#brocade dress design

[kaurtrends]

Banarasi Brocade fabric in stock buy online #punjabisuit #banarsi #fabric #kaurtrends

Banarasi Brocade fabric in stock buy online #punjabisuit #banarsi #fabric #kaurtrends

[chicinsilk]

1967 Actress Claudine Auger in fuchsia brocade dress with rhinestone buttons and belt buckle by Jules François Crahay for Nina Ricci. Fall/Winter 1967-68 Collection.

1967 L'actrice Claudine Auger en robe de brocart fushia avec boutons en strass et boucle de ceinture par Jules François Crahay pour Nina Ricci.Collection Automne/Hiver 1967-68.

Photo Giancarlo Botti.

[cannibalslut]

i should put together a vesper outfit fr

[studioayanasilksareesboutique]

Designer Banarasi Brocade Pant Suits and Dresses Online Shop - Black Knight Cropped Blazer Set

Rs. 12,500.00

M - Size 36.

Product Details:

Our banaras brocade waistcoat - silk trouser set is easy,

breezy and the perfect piece to throw on for any occasion.

The silhouette is fun, playful and chic.

Don't mind the trousers with pockets.

Pair it with black/gold heels

Only the sizes mentioned above are available.

No alterations/ customisations will be encouraged.

No. of components: 2

Note: Colors may vary slightly from screen to screen

Ayana practises a Flat Shipping Rate concept.

Shipping rates do not change based on the weight of the total cart.

Innumerable products constitute to the same shipping cost.

If you have opted for blouse stitching, our design team will get in touch

with you within 48 hours of order confirmation for measurements and pattern suggestions.

Note: Colors may vary slightly from screen to screen.

We Provide World-Class Design.

Wide Range of Silk Collections.

Festive Collections.

Worldwide Shipping.

Domestic Shipping All Over India.

Door Step Services Available.

Ayana practises a Flat Shipping Rate concept.

Shipping rates do not change based on the weight of the total cart.

Innumerable products constitute to the same shipping cost.

If you have opted for blouse stitching, our design team will get in

touch with you within 48 hours of order confirmation for

measurements and pattern suggestions.

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[rupymerwar]

Elevate Your Style with Designer Gold Skirts for Women

In the realm of fashion, certain pieces have the power to transform an entire outfit, elevating it from ordinary to extraordinary. Among these coveted items is the designer gold skirt, a timeless and elegant garment that exudes luxury and sophistication. Whether you're attending a special event, stepping out for a night on the town, or simply want to add a touch of glamour to your everyday wardrobe, a Gold Designer Skirt for women is a must-have addition to any fashion enthusiast's collection.

Designer Skirts for Women: The allure of designer skirts lies in their impeccable craftsmanship, attention to detail, and unique design elements. From classic silhouettes to avant-garde styles, there's a designer skirt to suit every taste and occasion. When it comes to gold skirts, designers often incorporate luxurious fabrics such as silk, satin, and brocade to create pieces that are as opulent as they are stylish. Whether adorned with intricate embroidery, shimmering sequins, or delicate lace, these skirts are designed to make a statement and leave a lasting impression.

Fashion Dresses for Women: In the world of women's fashion, versatility is key. While skirts offer a timeless elegance, dresses provide effortless sophistication and all-in-one styling solutions. From cocktail parties to formal affairs, a well-curated women's dress collection is essential for any fashion-forward individual. When it comes to incorporating gold into your wardrobe, a Gold Brocade Circle Skirt is a standout choice that combines the elegance of a skirt with the ease of a dress. Pair it with a simple blouse or fitted top for a chic and polished look that's sure to turn heads.

Styling Tips: When styling gold designer skirts for women, it's important to strike the right balance between glamour and sophistication. For a glamorous evening ensemble, pair your skirt with a fitted bodysuit or embellished top and statement jewelry. Opt for metallic accents such as gold heels or clutch to complement the skirt's shimmering hue. For a more casual daytime look, pair your skirt with a tucked-in blouse or sweater and ankle boots for a chic yet effortless vibe.

Final Thoughts: In conclusion, designer gold skirts are a versatile and timeless addition to any woman's wardrobe. Whether you're dressing for a special occasion or simply want to elevate your everyday style, a gold skirt adds an instant touch of luxury and glamour to any ensemble. With their impeccable craftsmanship and attention to detail, designer skirts for women are sure to become cherished wardrobe staples for years to come.

[angelacostumery]

I'm not sure which is more surprising, the fact I finished this, the fact I photographed this, or the fact it actually fits. Usually I get two out of the three at best.

Anyway, this is my creatively titled "red dragon dress" which I sort of made to celebrate House of the Dragon being back, but also because I like dragons and wanted an excuse to use some of the many scale print fabrics I have hoarded while on my time away from making things.

(I may not be inspired to sew but I am always inspired to waste money on Etsy.)

