinions about the episode?

hiya zip :)

im doing okay :) i hope you are too!

yayyyy!!!! this is the only version of irene in any adaptation i like :) (im sure theres at least one other really good one out there though) she IS an icon <333 i agree with the king on one thing, what a woman! did you notice her little gay moment? its around 19:30 when she checks out a dancing women whilst drinking with the king (booo)

yesss its really good!! the way holmes expresses caring via little things like buying watsons favourite cigars too <333 or making him stay for the case <333 and watson cares right back, yelling at holmes over his cocaine habit, which is something i love about the books, so seeing it in this series is so nice :)

i love holmes' disguises as well, he really does look like a completely different person and i love that that part of the books wasnt removed :) especially his clergyman disguise, he looks delightfully comical with the bandage around his head

i believe this episode was actually the third filmed? i know solitary cyclist was the first for sure, bc they wanted the first episode to be really good, so they made sure that they all had a bit of experience with this series first :)

[ace-and-ranty]

Petty opinion of the day: Pari's Paloma's Labour bothers me for no end for the way it can't pick a setting.

The clip is very medieval-coded, she sings about fetching water from the well and tending the orchards... so like? Are you meant to be a farmer's wife in a historical past? But then she starts talking about "weaponized incompetence" which is a very modern concept that much more evokes urban living and men pretending they can't use the damn washing machine. She's sitting at his "high table", but singing about his "picket fence dreams"?

PICK A LANE, WOMAN?? Are you talking about historical or modern women?! THEIR OPPRESSION DOESN'T WORK THE SAME.

[marzipanandminutiae]

why are skirts inherently evil and oppressive in historical fiction until men are wearing them

I've never heard anyone going on at length about how Universally ImpracticalTM the garb of a Scotsman or an ancient Roman politician are

suddenly everyone has a concept of situational practicality that previously was not there

[nomairuins]

how it feels to want to dress very fancy and accessoried but unfortunately have the autism where i think im supposed to just be lounging in a field naked or in like. a plain linen dress. and any accessory or makeup or nail polish or ehat have you makes me want to rip my skin off

[icewindandboringhorror]

Trying to find something to go with these tights? I don’t have a lot of bright clothes that match them, so went more in a mixing it with lighter colors sort of direction, maybe sort of sky themed (rainbow with the blue and white clouds)?

[tinta--branca--art]

Pentiment made me so unwell smh it’s ALL i’ve been thinking about for days

Joined on to the self-insert trend bc i find it really sweet ;u;; didn’t do a full body because 16th century portuguese peasant clothing resources online ?? nonexistent 😔

[writer-logbook]

How to improve your writing style : a 5-steps guide.

Intro : I love the 5-steps format, don’t mind me. Again, this essay is based on my personal experience.

Read in different genres. Ok, I know you’ve probably heard this advice more than you can count but did you ask yourself why it is so important ? You probably wonder ‘‘How reading some historical fiction will help me writing my sci-fi novel ?’’ For that simple reason my friend : they meet different purposes. You don’t know how to describe a castle ? It’s okay, historical fiction got your back. Because it aims at something more realistic and accurate, it would tend to be more specific and detailed when it comes to describing clothes, furniture, places and so on. Why ? Because, most of the time, THEY ACTUALLY EXISTED. Take a closer look at how it is done and draw your inspiration from it (but please avoid plagiarism it’s bad - and illegal)

Take notes and CLASSIFY them. To make reading somehow useful, you have to actually make it concious, which means you have to write things down to remember them. When I come across a description I like, I tend to takes notes of the figures of speech that are used and class them, so when I have to write a similar scene, I have an idea of what have been already used, and weither or not it achieved its goal. I am NOT talking about COPY another author’s style !!!! It’s about finding inspiration and new approaches. I also tend to take notes of the new words I wish to incoporate into my writing. The thesaurus is my new bestie.

Rewrite the same scene from different POVs. First of all, it’s fun. And it’s a really good way to spot quirky formulations. For instance, if you describe a ship, the captain’s POV should be different from that of a simple observer. The first one would be naming each part princisely whereas the other would only be admiring the surface without knowing anything. If the caption is the same for both POVs, maybe you should consider write your passage again (or have a good reason, like a strong amateurism for the mere observer). It’s go hand in hand with coherence - but it would be an essay for another time (maybe).

Read your text aloud. I put major emphasis on that one because it’s as underated as reading books for various genres. You have no idea how much we DON’T speak the way we write. Even dialogues are crafted in our stories - so make sure to give them proper attention. (i even read my email aloud but-). I KNOW how cringey it might be as I am doing it MYSELF but the benefits are worth the 35-minutes shame I endure from my own mess. Before you can shine, you have to polish (shout out to the one who said that first if it’s not me).

Take a step back. I strongly advice you to let some time pass before reading your text again and profreading it. It will cast a new light upon your work and with fresh eyes you’d be more likely able to spot what needs to be erased or rephrased.

That’s all for me today. Since I would be entering my proofreading phase for my writing contest, the next essay would probably about proofreading (with examples from my own novel ?). Unless someone wants me to write on a specific subject first.

Gentle reminder that I’m still French and not a native so please forgive my dubious grammar and outrageous mispellings.

[iid-smile]

sunrise and sunset , nanami kento

x fem!clingy!reader ! nanami calls the reader "love" and "darling". the reader cuddles with nanami!!! the reader also loses sleep because of his love because thats cute.

author's note: nanami is so yellow but there's no option for it so he has to be orange </3 tell me why i was actually swooning while i was thinking about these scenarios in my head? especially the second one???? i think everybody agrees that nanami is a listener 100%

─────────────୨ৎ─────────────

sunrise.

nanami always wakes up before you. he used to get up as soon as his eyes opened, but nowadays, he has a little something holding him down.

it seems like you never fall asleep on your side. that's partly his fault, since he's always beckoning you to come closer to him. but even then, in the morning, he feels himself teetering off the edge of the bed, with two arms wrapped around his neck, and his now asleep arm still wrapped around your waist. slightly dangerous for him, but as long as you feel comfortable, then nothing else matters. seeing your pretty face first thing every day was a blessing.

