#brocade fabric suit design

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[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!

[castrian-cosplays]

Labrador’s Body Suit

How I made it part 1!

Hello my name is Cass. I am a cosplayer of 11 years and a Cosmaker of just over two. So take my sewing explanations with a grain of salt I only have a vague idea of what I’m doing. But here is the costume I made! With the original reference sheet.

So how did I start? Well first I got a bunch of sheets from a thrift store so I could make as many mock ups(test runs but for costumes) as I needed.

So with sheets in hand I broke down the pieces of the costume. When I started on a piece I always outline where the visable seams are. From there I figure out a few things:

1) am i going to need structure? (Boning, a corset, adding another seam etc)

2) what types of fabric would they have available to them? What fits the character while keeping true to the design?

3) Am I going to face any sensory issues? How can I add accommodations to the cosplay for that?

4) How will I get it on and off?

Things like this are important when making a costume. Sometimes I get head first into a costume and forget to sew in buttons or a zipper because I get so focused on making it accurate than wearable. So here are the answers to this questions:

1) Yes, two boning channels along the front seams to help add support. Due to the weight of the fabric I’ll need at least medium weight faux whalebone. (I had some in my stash)

2) at least 3 different fabrics. Two different shades of black and a black fur. I knew I wanted a Wool for the chest and sleeve part of the pattern(fabric pictures below). I found brocade for a steal and just bought the whole bolt.

3) yes! Brocade and wool are both itchy which means I MUST install a lining out of a fabric i can handle. (Twill is my go to, it looks nice and feels okay). Fur is tbd on overstimulation.

4) B E E E G zipper (22in zipper to be exact with fasteners for the collar)

Starting the Pattern

So starting my pattern I always trace out the seam lines and see what problems will arise when I begin the pattern. I knew the pattern was going to look incredibly weird. With the seamless back design, the personal desire of adding pockets, the seam somehow overlapping at the top(normally seen on the hems of men’s jackets. It’s not apparent in the photos but in the animation it is), the back situation? With the corset back and thread that disappears?

I knew the draping method was going to be my best friend so I grabbed my bed sheets, heat erase marker, and washi tape and got to work. I marked out my pattern on my dress form and draped the pattern over it.

The biggest questions looming over me were starting to get overwhelming but here’s how I did it.

Problem: Making the corset back look neat

Solution: Adding enough room and fabric allowance to flip the fabric over and allow my eyelets to go through a double layer of my brocade fabric(a heavy structured fabric). Allowed for the seamless connection to the bodice piece of the bodysuit.

Problem: Seamless back panels

Solution: Sewing the lining fabric to JUST the tail coat portion of the pattern and sewing the back of the pants to the lining and NOT the actual brocade

Luckily I have experience in men’s tailoring so the funky top hems were not a problem. I just had to remember to account for the extra big seams I was going to have for my boning channels.

Part 2(coming soon)

[olath124]

I can't take a picture of him without him looking like a smug ass.

•Name

Elroy Vincennes

•Nicknames

Usually people call him Mr. Vincennes. His friends call him Elroy. His CLOSEST friends call him Roy. 

•Age

42 in 2077

•Pronouns

He/Him

•Sexuality

He doesn't care about what people have in their pants, but what's in their head. So he's pansexual, but in truth, he isn’t really interested in sex and he definitely doesn't have sex with people he's in a relationship with.

•Hair Color and style

Dark red, usually worn short and combed back.

•Eye Color

Light brown with a hint of gold. It might sound like a surprise, but they are his natural eyes. He has very little chrome and it's just aesthetic.

•Height

178 cm.

•Body Type

Quite average. He's used to creating art with metal, glass, and whatever inspires him, so he's used to some sort of hard work, but he doesn't work out.

•Personality

Clever, extrovert, enthusiastic about the best things in life. Extremely hedonist. Loves to observe people and molds himself on them. So his tone and behavior might change according to who is in front of him. Has a hard time forming romantic relationships and at this point in his life he doesn't care at all about it. 

•Tattoos

A series of paint strokes that from his fingers run through his arms. He designed and tattooed it himself and every stroke represents a close person he lost or drove away.

•Piercings

A golden stud.

•Any definable features such as: Birthmarks, Scars, Freckles, Beauty Marks, Accent when they talk, Lisp, Natural slurring of words, Walk with a subtle limp, etc.

A few scars on his face, gifts from a chaotic youth.

•Hobbies

Everything that's good in life. The thing he loves the most of course is art, but he's also passionate about music (old French classics he sang with his mother and classical music), fine wine, and fine dining. Literature and poetry. Vintage decors, vintage cars, high-end clothing. He truly is an eclectic character who knows and is passionate about many things.

He also consumes a few high-end drugs, as a habit at this point. A hit every morning to keep him balanced and focused.

•Gang/Occupation {Mox, Max Tac, etc}

He's really independent. Everyone who can pay is welcome to do business with him. Since 2070 he has had a close cooperation with Kurt Hansen.

•Do they smoke?

Yes. Rolled-up cigarettes, pipes, or cigars.

•Do they drink? If so, what's their poison of choice?

Yes, of course. Wine, French, and especially red.  Pinot Noir, Cabernet Sauvignon. He also likes the Beaujolais Nouveau, especially for the ritualistic party that he has every year with his friend Vlad (and well, the rest of France).

•What do they usually wear on a normal day?

Usually, he wears suits in dark gray, red, or black. Always with fancy fabrics. At home, he usually wears an open shirt and dark pants or a silk robe. If he's working on his artistic projects… well, tank tops and old ripped jeans. But nobody can enter his studio at this point in his life so nobody has seen him in that outfit.

•What do they wear when they "Get dressed up"?

And what would be considered a "special occasion" to them {such as an "Oh they're gonna be there so I have to look my best." Or an "It's our anniversary".}

The suits tend to turn more eccentric and a bit more colorful. He loves brocade and tends to gravitate to autumn colors. Copper, gold, bronze, dark red, and green are colors that he loves and suit him.

A special occasion for him is usually a big party he's hosting. Usually on New Year's Eve. That's the only thing he considers fancy enough to spruce his outfit up at the maximum level. He dresses well anyway, but that's an over-the-top special event.

•What do they smell like? {For example: they smell like cinnamon-flavored liquor, cigarettes, leather, and motor oil.}

He uses a particular perfume his buddy has gifted him. Oud wood with patchouli and musk, with a lavender’s and saffron’s hint. 

Without it probably tobacco and alcohol.

•How do they walk? Do they sway their hips? Do they walk with a sense of determination? Do they bounce as they walk? Etc.

Confident, really relaxed, and often smiling. He doesn't have a fast stride and doesn't need to be intimidating. The pace of someone who truly believes in himself and has nothing to prove.

•Are they more of an early bird or a night owl?

He's a “not sleep at all” guy. He sleeps from 6 to 9 every day and to him, it's already too much.

Not really, but it explains the dark circles around his eyes. 