It was made from a chemically pleated satin, a red jacquard, black brocade, and probably like forty yards of trim. It was fun to play with fabrics and texture again, I must say, even if this project tested my patience at times!

In total it took about 9 days of work from design to drafting to completion, spread over a period of two weeks. Made and modeled by me, as per usual. 

I hope you  like it, and if you would like to see how I made it, you can see me making it over on the YouTube -- part one [the bodice] and part two [the everything else].

[lookingbackatfashionhistory]

• Day Dress.

Date: 1890-1900

Designer/Maker: David Jones Pty Ltd. (Sydney, New South Wales, Australia); Owner: Mrs. Amy Grimley (Sydney, New South Wales, Australia)

Medium: Silk brocade, faille, glass beads, sequins, metal.

[thecrowsart]

people: omg we finally get to see hyper! me: omg we finally get to see more angles of kusuriuri's clothes! observations and (A LOT OF) ranting under the cut:

1.)

The inside sleeve design has been revealed! It's pretty similar to the outside design but instead of that four-petal design, it's a gold circle. Also, it looks like the large eye is shared by both sides, but based on how the sleeve looks in other images, it must be really really big..... I guess they can get away with it lol. Like, if you laid out the sleeve fabric, I think it would look like this:

2.)

THE BACK OF HIS OBI. What the hell kinda knot is this actually... like, does anyone here know about obimusubi because I'm not very good at knots but if it comes down to it I will learn how this works. I already thought this based on the promo art but it seems like his obi fabric is double-sided, with purple on one side and the check pattern on the other, with a red trim. That lighter salmon color in the knot seems to be a different fabric, maybe an obiage? It's not tucked into the front so I'm not sure if that's the right term, but in any case it's some kind of extra fabric. If the purple and check are really one piece of fabric, then the knot is like... a hitch? It's some kind of one-loop bow, and it's quite bulky so he might have an obimakura in there. Whatever it is, it's considerably more elaborate than OG Kusuriuri's obi, which was that red brocade just tied into a large crooked bow. Who is helping movie Kusuriuri get dressed in the morning? (I'm sure he can do it himself and I commend him for the dedication to the aesthetic lol).

3.)

His mirror is now kept looped around this thick cord that kind of comes out of nowhere and disappears into his obi. First of all, how is the mirror staying up like that since the string is only looped once. Second, the thick white cord looks the same as the one that comes out of the left side of his obi and loops around his back, but I'm not sure how they would connect. Logically, they probably are the same cord and it goes through his obimusubi somehow. 4.)

This one was actually noticeable in the very first trailer as you can tell, since the second screenshot is from that trailer, but I somehow never noticed it until now. Kusuriuri has neck markings now! In a different frame I caught a glimpse of the part that goes into his collar, it looks like a circle, though it's not visible in either of these screenshots. But from the first screenshot and some other frames I saw, it looks somewhat off-center. I wasn't sure if it was just a weird frame at first, but it looks consistent the few other times (time?) that part of his neck is visible. It looks like the strip of red that leads down to the circle curves off to the left rather than going straight down the center. I didn't realize this before but his neck is actually concealed in most of the promo images.

5.)

A better look at the back of his socks, plus two things that were visible this whole time but I didn't notice: first, his black leggings have this folded layer you can probably see on top. I'm not sure how to describe it and I don't know exactly how it works. It seems weird to me that he would have three sock layers (outer black, inner black, white), so I think the two black layers are probably still part of the same sock. I'm just not sure exactly what's up with it. Secondly, his geta have metal corners on the teeth! I don't think I've seen that on real geta, so maybe it's just a random detail, but if it's a thing on some real geta, I wonder if it's to keep the wood from wearing away there. Also another think I'm just noticing, there's a reinforcing wedge of wood under the front part of his geta that overhand the front tooth. You can see it a little in the second image.

Overall, that's all the new design stuff I noticed. Since I just drew him twice and spent like all day thinking about this, I've realized his design is way more elaborate than the original one. He has a bunch of little doodads, like the ties around his ankle or that decorative tie that comes out of his ohashori:

which still bothers me because I've never seen the back of it. Where are those strings going. And how is it secured in the first place? is it tied or pinned underneath his ohashori, like on the tie under the obi (not sure if there's a name for it)? What is it? Why does he have this here?

These details as well as things like the corners and wedge on his geta, the red trim on the obi and the check pattern, and his elaborate eye make up are all design elements that could never really have worked for a tv show. It's impressive to me even that OG Kusuriuri had that hand drawn brocade texture and the designs on his kimono that he did. It's the type of thing animators usually avoid, lol.