"kento..." there it is. your tiny mumbles of you waking up.

nanami's lips immediately curl upwards at the sound of your voice. as gently as he can, he sits up more against the headboard, keeping your head laid on his chest. "i hear you." he responds.

the bedroom is quiet and tranquil. he specifically bought black out curtains for your sake, but considering the price, they really weren't doing the best job. mornings in summer were relentless, taking into the account how early the sun rises, and it would wake you up in the middle of your sleep with how bright it was outside. no worries though, since he has plans to replace them very soon.

you mumble again, lips grazing against his shirt. "why aren't you up yet?"

"i don't have work today." obviously a lie. you may be a bit dumb, but you're well aware it's a weekday today, and nanami isn't the best liar.

you lift your head, gaze shooting up to meet with his. "yes, you do! it's a wednesday." you whisper-yell. "you should be up 'nd getting ready..."

"my day doesn't start until yours does." you feel his hand on top of your head, coaxing you to lay it back down. "if i'm late for work, that's fine. you're more important to me." his touch moves up to your upper arm, and his thumb rubs in lazy circles. "go back to sleep, love. you're tired."

"you're too sappy 'n sweet... gonna make me swoon every time you open your mouth, i swear." you grumble.

"then i'll catch you every time."

"stop!"

sunset.

nanami always reads a book before bed. it's usually historical genres, he's not a big fan of sci-fi or comedy. but sometimes, he'll let himself indulge in the odd romance book here and there. why? they're your favourite genre, the books you read. he memorises each different author that he spots you reading, often gifting you another one of their works if he knows you're not having a good day.

finally, you emerge from the bathroom door, a few folded clothes ready to be put away in the laundry hamper. when you turn to him, you watch his eyes intently as they follow the words on the pages. "that's..?"

"i saw you enjoying it this afternoon." he flips a page. you move closer to the bed, crawling on top of the mattress and inviting yourself into the blankets. "you looked particularly thrilled during it. what do you like about this story?"

you pause, thinking over the entire plot. "it reminds me of us."

nanami can only smile, and he doesn't miss the one on your face. closing the book, he places it on the bedside table, and scoops his other arm underneath you. naturally, you rest your head on his shoulder, and hook one of your legs over his. the small distance between the two of you felt that much more intimate that you felt the need to lower your voice. "are you going to sleep?"

"no." the hand wrapped around your waist moves up to your head, just placing it on top of your scalp. "i want you to talk. you seem eager to talk about it."

you giggle inwardly, snuggling impossibly closer to him. "i'm so in love with you." you whisper.

"i love you too, darling. more than words can express." he whispers back.

no wonder you always wake up so late. it's because nanami always has your heart beating too fast before you go to sleep.

─────────────୨ৎ─────────────

[vincentbriggs]

so i am newly in a wheelchair which has been a Massive gain in my ability to go out and about. but i realized that i have aprox 0 clothes that look Good while seated. its a completely different silhouette and i am at a loss as to what to do for it. do you have any suggestions for what could look good seated? preferably no skirts or dresses.

Edit: Check the notes for more people's input, including actual wheelchair users who know much more about what works than I could!

Congrats on chair acquisition!!

Since you're sending this to me specifically I am working under the assumption that you mean to do some amount of sewing.

A high waisted silhouette definitely works best for sitting. I make all my pants with the waistband at my natural waist, and a bit of pleating or gathering at the back just like they did on 18th century breeches, and I've never noticed any particular discomfort from sitting in them. (I think high waisted pants are more comfortable in general, and that low rise jeans are evil.)

It's something I've never really thought about before, but sitting is a very legs-forward position, so perhaps a colourful or fancy stripe down the side would work well.

(I made this pair 10 years ago and they didn't fit well and are long gone, but I should do a better version someday...)

Or some other form of side seam decoration, like these fabulous button tabs.

(I don't know what the source for this mid 19th century fashion plate is.)

Cropped jackets would also be good. The first thing that comes to mind for me is the Carmagnole, which was a style worn by French revolutionaries. It's got a pretty similar cut to a regular 1790's coat, just shorter.

(Source)

(Source)

And there are other styles of short jacket, like this one from a few decades later.

I think it might be possible to get a similar effect from cutting down a thrifted corduroy jacket, depending on the pocket placement? It's not something I've done myself though.

A fancy little bolero could be a lot of fun too! I quite like these ones made by Marlowe Lune. Super easy to sew, and could be patterned by cutting down a bigger pattern that fits the torso.

They'd be a good thing to try if you have a smallish piece of fancy fabric, or a small bit trim to use, or want to try a small amount of embroidery.

There are lots of historical styles with sleeves too, and all sorts of decorations.

(Dunno the source for this one either, unfortunately, but the pin says 1880s reception dress. I think a little jacket like that would look good with a puffy shirt and pants.)

Short capes might be practical too, and the late 19th and early 20th century have tons of fancy capelets for inspiration, like this one.

Or this one.

I hope this is somehow helpful! I don't know if you're looking to sew things from scratch or to buy and alter stuff or what, and I have no personal experience using a wheelchair, but these are the best things I can think of for a suitable silhouette. Dramatic sleeve/shoulder puffs would also be shown off to great effect, if that's something you'd like to wear.