•If you had to use one word to define them, what word would you use?

Eclectic.

•What words or catchphrases do they say that's unique to that character?

He doesn't have any particular catchphrase. He's used to change easily the way he talks, and even his accent, according to who is in front of him. But when things don't go the way he wants a muttered: "Merde". That's the only thing he says in every dire situation.

•Favorite Season

Autumn. In France. 

•Favorite type of weather {Thunderstorms, sunny, etc}

Foggy mornings that turn into cold sunny days.

•Do they have someone they're with relationship-wise? If so, who?

Not actually. He isn't interested in love at this point in his life. He has friends and likes to observe them live their lives.

•Main Ship/Pairings:

None.

•Side Pairings:

He had a girl when he was young (16-21), Sophie. They were quite close, but she died of an overdose when she was 21 years old. He feels really guilty about it because he was the one procuring her drugs. Later, in his 30s he had a relationship with a young art student named Azure and a seminarist, Lasse. They were his muses and he was their mentor. He loved them in his own way but ended up driving them away because he used to have an obsessive and toxic behavior at the time (he was also way more addicted to drugs than now).

•Favorite/Self-indulgent Pairings

The BrOTP with Vlad. Their relationship is weirdly positive and enriching for both of them. It's cozy.

•How do they show affection to their loved one? 

He spends time with them, sharing the thing he loves the most. Eating together, drinking together, and talking a lot. He loves to show them beautiful things: art in every form, nature, and cities. And he's also quite generous with gifts. There are really few people he cares about, but he likes to share everything he can with them.

•How do they sit in a chair?

Comfortable, calm, leaning on the backrest, legs often crossed. If it's an armchair he'd spread his arms on the armrests, if not he rests them on his lap.

•How do they sit in a chair {uncomfortable version}

The same as before. It's really hard to make him feel uncomfortable… and even if he is, he is really good at masking it.

•What do they wear to bed?

A few drops of Chanel n° 5. Kidding, but he doesn't wear anything. I'm afraid that some of his guests have seen him wearing only an open silk robe when he comes out for breakfast.

•How do they usually sleep? {Side sleeper, back, fetal position, backward, nest sleeper, blanket mountain, etc}

He takes his space. Usually on his back, his arm spread over a lot of cushions.

•How do they sleep in a place they don't know? {Can't due to anxiety, in small bursts of sleep that are short-lived, holding themselves, etc}

He usually doesn't sleep in places he feels uncomfortable (or he feels comfortable everywhere…).

•Do they have to have a form of "white noise" in order to sleep? {The sound of a fan, the sound of rain, the sound of a city, etc}

No, he doesn't need to. If he's in France during the summer he opens the windows and listens to the sounds of nature.

•What's a place they go to feel comfortable, that's their "spot" they always go when they're upset?

France. His family estate is in Saint-Remy-de-Provence. He loves that place, it reminds him of his mother.

•What do they do when they're nervous? {Fidget with jewelry, pick at nails, bite nails/lips, play with knife/zippo lighter, etc}

He's rarely nervous, but when he is he tends to joke and laugh more.

•What is their "tell" for lying?

None. He's used to lying and is extremely good at it. He practically wears a mask in every social interaction, so you could argue that it's hard to differentiate when he's lying because he's always lying. So probably 2-3 people on earth know how he is while he's not wearing a mask.

•What is their favorite color?

Warm and autumn tones. Copper and gold fit him a lot and he likes them.

•Favorite flower/plant

He likes lavender and vine.

•Favorite sweet of choice

Not really a sweet person

•Do they have any pets? If so, tell me about them

He has animals in his estate in Provence, but I wouldn't call them his pets.

•What are their triggers {If they have any}? If so, what calms them down?

He has a tiny tendency to get obsessed by people he likes… they become his muses and he tends to create a series of art pieces on them. All while being extremely ambivalent in his relationship with them. One moment he's an obsessive presence, the other he can shut himself in his studio and you won't hear from him for a week or more. He is never honest with them, he doesn't show his true feelings and he is quite cold and manipulative. He doesn't deal well with romantic relationships (or well, whatever you like to call what he does with people he loves). It's truly easier to have him as a friend. Friendship doesn't trigger this side of him.

•If they could visit anywhere in the world, where would they go and why?

He's been around a lot. When he travels for pleasure, he goes back home.

•What is their favorite comfort meal?

He likes a lot of different dishes, but the one that speaks to his heart is roasted chicken. His grandma during his family vacations used to make it and he remembers fondly that the chicken was running around the yard at 11 and at 12.30 was on the table. 

He didn't know how she prepared it so quickly, but it had a different flavor from anything he tasted in his life.

•Do they have a food they hate?

Everything industrial-made, or made without care.

•What is their favorite {non-alcoholic} drink?

Nonalcoholic??? Water rusts bridges, you know? But probably sparkling water. Not the type for soft drinks.

•What are their plans for the future {if they have any}?

Keep things as they are now. He's in a good place. Calm, self-content, enjoying friendships and a good life.

•What's a song that "fits" them?

Only one???? Bastlle - The Poet

•Give me 5 facts/random bits of information about them

He loves to sing old French love songs.

Every time he meets with Vlad they come up with some silly thing to do together. I think that the most idiotic one so far has been going around with some vintage scooters, while dressed in the Frenchiest way. Vlad was not amused. Roy had the time of his life.

Every year on New Year's Eve he has a big party. A. BIG. PARTY. Something super lavish and extravagant, in a new location every year, with new different attractions every year. He calls it “La Fête de la fin du Mot” or “World’s End Party”.

He has a vintage Polaroid camera he brings around everywhere. He likes to take pictures of whatever tickles his interest. He rarely lends it: the only people he trusts with it are Vlad, Jago, and barely Violet.

He'd never put it into Kurt's clumsy big pawns.

When he was young his mother pushed him to explore “real life”. So at 14 years old he went to live alone in Night City’s suburbs and joined a gang. That's where he met Kurt and later Violet for the first time. When Kurt left for the army he got stuck with Violet. He wasn't the most protective and secure figure for her, and she ended up resenting him a little for his ambivalent behavior. But when he finally left she understood how much of a safety net he was for her. Things turned to shit pretty quickly after.

•Give me their backstory {can be long, or brief.}

Born in France on the 19th of November 2034. His mother was an eccentric and quite famous actress at the time. His father came from old money and had a good position in Eurobank. He grew up in France and after a probably too sheltered childhood, his mother took him to NC and pushed him to explore real life. He ended up joining a gang at 14 years old. Here he met Kurt for a few years. A quick, deep connection, but at the time he was smarter and more careful and observant than anyone else in the block, so Kurt asked him and a girl of the block, Sophie, to keep an eye on the at the time 3-year-old Violet. He didn't like having a little girl depending on him, but he liked how close she brought him to Sophie. They ended up together. First big love, lots of feelings. Elroy wanted to please her in every way possible, so he leaned into her addictions and was the one with the means and connections to give her drugs whenever she wanted, being addicted himself.