I like the movie design visually, but my god is it a pain in the ass to draw. Due to the aforementioned details of course and the wider variety of colors. Oh yeah, my last (for real) observation is that this Kusuriuri looks a lot less human than our OG friend. His skin is entirely whitish-grey, and he has that white/purple and red hair, and now he has markings on his neck instead of just on his face. (Unrelated but I feel like they made his lip tattoo less prominent and it makes me sad because it's one of my favorite things about Kusuriuri's design). But Hyper, from that very small glimpse we caught of him, looks more mundane than the original. I think it's the combination of his black hair and his markings being red instead of gold. I wonder what the rest of him will look like.... It was interesting to me that his face is drawn differently from Kusuriuri. In the TV anime, they have the same face shape and features, but their hair and coloring is different. And OG Hyper had a slightly different version of Kusuriuri's clothes. We can't see this new Hyper's clothes, but his face is more square looking. He looks like a different person... interesting lore implications.

Okay, I really must stop there.

[chinesehanfu]

[Hanfu · 漢服]Chinese Late Warring States period(475–221 BC) Traditional Clothing Hanfu Based On Based On Chu (state)Historical Artifacts

【Historical Artifact Reference】:

Late Warring States period(475–221 BC)：Two conjoined jade dancers unearthed from Jincun, Luoyang,collected by Freer Museum of Art

A similar jade dancer was also unearthed from the tomb of Haihunhou, the richest royal family member in the Han Dynasty, and was one of his treasures.

Warring States period, Eastern Zhou dynasty, 475-221 BCE,jade dancer by Freer Gallery of Art Collection.

Warring States period(475–221 BC)·Silver Head Figurine Bronze Lamp.Unearthed from the Wangcuo Tomb in Zhongshan state during the Warring States Period and collected by the Hebei Provincial Institute of Cultural Relics and Archaeology

The figurine of a man dressed as a woman holds a snake in his hand, and 3 snakes correspond to 3 lamps.

Sword of Goujian/越王勾践剑:

The Sword of Goujian (Chinese: 越王勾践剑; pinyin: Yuèwáng Gōujiàn jiàn) is a tin bronze sword, renowned for its unusual sharpness, intricate design and resistance to tarnish rarely seen in artifacts of similar age. The sword is generally attributed to Goujian, one of the last kings of Yue during the Spring and Autumn period.

In 1965, the sword was found in an ancient tomb in Hubei. It is currently in the possession of the Hubei Provincial Museum.

【Histoty Note】Late Warring States Period·Noble Women Fashion

The attire of noblewomen in the late Warring States period, as reconstructed in this collection, is based on a comprehensive examination of garments and textiles unearthed from the Chu Tomb No. 1 at Mashan, Jiangling, as well as other artifacts from the same period.

During the late Warring States period, both noble men and women favored wearing robes that were connected from top to bottom. These garments were predominantly made of gauze, silk, brocade, and satin, with silk edging. From the Chu Tomb No. 1 at Mashan, there were discoveries of robes entirely embroidered or embroidered fragments. The embroidery technique employed was known as "locked stitches," which gave the patterns a three-dimensional, lively appearance, rich in decoration.

The two reconstructed robes in this collection consist of an inner robe made of plain silk with striped silk edging, and an outer robe made of brocade, embroidered with phoenixes and floral patterns, with embroidered satin edging. Following the structural design of clothing found in the Mashan Chu Tomb, rectangular fabric pieces were inserted at the junction of the main body, sleeves, and lower garment of the robe. Additionally, an overlap was made at the front of the main body and the lower garment to enlarge the internal space for better wrapping around the body curves. Furthermore, the waistline of the lower garment was not horizontal but inclined upward at an angle, allowing the lower hem to naturally overlap, forming an "enter" shape, facilitating movement.

The layered edging of the collars and sleeves of both inner and outer robes creates a sense of rhythm, with the two types of brocade patterns complementing each other, resulting in a harmonious effect. Apart from the robes, a wide brocade belt was worn around the waist, fastened with jade buckle hooks, and adorned with jade pendants, presenting an elegant and noble figure.

The reconstructed hairstyle draws inspiration from artifacts such as the jade dancer from the late Warring States period unearthed at the Marquis of Haihun Tomb in Nanchang, and the jade dancer from the Warring States period unearthed at Jin Village in Luoyang. It features a fan-shaped voluminous hairdo on the crown, with curled hair falling on both sides, and braided hair gathered at the back. The Book of Songs, "Xiao Ya: Duren Shi," vividly depicts the flowing curls of noblewomen during that period. Their images of curly-haired figures in long robes were also depicted in jade artifacts and other relics, becoming emblematic artistic representations.

The maturity and richness of clothing art in the late Warring States period were unparalleled in contemporary world civilizations, far beyond imagination. It witnessed the transition of Chinese civilization into the Middle Ages. The creatively styled garments and intricate fabric patterns from the Warring States period carry the unique essence, mysterious imagination, and ultimate romanticism of that era, serving as an endless source of artistic inspiration.

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Recreation Work by : @裝束复原

Weibo 🔗：https://weibo.com/1656910125/O6cUMBa1j

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[mtkay13]

My version of the wardrobe template! yay!! I had a LOT of fun doing this and feel like I could elaborate a bit more on each of those.

It's already linked up here, but here's once again a > link to the post.< Anyway! More about these designs below!

So first, for WKX's template! - Chapter 2: Grey robes I had already made my design of those for the full TYK lineup I made a while back. I really, really like those, and took inspiration from some of the robes SHL!WKX wears in the show for the shapes. - Chapter 69: dark robes with dark red belt I expected to like that style for him, but not that much! I had seen a tutorial on how asymetrical hanfus were worn by archers in the past and that inspired me, purely on a fashion level of course. I like how intimidating he looks with those and enjoy the touches of blue in the inner layer of the robes. - Chapter 75: dark red robes The GVM robes! which I also designed a while back when researching for the illustrations of the Mt Fengya battle scenes that I wanted to make. I reworked them just a little bit and got rid of some details that I didn't like anymore. I tremendously pleated skirts for WKX so I went at it once again. I also used shifts in hues to make it look like it could have been drenched in blood. - Extra 5: deep red robes For the reminder (since apparently some people are not aware of extra 5's existance), this extra is set 5 years post-canon. I wanted WKX to wear something that looked comfortable for traveling but also practical and fashionable. The teal jacket is of course another nod at SHL since the red and teal combo was an absolute banger. Let's say I didn't want WKX to just sport an all-red look. Furthermore, the teal really works to adorn the red hues. - My personal favourite I actually don't really know whether those are my actual personal favourites, but I've come to LOVE WKX dressed in red and white thanks to @kwehxing's designs. I think it really suits him and on top of that it avoids the question "is this Hua Cheng" LMAO--okay jokes aside, I combined most of the shapes that I really like for WKX (wider shoulders, wide sleeves, and long robes with pleated inner robes) and I find him very elegant like this. Now, for ZZS! - Chapter 1: sapphire blue scholar robes Those had already been designed before as well! They're my go to generic TC!ZZS robes, haha. I was a bit extra with the blue colour here, but oh well. I'm quite obsessed with the silver brocade cynching his waist, haha. - Chapter 2: stolen farmer robes A classic as well as far as I'm concerned--of course, inspired by his hobo fit in SHL because it was quite efficient. I'm forever fond of my scruffy hobo!Xu and his toes poking from his sandals. - Chapter 18: luxurious robes from the Gao family Those were a new design! Which I had a lot of fun coming up with. Putting ZZS in a different colour scheme was also really nice. For those who don't remember, ZZS feels quite ridiculous when he sees himself in a mirror wearing those fancy robes while being so emaciated and still sporting his hobo mask. I wanted to give this "out of place" feeling; and also work on a very "wuxia" style for the robes, since this is jianghu and they were provided by Gao Chong. - Extra 5: black robes I'm incredibly fond of this design. I worked quite a bit on it, since I wasn't sure of where I wanted to go. My main guidelines were: practical and cool. I really like ZZS having a lot of room to move so ideally not too much fabric in the way, and I think he also needs arm braces to be rid of annoying sleeves. Of course, him looking much healthier and having a dynamic ponytail really works to "complete the look", and I find that he looks really cool there haha. - My personal favourite This one has been refined over the months, but it's definitely, overall, my favourite look for him in terms of shapes and construction. I like that the robes are short, I like the more fashionable jacket. I'm especially into the "pants tucked into the boots" silhouette, as well as the little ribbons keeping them tight around the ankles. I'd say that this leg shape + short robes + a bun (or sometimes a ponytail) is THE ZZS design combo for me, haha. It looks practical and fun and adventurous, just how I like it.

To conclude the whole post, I had more fun doing this than I even expected, and needless to say that I'm very excited to see other versions of them following this template. It was a good opportunity to try and project what the characters look like throughout the book, and a fun design exercise as well. I actually don't really like doing character design usually, but for characters I'm obsessed with, it's of course a much nicer experience. Anyway, thank you for reading!

[ofoceansandtombsanew]

Crown of Gold

cw. gn!reader, eremite!reader, pre-relationship, reader rizz

pairing. kaveh x reader

notes. this has been in my drafts for months. literal freaking months. this was supposed to be done and posted ages ago but apparently... this is what happens to a oneshot in the hands of a master procrastinator. this isn't anything too long but kaveh simps, come get your simp juice.

“You have a really fun toy, Mister!”

“Mehrak isn’t a toy! She’s my precious toolbox!”

There’s a mechanical beep and you hear gleeful shrieks and clapping following.

“A toy, a toy!”

When the man ー Kaveh, you remember ー groans in frustration, you aren’t able to stop your soft chuckles that are drowned out by the sounds of your younger sisters’ laughter. Let me help the guy out before he pulls his hair out.

“Uru, Jericho,” you step from behind the pillar, tugging your brocade off your face to give them a stern but playful look. The twins share a look of panic between them, Uru letting go of the strange, sentient box in her hands. “Are you bothering our guest?”