So when she died at 20 years old of an overdose he internalized the blame of having led her to and enabling her ending. He got back to France at 21, leaving a 12-year-old Violet alone, entered rehab, and started his art journey with the support of his mother. He had his first big art show in Paris at 24 years old, where he met Vlad. Elroy’s works about the loss and pain of love made them connect and they turned into real good friends for the rest of their lives. At the same time he adjusted himself and started to intertwine different relationships in the corpo and criminal world, understanding pretty quickly that, even if art was a nice income, he needed something more to maintain the standard of life he wanted for himself. He turned pretty quickly into some kind of high-end fixer. The kind of person to turn to if you wanted something nobody else could find. 

Already quite famous at 32 years old he met Azure and Lasse who were his second true art muses and loves. But at this point, he was already detached from love and deepest connections, so he ended up driving them away pretty quickly. 

Since then he definitely decided to avoid other romantic relationships, limiting himself to focus on work, enjoying friendships, and having an overall good life.

In 2070 he got back in contact with Kurt Hansen, offering his help to establish the new Dogtown empire. A big gamble at the time, but it quickly ended up paying him well for his efforts.

•Free Space! Give me any sort of extra information about them you'd like to share

I think I've exhausted pretty everything about him XD

I thought... But! Even if Roy is super Frenchie when I created him (an embarrassing amount of time ago, he's a long time companion of mine) his name originated from a distortion of "Ellroy", the noir author, and Jack Vincennes, a character in LA Confidential (by guess who, Ellroy!). Oh, blessed my noir era.

~

Template from @vincentmatthews, template here. Have fun !

[lilbittymonster]

Day 9: "This Made Me Think Of You"