Aaru Village isn’t your home but it is a stable place to keep your sisters while you work.

You were born into the life of a mercenary, you seldom had a choice in what to become. Your mother was a mercenary and you grew up surrounded by them. Uncles and Aunties who would carve bowls and husk ajilenakh nuts with their swords. Stories being told around a fire as songs that have long since lost their names are sung. The scent of iron and dust blending into each other.

Your father passed away months after your birth and as for the twins’ dad, you doubt you would be able to pick the man out of a crowd even if held by blade point. You don’t know if he’s dead, nor do you know if the man simply abandoned his children in favor of life in the rainforest. Maybe he even had a new family.

You doubt you’ll ever receive an answer. Nor do you care if you ever receive one.

After your mother died on a job, you took your sisters and brought them to Aaru Village. Here your sisters can grow up with friends they can see everyday and neighbors with varying life expectancies.

You, on the other hand, continued your life as a hand-for-hire. Mercenary work is what took your family but it is what gave you the means to survive with the family you have left.

Uru and Jericho are your pride and joy. You want them to have the opportunities you couldn’t.

That doesn’t mean they can torment the architect whose visit to the village coincided with your own however. 

“He’s the one who designed the library they’re building. He’s Kaveh!” you learned quickly from little Ayten. One might find it honorable he returns to make sure his work is being followed completely to the letter, another might find it simply as the architect doing his job.

You like to believe his reasoning is a happy medium between the two.

You give Kaveh a polite smile and he smiles back in relief. It’s practically reflex that you feel a small stutter of your heart. He is very beautiful. You have seen your fair share of beautiful people in both the desert and the rainforest. 

This son of the rainforest is perhaps the most beautiful man you’ve ever seen.

It isn’t the first time you’ve seen the architect without your Eremite brocade inhibiting your sight. You’d seen him from a distance in the afternoon sun, discussing with Setaria and Badawi. Yet it is a different experience when he is standing right in front of you with locks of gold crowning his head and framing his ruby-red eyes.

“Go on and apologize to Mr. Kaveh and his Mehrak, okay?”

“Sorry, Mr. Kaveh,” Uru murmurs, hands behind her back.

“Sorry,” Jericho mumbles, fiddling with her dress.

Kaveh clears his throat and he sounds a bit too pleased at the apologetic words even if they are technically forced. “It’s fine, just make sure to treat Mehrak gently. She’s very important to me.” As if to agree with her master, the sentient box beeps. “Mehrak says she forgives you as well.” The twins brighten at this declaration. 

“Now why don’t the two of you go and play with the children your age, hmm,” you nod in the direction of some children playing enthusiastically with their small scarab warriors.

“Sorry about my sisters,” you tell the man softly when the twins make their exit. “They think you’re fascinating.” He is fascinating. The clothes you buy are built for practicality. For the heat of the desert and for the humidity of the rainforest. Kaveh’s form of dress is undoubtedly fancier than what most desert folk don. He was swathed in the colors of Sumeru from the greens of the rainforest to the pale golds of the sands. “Most rainforest folk they see in Aaru Village are... different compared to you.”

Scholars in their Akademiya robes or those who now call the Red Sand their home. Those are the types of rainforest folk you'll typically find here.

“They aren’t too much trouble,” the architect tells you smoothly like he hadn’t been softly bullied by the two only moments prior.

“Really? They’re a pair of troublemakers to me,” you laugh, scarred hands resting on your hips. “They know they’re cute too. You’ve fallen right into their trap. They’ll be begging you to make them wreaths with your Vision if you’re not careful.”

Kaveh doesn’t look upset by your guffaws. His smile is one of exasperation and self-admitted doom. “Yep, they got me good,” he sighs good-naturedly. “I owe you a ‘thank you’. For Mehrak,” the toolbox beams in what you think is a happy tone. “And you’re the additional help Badawi mentioned, right? I appreciate you helping with keeping the trade route open to help lower loss of materials.”

“No need to thank me for that,” you shake your head. You don’t deserve them. You’re only helping since this coincided with your visit. So when Badawi asked if you could assist with keeping the costs down in the way you knew best, you easily told him he had your axe. “If it weren’t for that, I probably would be who knows where right now.”

Kaveh shakes his head at you even more firmly, “regardless of the reasoning, you’re helping out and that’s worthy of an expression of gratitude.”

You decide to let the architect win this battle. “Consider it my own thanks,” at the look of confusion he gives you, you are quick to explain: “For the library. It’s something this place desperately needs.”

Kaveh's smile is a bit more warm than polite. "It's my pleasure to work on any desert revitalization efforts."

You sit on one of the stray crates close by and gesture for the architect to sit beside you. He does, setting his toolbox beside him, it's bright green glow gone. "When it comes to this library you're building, can we expect to see it decorated entirely in plants?"

"I'll have to disappoint you," the man laughs sheepishly. "The building will probably be plainer than you're thinking."

"Don't worry, I was just pulling your chain," you reassure him. "It's enough that the children here will have a place to study."

“Plants have never been my strong suit,” the architect admits with a begrudging tone. “I’m happy with the Vision I have but plants aren’t an element I have a natural affinity for. I would have expected something more fitting to my interests or maybe that has more to do with my career.” He then mutters something along the lines of ‘maybe Geo or Cryo for sample constructs’, lost completely in thought.

He really is beautiful. It’s a look you’ve seen on him before from a distance. Deep in thought in the glow of the sun that made his hair shine more bright and his red eyes a red as deep as the cloths eremites use to cover their eyes.

“I have a friend with a Dendro Vision who hails from the Amurta Darshan, he definitely is able to use his to its fullest extent,” Kaveh sighs in finality. "I'll see if there are any plants he recommends for the desert

“I think it suits you,” a blond eyebrow raises in curiosity. As if he's challenging you for such a thought. An architect with with the power of plants doesn't seem that ridiculous a notion to you.

“The rainforest is your home so I think Dendro suits you just fine." He's much like the plants of Sumeru himself with the bright colors he swaddled in. "You’ve grown into your plants quite well, son of the rainforest. Besides, flowers are beautiful. Beautiful things are best suited for beautiful people.”

Perhaps that was too honest if Kaveh’s flaming red face at your candor is anything to go off of.

“As for myself, a Vision would be nice but I don’t need one. My ambitions in life are simpleー give my sisters the life I couldn’t have," you continue on, looking at your sisters.

They have no scarabs of their own to join in their friends' game, but they are watching the present match enthusiastically.

It’s a goal that can be accomplished with or without a Vision, blessings from the gods are simply boons for that goal. “I want them to go to the Akademiya and have the best chance at a good life. Maybe meeting you will inspire them to join Kshahrewar and become architects. Whatever makes them happy.”

Your words bring Kaveh out his flustered stupor, crossing his arms with a look of indignance. “I refuse to let those two be architects,” he says too resolutely for someone who is practically a stranger to the three of you. “If they want peace, they should definitely find a different field of study.”

You snort in amusement, “Setaria was telling me about how you’re this bigshot architect in the capital and you don’t want more students to join the craft?”

Kaveh shudders as if recalling terrible, terrible memories. “I’m surprised my hair hasn’t already turned gray,” he nods to himself, even more convinced than before. “Those girls look more like Amurta researchers to me. Maybe Spantamad if they find they like field research.”

“I’ll be sure to pass on your opinions to them, Mr. Kaveh,” you say with a bemused grin. “Maybe in the future they’ll surprise us both and do none of the things we’re talking about.” But as long as it isn’t mercenary work, it doesn’t matter.

"Kaveh," the architect corrects you. "You can just call me Kaveh. No formalities needed."

"Feel free to just call me [First]," you grin. You believe you'll enjoy working this project for however long you're needed. You don't think it's too arrogant to believe the man beside you is thinking the same. "No formalities needed."

Extra:

I was heavily moved to write this because I was thinking about VADTD's Penelope and how when she first met Callisto her eyes were drawn to his golden hair. I have a weakness for 2D blonds that that have red eyes, it's such a sexy combo in manhwas

[chicinsilk]

Pierre Balmain Haute Couture Collection Fall/Winter 1954-55 Paulette wears a silver moire metal brocade wedding dress from Ducharne. Pierre Balmain Collection Haute Couture Automne/Hiver 1954-55 Paulette porte une robe de mariée en brocart de métal argent moiré de Ducharne.

Photo Jacques Decaux

[cobragardens]

Red & Yellow Can Hurt a Fellow:

Color Symbolism in 1941 (Part 1)

(Plus Bonus Sundry 1941 Observations)

"Nazi Zombie Flesheaters" is such an interesting title, isn't it? You don't need to say flesheaters if you've already got zombie: it's redundant. It's like the title was chosen by someone unfamiliar with very basic zombie tropes. Also fwiw "Nazi zombie" is an anachronism: zombies did not exist in the popular consciousness before George Romero's Night of the Living Dead in 1968. I feel like maybe an angel titled this minisode. There is evidence both that the Metatron fucks with the story and that the flashbacks are Aziraphale's memories, so my guess is it's one of them.

***

In "The Colors of Crowley" I make an effort to evidence that crimson red is both the the color that symbolizes Crowley to Crowley and also the color that symbolizes passionate romantic love.

In light of that, here is this tiny beautiful moment:

As they did to each other in 1793, Crowley is sending a message here to Aziraphale with his clothes, so let us dwell on it.

Crowley's tie has Aziraphale's colors on it--white and blue-- in a design that connects two points (through a larger, dark point between them), one above and one below.

And Crowley opens his jacket with a flourish and shows Aziraphale the tie.