"Ah, Thavnairian weave. Hard to imagine more vibrant stuff. I daresay Aymeric would be partial to the gold thread. And the blue, of course. He loves his blue."

~~~

Aymeric carried the wooden box to his office and cleared away some stray papers from his desk, setting it gently down. The twin bolts slid aside smoothly and the hinges made no sound as he lifted the top.

Inside, resting prominently atop the package, was a small piece of parchment with a scrawl he would recognise anywhere.

They should fit. -E

Aymeric smiled at that.

"Always one for brevity, aren't you?" he murmured affectionately to the paper.

Beneath, a bundle wrapped in fine paper tied with a length of crossed twine waited for him. The slipknot came away easily to reveal a breathtaking, carefully folded jacket of deep vibrant blue and golden thread. Aymeric lifted the garment from its wrappings and noted the lack of sleeves, though there was what looked like an oversized belt folded along with it, as well as a matching pair of sarouel. The fabric felt like holding water and was cool to the touch.

Certainly not something suited to the harsher climes of Coerthas, Aymeric thought. He wondered just how warm Thavnair is for such an ensemble to be worn comfortably.

The second parcel, similarly wrapped, contained a heavier coat that was thick with brocade, all looping florals in spun gold and silver threads against the same deep blue. The design was much more modest, with full sleeves and tails with buttons to the neck. Something fine enough to be worn in public here in Ishgard.

The third and final bundle held only a folded square of plain blue silk, shot through with a simple gold four leaf design. Opening it up further revealed it to be just that, a plain, if large, square of fabric. Aymeric frowned in mild confusion. Perhaps it was meant to drape in some fashion...?

He packed the garments back into the box and continued through the house to the bedroom where they could be properly hung up. Setting the box on the bed, he opened the wardrobe to search for a spare set of hangers. He had barely turned his back and found a couple empty coat hangers when Arienne decided to jump into the open box, kneading into the paper.

"Oh, would you-" Aymeric sighed in exasperation, lifting her out of the box and plopping her on the bed, much to her complaint. "Wait until it's empty."

She meowed plaintively next to the box as he slid one wooden hanger through the collar of the shirt, and he tossed her the paper it was wrapped in to amuse herself with. The crinkle of paper settling under her weight reassured him she was behaving as he hung up the set. Picking up the coat, he hesitated to put it away immediately. Shrugging off his outer robes and standing before the mirror he carefully pulled it on, waiting for the sound of any straining or tearing.

The fabric settled over his shoulders without complaint. The cuffs of the sleeves fell perfectly at his wrist, and there was no tightness across the back. Even doing up the topmost buttons, he still had full range of motion in the arms. While more fitted than most Ishgardian dress, it was regal in its simplicity.

"It certainly does fit, yes," he said to his reflection.

As loathe as he was to remove it, Aymeric was still at the end of a very long day, and he hung it in the wardrobe. Arienne had resettled herself in the box atop the loose silk and paper while he wasn't looking and had gotten quite comfortable. Aymeric just sighed fondly, piled the rest of the paper on top of her, and picked up the box with her in it and placed it gently on the floor.

[thesweetnessofspring]

Everlark family drabble, featuring toast teens (mainly their daughter). Inspired by "I Wear Your Dress" by Anaïs Mitchell. Rated T for theme.

"YOU IDIOT!"

Katniss gave a sigh at the shrieks of their daughter coming from the kitchen all the way out to where she sat on the porch at the back of the house. With their daughter now sixteen, it had been a few years of dramatics and baffling bursts of emotion.

She continued sweeping the porch of hair from shucking ears of corn for the Harvest Festival tonight. Peeta made cornbread and she'd harvested honey from the bees as their contribution to the annual celebration.

"Mama!" The screen door banged against the back of the house as their daughter came seeking her out. "Mama, look!"

Their son followed his sister out, face pulled down in anxiety. "It was an accident! I didn't do it on purpose!"

Katniss turned to see what the matter was. There across the new dress they'd gotten the girl for the Harvest Festival, was a large smear of what appeared to be raspberry jam. All at once the children started yelling over one another about the incident, which Katniss gathered had been the girl sneaking up on the boy while he'd been scooping up a spoonful of jam, resulting in the jar getting flung in the girl's direction.

"All right, all right now, settle down the both of you," Katniss said. The pair shut up but glared at one another in annoyance. She looked at their son and said, "Go clean up whatever mess you two made in the kitchen, and keep cleaning it until I fetch you."

"Mama! She scared me."

"And you're not supposed to be digging around for sweets when we're going to the Harvest Festival in half an hour. Now go on."

The boy sulked back into the house while Katniss examined the stain on their daughter's dress. No way it'd come out without a good soaking first and they hadn't the time.

"Let's see what else we can find for you to wear," she said.

"None of my dresses fit me anymore," the girl said, her voice wavering with indignant tears. She had shot up a good three inches over summer, a total late bloomer and now looking down at her mother as Katniss guided her back inside, arm around her waist.

"We'll take a look at some of mine," Katniss said.

The girl cast her a look of disgust, nose wrinkled. "But you dress so...old."

Katniss laughed. It was true, she supposed. She made use of every fabric already available to her and when it came to dresses, preferred them simple. Their daughter had more of an eye for things that were bright and catching. Not exactly how it used to be in the Capitol with it being over-the-top, but she appreciated a well-crafted garment.

"I think I have something that will suit you," Katniss said.

Their daughter raised an eyebrow, skeptical. Instead of turning to Katniss and Peeta's room, Katniss led her daughter into the attic instead. Up there, packed away in trunks designed to preserve the most delicate of materials, an old friend waited.

It had been years since Katniss dug through them. She'd only worn one of Cinna's dresses since the war, and that was for her marriage and toasting to Peeta. Yet she remembered each one Cinna had made for her, and she knew which one would fit the girl perfectly.

Their daughter waited at the top of the steps while her mother searched. The distress and complaints disappeared as she caught sight of flashes of fabric too ostentatious for her mother, or at least the mother she knew. Sketches and stories from the memory book snapped into her mind, though she hadn't seen the real clothes in person before.

Katniss pulled out what she'd been looking for, a dress she'd worn to a medal ceremony in Ten. Gold material in a brocade pattern with an empire waistline, fitted bodice, and a full skirt. A black shrug had also been paired with it, for her mockingjay pin to stand out on. Effie had loved the dress, calling it her inspiration for the hair she'd gotten a few months later before the Games. Katniss could still recall Cinna buttoning up the back and dusting her shoulders off before she took the stage. She'd gripped Peeta's hand for strength as they delivered the prewritten speeches, the horrors of District 11 still behind their eyelids whenever they blinked.

"I think this will fit you now," Katniss said, holding the dress out for her to inspect.

"It's so beautiful," their daughter said. She brushed her fingers over the fabric. "Are you sure?"

"Of course. It'll fit you now and there's no point wasting a pretty dress."

"Thank you, Mama." She kissed Katniss on the cheek, then took the dress and cradled it in her arms.

A half hour later, the family gathered with everyone else in the town square for the Harvest Festival. Peeta's arm wrapped around her waist, Katniss watched their daughter flit from the caramel apple stand to the Ferris wheel to the fire eater show to the dance floor. Their daughter tossed her head back in laughter, entwined her arms with friends, twirled in the dress and hopped from place to place with an energy and joy completely foreign to Katniss. Joy that did not win over the terror that competed in her mind, but came to her as a birthright.

Peeta kissed the top of Katniss's head and said, "Our girl looks lovely tonight."

She smiled. "The loveliest."

[intothewestwing]

If I Can't Love Her - Ch 15

"Lift your chin up, dear! I need exact measurements if I am going to make you the best-dressed girl in France!"

Madame Delile was quite the character. She almost gave Belle a fright when they'd first met, as she didn't expect a woman to animate from a pile of unseemly scraps of fabric and ribbons.