So first we we get this beautiful gesture of opening a covering and exposing a hidden, brighter, truer self beneath it, along with the metaphorical implications of exposing the heart and the guts, the snake showing its vulnerable red belly. Then the tie says, I like you. I'm wearing your colors. I want to be connected to you. And Crowley doesn't just display that message by opening his jacket, he then calls attention to it by straightening the tie.

Aziraphale gives no outward sign he has received this message. But.

There is so much red in this bookshop tonight.

The bookshop structure is brown and tan, with bright yellow in the back rooms (just as Aziraphale always has fear in the back rooms of his mind). But in this flashback there's a red carpet on the steps in front of the door, a red carpet on the floor in front of that, a display of red books on the circular tiered stand, a pile of red books in the corner, more red books on the windowsill behind Crowley's head, and the red velvet chair that Crowley's sitting on.

Here's the other side of that room, i.e., what Crowley is facing:

The walls of the bookshop are, again, brown and tan, but there's a red rug, red brocade on the front panel of the cashier's table, two red-upholstered chairs, and a red-stained chest of drawers Aziraphale is mostly blocking, plus another red thing in the right corner behind the stepladder that I can't even identify but that looks like the same velvet as the chairs. That's a determined effort to cram in as much red into a brown space as possible without actually taking a paintbrush to anything.

There are other metas showing how Aziraphale takes pains to make the bookshop into a welcoming place for Crowley [link if I find them again]. Just as likely imo his love of red and gold in soft furnishings is to remind himself of Crowley because they don't get to see each other very often.

But the books Aziraphale would be constantly rearranging, and buying more of, and possibly even occasionally selling when it can't be avoided; and bibliophiles do not generally organize their books by color. I therefore suggest two things are happening simultaneously here: on the Doylean (authorial) level, the set dressers are using the red notes in these backgrounds to symbolize the passionate romantic love Aziraphale has just realized he feels for Crowley; on the Watsonian (intra-story narrator) level, Aziraphale's feelings are "coloring" his memories.

This red as symbolic of Aziraphale's feelings for Crowley is not subtle. It starts immediately after his epiphany about those feelings--I mean literal sparks fly--

--and it does. not. let. up.

Note the other colors in the (brick red) dressing room besides red: blue, white, and off-white, Aziraphale's colors. There are even white and off-white feathers, indicating these are the angel's feelings we're being shown.

Brief digression. I've listened to this line several times now and for the life of me can't hear the final -s. I suspect Crowley may in fact say "Chalk up a win for the side of the angel," i.e., Aziraphale, which definitely makes Aziraphale's reaction of giddy delight track well, but I don't have a decent pair of headphones, so if someone would be willing to verify whether I've caught a Moment or just have romance on the brain, I'd be very grateful. [Update: I've got one confirmation so far that Crowley says "angels."]

Anyway. Note the splashes of blue and off-white surrounding Crowley, indicating all this red (he's sitting on a red velvet chaise btw) continues to be linked to Aziraphale's feelings for him. This whole narrative is drenched in Aziraphale's passionate romantic love.

Until this moment:

Now something really interesting happens. For the first time in the scene (I went back and checked), a bright spot of canary yellow suddenly becomes visible in the frame.

It's a jar of ostrich feathers, dyed bright yellow, on one of the dressing tables. How do we know it's meant to represent fear?

Because it already has done.

And remember how yellow is specifically fear of the head offices?

Look who shows up.

Now suddenly the camera shoots Aziraphale from a different angle, and yellow appears in the frame here, too--more fear.

The yellow feathers remain visible between Aziraphale and Furfur for the remainder of the scene.

So that's one gif and 18 stills I've shown you thus far in this essay about how the use of red in and yellow in this minisode is consistent with the use of red and yellow throughout Show Omens and is being used in a symbolically meaningful way, right? I mean they come down pretty hard on it.

So it's very interesting, in terms of colors, how the minisode ends.

Which I will talk about in Part 2!

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[bijoumikhawal]

Planning a Mallory Grace cosplay: The Ironwood Tree Dress, but more medivaler

This came about for two reasons: one, recently I've been making fabric flower corsages, mostly to wear on my head, and two, I was reminded of the imagery of green clad young women from medieval times.

If you know Mallory, you probably know this image. We have a few more useful images as well, but we won't be sticking to them; they'll just be inspiration.

From there four images we get the details that

the dress is mostly white with deep green accents

it has the princess cuffs over the back of the hands on the under sleeves

the over sleeves are angel sleeves

Mallory's hair is in a little ribbon cage with two silver flower pins

there may be a subtle flower brocade on the skirt

The skirt has two tiers of bottom ruffles and a border above them with three stripes

There appears to be a white underdress peaking out of the sleeves and skirt

I loved this dress design as a kid, but I think the bodice is actually rather unflattering. It reminds me of some armor breast plates, which is cool, but doing what's basically a paned sleeve as a bodice... makes me think of a pumpkin. This artistic difference led to me sketching a new design

This design is a houppelande underneath a boat necked cotehardie/kirtle with a shortened hem. I did another pass on the cotehardie design (see the left). I'm going to do the embroidery with silver clon cord and beetlewings I already have from another project. The neck is going to be cut even lower, and I'll make a lattice pattern out of ribbons or fabric strips over a sheer fabric to stabilize it. The embroidery isn't period, but it covering the bodice is inspired by some miniatures depicting that composition.

I also needed to scrap the ruffle on the houppelande- the fabric I wanted to use is an old dark green Ralph Lauren flat sheet with a rose jacquard pattern, and I don't have enough of it for a houppelande already. My solution to this is that I'll be color blocking the houppelande, and making up the difference with a complementary green fabric. The houppelande will be working with the circle theory.

I planned to use silver curtains I already had for the overdress, but it has this evil rubber backing fused on so it won't behave for this. I'll be in the hunt for an appropriate silvery fabric.

The original dress has no clear and specific historical source imo, other than it does resemble a boat necked cotehardie a bit. The hair, however, is clearly a coazzone. The most well known depictions of this are from 1490s Italy. However, in Spain it was worn at least between the 1360s and the 1530s. There are multiple theories about what exactly these were, including a veil that's been wrapped around a braid or ponytail with ribbons. I'd probably make a "fixed" version, so I wouldn't have to re-wrap the ribbons every time.

However, the cotehardies and houppelandes i was looking at were moreso mid to late 1300s. While the coazzone does fit that time in Spain, it has a late "feel". So I kind of want to make a bycocket in addition to a coazzone and flower corsages, to give me options for headgear. The bycocket is also called the "Robin Hood" hat, and it was worn by people hunting, traveling, hawking, etc. It seems to me like it functioned to protect the eyes and direct rain away from the face. I think it fits because the dwarves had a sword in with Mallory, which to me indicates some respect for her running about as a fencer. Additionally, one analysis of women depicted as wearing this hat by R. L. Pisetzky (Storia del Costume in Italia, vol. II, 1964-69) referred to it as a "rude oddity", "masculine/ambiguous", and that women wearing it had a "diabolic essence". The place I found it said this was too harsh, but I find it funny and it reminds me of the reaction the Pooka had to Mallory.

I may make a foam sword for photos/if I ever wear this to a con, but it's not pressing to me right now (this project will probably take awhile). I do want to make this as wearable as possible so various elements can be worn on their own or in combination with other things, which is why I didn't plan to make a single dress that just looks like two layered on top of each other, and why the over dress with be silver and not white (also I hate sewing white fabrics).

[atlaculture]

Live-Action Promo Pics: Ozai

Hi everyone, I know I’m pretty late to the party, but I just wanted to give my two cents on the costuming for the second batch of promo pics we got last month. Afterwards, I’m going to be doing a very thorough breakdown of both the fresh and familiar elements showcased in the new trailer. I’ll also be giving my two cents on the casting for the adult characters, as I feel they’re far along enough into their careers to not care what some random person on Tumblr thinks of them.

Ozai

What I Liked

The topknot crown (guan) looks great. They translated the simple look from the animated show into a really elaborate design in live-action that’s fitting of the Fire Lord’s status.

The facial hair looks quite realistic and natural. Facial hair on East/Southeast Asian men tends to grow pretty straight--- until they hit their senior years, when the head and facial hair start to get bushier.

The brocade pattern on his outer robe is cool. The diamond shapes remind me of the sort of patterns you tend to see on traditional Thai fabrics.

They retained his silhouette and color scheme. I know that’s the bare minimum, but I’m still happy that he’s immediately recognizable as Ozai, unlike his movie counterpart.

What I Didn’t Care For

His outfit is really red. I know it’s the Fire Nation’s signature color, but an abundance of bright red tends to be hard on the eyes. This is why most Fire Nation characters dress in much more muted reds, usually with black and grey as secondary colors. His solid red robe with all the shiny, gold detailing makes him look cartoonier than his counterpart in the actual cartoon.

I’m not a fan of the spaulders directly attached to his outer robe. Having them be sewn/glued on to the clothing makes them look flimsy, rather than imposing. It also bothers me that the layers of his spaulders aren’t uniformly curly--- although this is just a personal pet peeve of mine.

I really wish they had incorporated the triangular shoulder pieces from the show into his outfit. It would have made him look more imposing and offset some of the searing red in his outfit. It’s not as if there isn’t any precedent for this kind of armor either; there are real-world examples from SE Asia that they could have used as inspiration. (Picture below: Thai, Burmese, and Lao shoulder armor.)

This design is not amazing, but also not terrible. About what I was expecting: A recognizable, if somewhat underwhelming, interpretation of Ozai.

Overall, I give this look 5 evil goatees out of 10.

I will say that I’ve warmed up to Daniel Dae Kim as Ozai. He’s got an imposing and regal aura, but I still wish a younger actor was playing the role. It would have created an even starker contrast between the vicious younger brother and the wizened elder brother.