Since they'd met, Madame had recalled her time as the palace's seamstress, designing only the finest clothes for the highest paying employers across the globe. And to her misfortune, she'd been staying exclusively with the royal family when the curse was set. The tattered cloaks and sparse shirtings The Beast wore were once said to be of the finest tailored garments across kingdoms, all part of an exclusive collection of course.

Belle had practically memorized Madame's stories of her travels, and while she remained kind, she found much more interest in the Queen's diary. Especially after she'd heard the repeat of Madame's stories several times in one day.

The village girl stood in the center of her suite, holding the diary in front of her at such an awkward angle, due to the flurry of ribbons and textiles that flew around her as Madame gathered her measurements.

"Now some sashing here...Oh! And the beaded trim would go here! Oh gold is such your color... And a matching rouge for those cheeks! C'est parfait!"

Once Madame was finished, she collected her ribbons back into her singular form, and Belle noticed a small glint in her buttoned eyes. It must have been a long time since Madame had anyone to design for...

"So? What do we think? I know you requested, uh..." Madame raised a ribboned brow. "'Plaine et ennuyeuse'.... But could I sway you on some beads? A bow? Lace maybe?"

Her voice was so filled with hope...Belle couldn't say no. After all, it had been a long time since she'd had anything nicer to wear. Looking in the mirror, she imagined herself in a gown of silk, with her hair tied and curled. Maybe it wouldn't be so bad to try something new.

With a smile, she nodded in agreement.

"Perhaps you're right, Madame. Change is good."

"C'est magnifique!" Madame shook her 'hands' in excitement and pulled the rope along the wall, summoning another servant. "I will have everything ordered for the next shipment!"

Belle's brow furrowed as she slipped on her day dress, a temporary once Madame had lent her. "Shipment?"

"Oui! You didn't think we were cut off from the world completely, did you?"

The young woman had never thought about where their supplies must come from, but what Madame was saying made sense.

"We have shipments delivered once a month. We put in our requests for soaps, spices, meats, books, other necessary things. And by one way or another," Madame shrugged with her 'hands'. "...it appears!"

"Which means that you, my dear friend, will be dressed in only the finest threads from around the globe, just like a proper princesse!"

Belle began to argue, but was interrupted by a male voice.

"That is only if your request is approved by...whoever approves it!"

The head of household, Cogsworth, appeared in the doorway, seemingly uptight and annoyed as ever. This seemed to be his constant state, Belle had remarked. Even through his gears and metal embellishments, his frowning expression was one she saw more often than not.

"Monsieur Cogsworth! You're just in time. I shall draft a list for you to add. I shall require silks, satins, brocades..."

Madame continued with her verbal list, while Cogsworth ushered Belle toward him.

"Lunch is being served in the main dining room, if you're feeling in need of an escape." He motioned toward Madame Delile, who was circling the suite and continuing her rant.

Belle stifled a laugh and quickly grabbed the Queen's diary before heading to the dining room for lunch, giving silent condolences to the head of the royal staff.

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

The Beast had already begun eating when Belle arrived. He and Lumiere had been practicing the arts of 'suave gentility' and 'table manners', and before she had entered, he was confident in his ability to woo her. But once Lumiere opened the doors for her, all of that confidence drained straight into his gut, and he began tasting the finger foods out of fear.

Belle didn't quite know how to feel towards The Beast. On one hand, he seemed genuine and honest, but on the other, his temper was a monster of its own, that she felt she was in constant battle with. She could only hope that The Beast would be on her side today.

She found her place, at the opposite end of the table from The Beast, and surveyed the array of appetizers set out for them, before returning to her chosen read.

Lumiere had suggested that The Beast choose something safe to start with. A simple soup with sides of bread to dip, to which he'd already scarfed down.

From behind Belle's chair, Lumiere motioned toward Belle, urging his master to talk to her.

Beast cleared his throat uncomfortably. "Uh... Good afternoon."

The awkward energy between them practically hurt.

Belle, without looking up, replied. "Good afternoon." She had mastered the art of reading and socializing, as she'd learned it appeared rude to just plain ignore those speaking to her, though she typically preferred to be left alone when reading.

Beast cluelessly looked back up at Lumiere, who was practically snapping himself in two in trying to direct his master.

A scattering of servants brought a few trays out to Belle and set them in front of her. She'd be given her choice of what to eat, as usual, though she usually picked a bit from everything.

He waited for more trays to be brought to him as well, but Beast was surprised to learn that Lumiere had told them to leave him with his soup. They hadn't had time to go over all of the necessary table manner rules, and the footman wasn't about to risk their lives over a leg of meat.

Beast, incredibly awkwardly, attempted to pick up the soup spoon, just like Lumiere had showed him. This would be a sorry attempt, as his sharp claws caused the metal to slip and fall out of his paw and back onto the table.

Accepting defeat, Lumiere left the room.

He tried again, only to drop it in his soup bowl that caused a horrid clattering sound.

Belle looked up from her book at the sound.

"Are you alright?" She asked, worriedly.

Beast rested his arm on the table and leaned back in his chair, nonchalantly, as if he hadn't just completely embarrassed himself.

"Oh, yes of course. You know how it goes... Soup."

If Lumiere had witnessed this exchange, he'd have lit himself on fire.

"Right..." Belle smiled and nodded, before hiding her face behind her book.

Beast's face flushed pink and he hid his face in his paws. This lunchtime interaction was not going as planned.

He peered through his fingers to see if she'd looked up, and that's when he noticed what she was reading. He couldn't quite place it, but it was familiar to him.

"What are you reading?"

This question was definitely the correct one.

Belle sat up and shifted her seating position so it was more comfortable.

"It's a diary I found. This woman, she is incredible. It's her firsthand accounts of adventures, voyages, across this side of the world. She used to travel a lot. Before she married, anyway."

Beast leaned closer to the table as she described the diary, still trying to figure out why it was so familial to him.

Belle took a sip of her wine before continuing.

"How awful would it be? To be in an arranged marriage, that is."

Beast shifted uncomfortably.

"I can't imagine my father promising me to the highest bidder. How demeaning and inhumane."

"That's... That's not always the case!"

Belle tilted her head to finally make eye contact with the distant figure at the end of the table.

"Oh? Is that so?" Her voice was challenging as she begged for the man in the room's opinion on what it was like to be a woman in such a society.

This is when he knew he'd made a mistake.

"I just meant, it's not always like that."

"You sound as though you speak from experience."

"No, no! I..." Beast thought it best to change the subject, before he revealed more than he already had. "Whose diary is that anyway? Where did you get it?"

Belle closed the journal and crossed her arms.

"I found it. From what I've read, it seemed to belong to a queen who'd lived here." She struggled to remember the name. "I believe a Queen-"

"Stop. I need it."

Belle shook her head. "After I'm done, you can read it."

"No, I need it back. Now."

Beast felt the warmth from his cheeks that was once embarrassment rise to anger as he realized she was grasping his late mother's diary. A diary he'd thought had been lost to time.

Belle, however, was not backing down.

"No! I said you can have it when I'm done!"

The servants snuck into the dining room once they began to hear shouting, ready to clean up before things got messy. But by the time they entered, Beast had flung his soup bowl across the room at the wall.

Lumiere approached his master to try and diffuse the situation.

"Sire, why don't you have another drink and we can talk about-"

Beast grabbed Lumiere by his collar, threatening to crush his waxy throat behind it. He felt a wild, animalistic rage behind his actions, and a growl behind his words. He was losing control again.

"Did you give it to her? I told you she wasn't allowed in the archives!"

"Master...Please..." The servant begged. Not so long ago, this was a common occurrence, but he truly hadn't missed being under The Beast's claws.

Belle suddenly grabbed his forearm and attempted to pull the grip loose from Lumiere as The Beast continued to snarl at his prey.

"I'm... the one... who found it!" She continued pulling on his arm, even at his fur until he finally let his servant go.

"He had nothing to do with it! It was hidden in the East Wing." Out of breath, but still fearlessly, she stood a mere inches from The Beast with her hands in the air, as if she were taming a wild animal.

"If you're going to be angry at anyone, be angry with me. Just...don't hurt them."

The Beast's breath began to slow as he calmed down. He watched as Mrs. Potts aided Lumiere and walked him back into the kitchens, while other staff whisked away the broken porcelain of the shattered dishes. His vision wasn't red and hot anymore, and his eyes softened as he met Belle's fearful gaze.

Once again, he'd hurt her. Not physically, but this action, this behavior, was still a wound.

He looked down at his claws and made certain he wasn't gripping onto her.

"I'm... I'm sorry..." He said breathlessly, ever ashamed for his actions once again.

This apology was the last thing Belle expected, and was almost shocked to hear it.

"I... I don't know what came over me." Beast tried to think through his actions, why he got so angry, why that situation was angering in the first place... But it was all blank. He shook his head, trying to remember, but was brought back to reality by Belle slipping her hand into his paw.

"No!" He immediately rejected her touch and pulled his claws away from Belle, afraid to touch her. He kept them close to his chest and backed up from her.

Belle shook her head, confused. Was he... afraid of her? It seemed as much. She didn't quite know what to say or how to diffuse this, as a man had never feared her touch before.

A man.

She caught herself thinking of The Beast as such, and recalled how quickly he could change from monster to a man. He could be a gentleman, the kind that enjoyed her company and left flowers at her door. And other times, well, she'd seen his unforgiving wrath before.

But now... A simple apology, correcting his harmful behaviors... He was changing before her, and her before him, though neither of them wholly recognized it.

"Beast..."

"I-I'll be having dinner in my suite tonight." He said quickly, to no one in particular, before exiting the dining room and retreating to The West Wing for the night.

With a frustrating silence and more unanswered questions, Belle left the diary on the dining room table, hoping it would magically return to its rightful place in the archives.

Its secrets, she thought, would be better left as secrets.

[eolewyn1010]

Downton Abbey Fashion 38 - indoors fashion in 1922

I wonder if Violet is offended that, now that she’s trying out looser, more draped wrap tops on her dresses, the rest of the world has already moved on to other fashions.

Regardless, this seems to be her currently preferred style. She’s wearing it over a base layer of black lace, which once again offers her the collar to attach a brooch to. But I want to talk about her sleeves. What a pretty insertion! And what a curious choice to make them this way; it’s not that Violet couldn’t afford more of this brocade. Since when are we going with understatement here?

A keeper for next season, this is a bit pinker than I’m used to seeing on her. Compared to the last outfit, this looks more classical, the base layer white lace instead of black, the gathered bishop sleeves style, the damask pattern, although subtler, all over the dress instead of reduced to small strips. For the garden, Violet adds a little straw hat that doesn’t look all that grand at all. In fact, with that flower embroidery, that’s a cute little granny hat.

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

Isobel brings back the striped blouses, and although I haven’t seen this one in particular before, the style is very much that of her second-season blouses. She reserves the drop waist for her evening fashion. Blouses go with waistband skirts and pretty buckles.

As does this one. Admittedly, this gorgeous lace insertion collar pops more on one of her dark walking suits, but the design is lovely – and also a repeater; Isobel likes her these arrow-shaped collars.

The shade of this one changes with the light; sometimes it’s a little more on the reddish plum side, sometimes it goes more into blueish purple. But I’m certain enough it’s the same blouse, with the pin tucks everywhere on back and shoulders.

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

Still not a fan of sack-shaped blouses on Cora, so we’ll do these in one go. They look very similar anyway, only the one with the whitework has a more casual neckline. The light blue one looks a tad more elegant, the boat neckline higher but spreading further to the shoulders. And admittedly, I think the overall embroidery is more charming. They both will be back in season 5.

For a little ensemble, Cora pairs a very straight-lined, very rectangular grey silk satin dress with this overshirt of dusty purple chiffon. It’s kept rather plain, but the lattice element that makes up the trim, square as it may be, is charming.

The return of the high collar and the puffy shoulders, but that’s all the nod to past fashions this blouse will give. It still has a drop waist and the black beading playing at meander seems to nod at the orientalism influences in 1920s fashions. The overall effect is quite nice with how it pops against the black skirt; if it weren’t for the collar, it would probably be a favorite of mine.

I think this jacket is part of an ensemble; the second picture allows a glimpse at a skirt with pinstripes, but in the same dark grey shade. The jacket has these buttoned waistband elements that are already familiar by now but still don’t fulfill a structural purpose. And then it has these little slits above the chest that are framed with a tiny scalloped trim. Are these pockets? They seem to sit in a strange place for pockets, so I’ll go with purely decorative. And you get a shot of the blouse without the jacket, too, because this doesn’t have enough to talk about to warrant its own paragraph. It’s orange, I guess. And generic enough to stay on to season 5 and even 6.

We’ll finish on a pretty blue house dress with white flower bundles all over. I’m not sure if they are embroidered or woven in tbh? But let’s look at the cuffs for a moment: This lighter blue fabric with a floral print is repeated – lining out an asymmetrical slit down her left chest. And this exact slit design is one I’ve seen before, on one of my favorite house dresses from Rosamund’s earlier wardrobe. I know that asymmetry was big in 1920s fashion, but is this particular slit design based on originals? I’m fascinated.

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

Incidentally, Rosamund does wear a dress this season that’s a little similar to Cora’s. It doesn’t have that little slit element, but it does have a round neckline, half-long sleeves, and a pale embroidery motif on blue fabric. Rosamund goes with a vertically arranged feathers design rather than flowers strewn haphazardly all over, and I think I like her dress a little better, if only because I like the feather motif and the gold shades in it plus these darling little cuffs.

Let’s go with something super boring for a change. I don’t know; this is just a wide sandy sweater with a deep V neckline over a white blouse. I guess it has an orange and white trim design that reaches down the front? Eh. It’s a thing, it’s there.

This is better. The lovelier half of 1920s rectangle cuts is when they 1st layer this whole bitch and set the layers off from each other, if here only via the subtlest golden ribbon trim, and 2nd they pick a fabric that does all the work on its own. While this is a very brown outfit, you couldn’t say it doesn’t have anything going on with all this print. Also, the skirt is slit on the side, having more golden silk satin peeking out from the under layer.

Admittedly, this dress surprised me. The shape seems fundamentally Rosamund, but the color scheme is one I associate so strongly with Edith. Granted, Rosamund is very much tied into her arc this season, being the one person who knows what went down between Edith and Michael Gregson. So, indigo and orange it is. And another playful asymmetrical design. Not sure if I like how the vertical stripes are arranged on the front of her dress, but I think the cuffs are absolutely darling. Also, Rosamund has a similar hair color as Edith, so she can pull off the color scheme.

[jewellery-box]

Dress

1827-1829 (made), ca. 1770-1780 (woven)

Brocaded silk tobine, trimmed with silk satin, lined with glazed cotton

"A striped eighteenth-century silk gives this dress a vibrant quality. Women's clothes were often made from earlier fabrics, particularly when the colours, pattern and texture suited the fashions of the day. Eighteenth century taffetas were popular during the 1820s and 1830s as these crisp silks helped the skirts stand away from the body in graceful folds and the sleeves billow into elegant puffs. The delicate floral designs, woven stripes and soft colours also complemented contemporary lines in dress.

This evening gown is made from silk tobine dating from the 1770s. Silk tobines were taffetas patterned by being woven with an extra warp floating on the surface that was bound at intervals with silk weft threads. The warp here is in shades of red and the pattern it creates helps break up the uniformity of the stripes. This fabric was probably selected because, from a distance, the yellow, pink and red stripes resemble the 'rainbow style' prints introduced in the 1820s. 'Rainbow style' was a method of block-printing invented by the paper-stainer Spoerlin of Vienna. It was the first block-printed style adapted for roller-printing, as after the colours were applied to the cloth they were merged at the edges using a brush or roller. The result was a soft blending of colours evoking the effects of a rainbow."

Victoria and Albert Museum

[marzipanandminutiae]

expanding on the last post: What The Crimson Peak Costumes Are Made Of (I Think)

Lucille:

Blood Drop Dress (red party dress)- silk taffeta

Black dress- silk-velvet bodice and overskirt, silk taffeta underskirt

Blue dress- see above

Winter coat- wool

Robe and nightgown- silk habotai/china silk with a silk moire sash (moire pattern only visible in one BTS pic I've found so far)

Deleted scene undergarments- cotton sateen corset (I hope, given the wear to it), matching silk taffeta petticoat

Edith:

Buffalo Bookworm Suit (suit for her publisher's office)- silk taffeta

Park outfit- pleated silk habotai shirtwaist, silk taffeta skirt, belt likely a celluloid faux buckle and wool braid strap in-story and resin faux buckle + synthetic braid strap IRL

Carter's Office outfit- see above, just a different shirtwaist and with a silk tie

Buffalo nightwear set- cotton nightgown under a silk-velvet robe

Ball gown- silk satin with some sort of tulle underskirt briefly visible near the beginning and end of her dance scene

Heartbreak Dress (dinner party dress)- pleated lightweight silk, possibly habotai? but heavier than the fabric of her shirtwaists

Buffalo coat- wool

mourning dress- silk taffeta (the designer claims this is her wedding gown, but bereaved brides were HEAVILY pressured to leave off mourning on their wedding days, and I can't imagine the wedding and Carter's funeral would be on the same date anyway)

Allerdale coat- wool

Briefly-seen lingerie and net dressing gown- cotton or linen combinations which later appear in the sex scene, cotton sateen corset, dressing gown of what I imagine is crocheted silk cord + silk habotai

Nancy Drew Dress (canary-yellow dress)- silk satin

Allerdale nightwear set- silk satin robe with a pleated silk habotai nightgown underneath

Allerdale cape- wool

Thomas

Pretty much all of his outfits are wool suits over silk brocade waistcoats and linen shirts. with the exception of his formal outfit for the ball and dinner party, which appears to have a cotton shirt, white vest of a material I can't quite make out, and silk bow tie

[fashionthroughtimewithlucy]

Woodstock.

Woodstock, the most famous of the 1960s rock festivals, held on a farm property in Bethel, New York, August 15–18, 1969, at the end of the hippie movement. The hippie flower child look from the late 1960's carried over into the first half of the 1970's, in a non-restrictive bohemian silhouette with a heavy folksy influence. Arts and crafts had a huge impact on fashion during this time including tie-dye, batik, knitwear, crochet and macrame.

1970s Gunne Sax dresses.

Gunne Sax's aesthetic has been described as feminine, nostalgic, Victorian, old world and romantic. Though the brand is now closely associated with formal and bridal wear, its origins date back to late '60s San Francisco.  In 1969, San Francisco boutique Gunne Sax needed a house designer. Enter Jessica McClintock, an elementary school teacher with a life-long interest in fashion. When a friend told McClintock of the opening at Gunne Sax, she applied immediately. McClintock was hired despite her lack of formal training in fashion design or clothing manufacture. Herself and designer Laura Ashley popularized the prairie dress phenomenon.

Sometimes referred to as Granny or prairie dresses, a typical Gunne Sax dress of the early 1970s featured a banded Empire waist and a long maxi-skirt. Lace trim, high collars and long sleeves evoked an amalgam of past eras and created an overall impression of demure femininity.

Vogue Italia March 1970.

Twiggy for Vogue 1970

Thea Porter, Godmother of Bohemian Cheque.

Thea Porter, who is credited with bringing the bohemian look to London catwalks. Although Thea Porter is not as famous a name as Mary Quant or Laura Ashley, her influence on the look of her era is just as potent. Her loose, draped shapes and fabrics helped create the style of stars such as Faye Dunaway and Elizabeth Taylor in the 1970s, and they have since become forever entangled with the idea of rock-star self-indulgence. She celebrated ethnic styles in Indian style prints, free flowing breezy gauzy tent dresses and wide legged pants.

Porter's seven signature looks: the Abaya & Kaftan; the Gipsy dress; the Fraye dress; the Brocade-panel dress; the Wrap-over dress; the Chazara jacket, and the Sirwal skirt, as well as important fashion photography from the pages of Vogue, Harper's Bazaar and Women's Wear.

Changing skirt sizes.

This was the year of the changing hemline. There is no longer one length for one woman, but a whole wardrobe of lengths from which to choose. Mini, regular, midi and maxi length. Both emerald and bottle green were popular colours of the 1970s along with rust, wine red, purple, orange, and brown.

Tom Wolfe called the 1970s the "me decade" Across the land, Americans seemed determined to escape from the wars and social movements of the previous decade. Disillusionment with national and global action led many to look inward and find solace in discovering more about themselves. Women demanded respect as equal partners, and began to emerge into the work place. As women asserted themselves economically, socially, and politically, the idea of remaining trapped in an unhappy marriage became less and less appealing. Consequently, the divorce rate soared. An 1974 book entitled the courage to divorce  encouraged individuals to put their own happiness above that of their spouses and children.

Every rule of fashion was shattered in the 1970s. Lapels, ties, and collars, reached record widths. The polyester leisure suit, available in a palette of citrus and pastel colors, was extremely popular among young males. The jacket, pants, and vest were often worn with an open collar to display thick necklace chains nestled in exposed chest hair. A senses of masculine style emerged in the film 'Annie Hall' which created a sensation with Diane Keaton wearing a fitted vest with a collard white shirt and men's neckties.

[pyoorofficial]

A salwar suit that’s perfect for you!

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At Pyoor, we understand the importance of finding the right outfit for different occasions. Our collection ranges from casual cotton suits for everyday wear to professional styles for the office, and from glamorous festive wear to luxurious wedding outfits. Each design is crafted with attention to detail, ensuring that you look stunning and feel comfortable. Below is our handpicked collection of salwar suits that suit you:

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2. Laila Set in Red in Eastern Fit, by Pyoor

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3.Sitara Set: Sharara, by Pyoor

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6. Gudasta’s Silk Brocade Set with Dupatta, by Pyoor

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[moonshine-nightlight]

hi it's me, the anon reading through the story again! i'm on 7.5. i completely forgot about the astrologer and his calendar and now im excited for each of his events and i get the reference to "secret" in the 24th chapter! a HUGE detail im so glad i am re-reading.

i do have a query, though im sure it's been asked in the last year, or maybe even linked in another future chapter:

do you have photo reference'a for sana's yellow brocade gown, and the navy velvet dale chose? i am hoping to put an image to the fabrics they're talking about ^_^ if it isn't too much trouble of course!

i actually tried to make a like, mock astrologer calendar but graphic design is not my strong suit and i'm no longer sure the dates make sense lol (but you can take a peak under the cut)

for sana's yellow gown, there were a few I took inspiration from, but one main dress - see this link

dale's i didn't have any specific inspo, although i think i've tagged some cool vests/waistcoats that are velvet and blue with 'dale appearance' for the general vibes

i have this in excel but i think i need to re-tweak it now that i've written a lot more of the story

[cigarettesandinevitablebetrayal]

glance, motion and texture for rey and your newest step?

Asking about forbidden Godstep, Alexander Collins! Alright, I'll talk:

Remus Ramirez

Glance: At first glance, what stands out most about your OC's appearance? What's their distinguishing feature?

I wanna say it's his smile. Bright and wide and just a little crooked. A charming smile, but I think what most people notice first is just the mass of curls that frame his face. They're just so damn wild. You'd think they'd be messy-looking but Rey manages to pull them off like they're a halo around his head.

Motion: How does your OC move? How does their clothing help or hinder their range of motion? Are they flexible, coordinated, clumsy?

Pre-car crash, Rey moved a lot like a dancer. He likes to keep him momentum going in a fight, flowing from one move into the next. Even in the Kingmaker armor, he moves gracefully. Quick and evasive, dodging in and out of range, despite the weight of the armor. Post-crash, he's going to have to figure out how to adapt to the new weakness in his legs. He won't be able to rely as much on his quick reflexes.

Texture: Does your OC favor any specific kinds of cloth or textures? Is there anything they can't wear or don't like? What sort of fabrics do they prefer?

He prefers layers of light, flowing fabrics in bright colors. Certainly the most likely to play more dangerously with covering his tattoos out of my Sidesteps. He has a preference for breathable fabrics and despises suits.

Aleksandr Arden

Glance: At first glance, what stands out most about your OC's appearance? What's their distinguishing feature?

The stark contrast in complexion vs their hair and eyes. He's very pale (when not sunburnt) and her dark hair washes him out quite a bit. Its eyes stand out harshly against hir face. Green, but in a slightly uncanny shade, and they seem too focused on everything ze look at.

Motion: How does your OC move? How does their clothing help or hinder their range of motion? Are they flexible, coordinated, clumsy?

They move very purposefully. A slight sway to how he stands, but a decisive stride. She moves a bit like someone with military training. When he fights, ze have a very grounded stance, rooted to the ground. A lot of its gestures are a bit grandiose.

Texture: Does your OC favor any specific kinds of cloth or textures? Is there anything they can't wear or don't like? What sort of fabrics do they prefer?

She loves a good suit. Stiff fabric with clean lines, sharp angles, and a good amount of brocade or embroidery. More conservative colors and they never wear a tie.

Find more OC Design Questions here!

[puddicure]

the previous post just turned into me gushing about scifi fashion design choices but really I just wanted to talk about some bold new aesthetics I came up with that I think we should try to explore:

- Meiji Cowboy: a new take on Meiji era fashion that blended “western” style clothing with Japanese clothing construction, but with more denim and fringe

- Choirpunk: it’s the dystopian future and now you have to DIY your punk clothes out of old clergy vestments. DIY “stained glass” style jewelry made from broken bottles and shit. Idfk. (I guess this one basically already exists via fetishwear, but I think there’s potential with the Flying Nun style habits. mostly I’m just looking for a reason to use church brocades lmfao)

- EGOL (‘elegant gothic office lady,’ a play on EGL (Elegant gothic Lolita); this one is sort of like corporate goth in spirit, but I want blazers with epaulettes, modern/futuristic fabrics with Victorian-style cuts and tailoring.)

- Gilliesuit Chic: I’m picturing like, jackets with arms from Gillie suits. Bell bottoms with the bell of the pant made of this disgusting fabric. Maybe just like as a shoulder accent. Like a capelet.

- Karneval Casual: more than anything, I’m thinking about those neon feathers and the fringe you see from Rio. Incorporate those shapes and textures into some dailywear. I feel like I don’t need to explain this one.

- Castaway Chic: a gown made out of an old parachute. Wearing one of those airplane floatation vests as fashion. Literal fish net top, maybe even wearing one as a fun little skirt. Those mesh water shoes, but extended into knee high boots. Divesuit under a crop top and cargo shorts. Fish lure jewelry. You could also call this “Waterworld chic.”

- Boilersuit Lolita: workman style coveralls made from Lolita designer print fabric, trimmed with bows and frills and lace. Heart belt buckle. Name tag patch with the brand name embroidered on it. Little white gloves with bows on them and a scalloped lace wrist. Sort of a metacommentary on the commodification of working-class aesthetics while also a jab at the fact Lolita is so incredibly impractical as a lifestyle fashion. IDK. is this anything.

- Powersuit Cyborg: a reboot of the classics. Bring back the big shoulder pad blazers, add circuit board prints to the linings. Maybe that puffer coat style ribbing as an accent. Microchip cuff links. Earrings made from old connector wires. Those big visor style sunglasses. Leather half gloves. Tuxedo stripe pants where the stripes look like rainbow ribbon cables. High heel loafers with a stacked CYM block heel. Bold lipstick. Teased hair.

[famousinuniverse]

The áo dài dress has traditionally been marketed with a feminine appeal, with "Miss Ao Dai" pageants being popular in Vietnam and with overseas Vietnamese. However, the men version of áo dài or modified áo dài are also worn during weddings or formal occasions.

If you are invited to a Vietnamese wedding, it is best to wear formal attire, such as a suit or dress. For men, suits and ties are appropriate, while women can wear a cocktail dress or a modern ao dai. Avoid wearing black or white as they are traditionally associated with funerals and mourning in Vietnamese culture.

Vietnamese wedding dress: A key element to Vietnamese brides’ perfect look

Vietnamese wedding dress, often made with luxurious fabrics such as silk or brocade, embellished with intricate patterns and embroidery, is the symbol of love, happiness, and good fortune.

Ao Dai Ngu Than 

Ao Dai Ngu Than is often worn on formal occasions such as weddings, Lunar New Year celebrations, and other traditional Vietnamese ceremonies. It is a symbol of Vietnamese culture and heritage, and is often seen as a representation of the beauty and grace of Vietnamese women.

The dress can come in a variety of colors and patterns, but is most commonly seen in rich, vibrant shades of red, blue, and green.

2.3. Modern ao dai - The most popular traditional Vietnamese wedding dress

The modern ao dai has become the most favored Vietnamese wedding dress for brides who want to embrace the cultural heritage while also incorporating contemporary elements. The modern ao dai is a fitted combination of a tunic and pants that is typically made from silk, with a high collar and long sleeves.

The modern ao dai 

Many modern ao dai wedding dresses feature intricate embroidery, beading, and lace details, adding a touch of glamor and sophistication. This elegant Vietnamese wedding dress may come in a range of colors, from soft pastels to bold jewel tones, and may also incorporate modern elements such as sheer fabric or a dramatic train. The modern ao dai flatters a range of body types, with its figure-hugging silhouette elongating the body and creating a streamlined, elegant look.

3. Modern Vietnamese wedding gown for wedding party

Modern Vietnamese wedding gowns are a blend of traditional and contemporary design, featuring traditional elements such as intricate embroidery and silk fabric combined with modern silhouettes and elegant details.

These gowns are often made from high-quality silk and adorned with delicate embroidery, beading, or lace. They come in a variety of styles, ranging from form-fitting mermaid silhouettes to flowing A-line dresses with trains. Some modern Vietnamese wedding gowns also feature intricate back designs, deep V-necklines, and off-the-shoulder sleeves, adding a touch of modern flair to the traditional dress.

The bride is wearing a white Vietnamese wedding dress

Modern Vietnamese wedding gowns come in a range of colors, although white and red are the most popular. Red is a traditional color in Vietnamese culture, symbolizing luck and happiness, while white represents purity and innocence. Some brides choose to incorporate both colors into their wedding gown, with a red top and a white skirt or vice versa. Other popular colors for a modern Vietnamese wedding dress include pink, blue, and gold.

4. Price of traditional and modern Vietnamese wedding dress

Traditional Vietnamese wedding dress: A traditional Vietnamese wedding dress can cost anywhere, from 2,000,000 VND to 6,000,000 VND. Meanwhile, the rental fee is much lower, ranging from 1,000,000 VND to 2,000,000 VND. It is worth noting that some Vietnamese wedding dress rental shops may charge additional fees for altering or cleaning of the dress after use. The prices of buying or renting traditional Vietnamese wedding dresses vary, depending on the style, material, and design.

Modern Vietnamese wedding dress: The cost of modern Vietnamese wedding dresses can also vary widely, depending on the design, material, and level of customization. A modern Vietnamese wedding dress often costs from 3,000,000 VND to 10,000,000 VND. Meanwhile, renting one costs around 1,500,000 VND to 3,000,000 VND. Overall, a modern Vietnamese wedding gown can be more expensive than that of a traditional one, but there is a wider range of options for brides who want to incorporate both traditional and modern elements into their wedding attire.

Vietnamese wedding dress: A perfect blend of old and new (vinpearl.com)

Retro 90's style wedding dress. Credit to Chụp hình, ăn kem.