#costume overcoat

[lorieninksong]

Another mutual's birthday. Sorry its late! This is @rukafais 's interpretation of their beloved blorbo, Kimmuriel Oblodra from the Drizzt novels. Do you think an ion stone might attract moths?

[elderflowergin]

blood free v secret forest, a quick and dirty comparison:-

As someone who fell for Kdrama through Stranger, i loved it because it appeared seamless, grounded and weaved several systems and levels of privilege very elegantly. Most of all it seemed morally urgent, even if it was at its core a detective mystery. (Which, to be fair, Blood Free is as well.)

Secret Forest’s first success was that it held nuance for everyone in the middle of the road; LSY afforded so much thoughtful shading to those men. I often think they will never look as beautiful as they do on SF, and that’s only partly because of whoever did the lighting etc, but they’re not Kdrama glossy perfect; they’re real people trying to reckon with themselves and the moral calculus they have agreed to, and their dignity comes from the reckoning. Lee Chang-joon, Kang Won-chul, Lee Yeon-jae, even Seo Dong-jae for that matter, all have that advantage. LSY managed this for Jung Sung-il in the scant few minutes of screen time he had.

The second success was Cho Seung-woo and Bae Doona. If Secret Forest was a universe they were its gravitational field; it was their fierce sense of honour and morality that drives both seasons. And their moral decency is hard-won; it is tested constantly, and it’s burnished at each opportunity, which is why they are respected. It is a dream that people like that can influence or impact those around them, but you don’t question that they do, by the end of each season, and that’s the victory of writing, casting and the charisma of both leads.

That’s why that funeral scene in season 1 is so important (to me); it shows the gravity shifting. The prosecutors rely on their forest of secrets to keep the centre together, but Hwang Si-mok demonstrates how untenable this has become, how the roots must be pulled out so the weeds die; so new healthy things can grow. The chaebols are at the periphery, and they continue to be there because, most audaciously of all, they don’t matter if enough people shift their moral calculus. I think this gravitational pull happens to Lee Chang-joon in season 1 thanks to Hwang Si-mok and it happens to Choi Bit in season 2 thanks to Han Yeo-jin. They are easily some of the most powerful parts of the show.

On the other hand, we have Blood Free. I’m not sure who the moral gravitational field of this show is meant to be. Maybe it’s Yun Ja-yu and/or Woo Chae-woon. Maybe it’s Lee Mu-saeng. Maybe it’s about the ethical dilemma of experimentation and whether that’s a worthwhile price to pay for the scientific advancements in cultured meat and seafood. Perhaps we need more time to really see the middle of the road characters, but four episodes in there’s not much to go on: there’s Lee Mu-saeng, there’s Queen Dowager as a VP, here’s Jeon Seok-ho. There are three chaebols, all of whom seem like one-note characters to me. (Why ask a talented sketch artist to produce cartoons like these? Unless they’re not, but nothing seems to suggest otherwise.)

The most interesting insight from episode 4 was about Yun Jayu - when offered 72 trillion won for her company, she actually considers it because it means she doesn’t have to face investors and can focus on research. She has influence and money but these are means to an end, for her. I wish we could see more of that, and not necessarily through exposition alone.

When she gives deft, cool answers to reporters, did that come naturally to her or did she work at it? Is she the face of the company because she hated it a little less than Lee Mu-saeng did? If so, why? What comparative advantage did they determine she had? When she wears Chanel tweed skirts and smiles her way through presentations, is that a natural extension of her work or is that a mask she wears? Give me process, guys! Give us the backstory, the way the markets work, the environment for cutting-edge bio research in Korea, the reaction of Big Meat, the interplay of new rich and old rich, some indication of her actual influence (which must be considerably more than what we see on the show, although what little we see, while uncomfortable, is frankly not that inconceivable in a world where you’re constantly connected.) I am so interested in her, and yet I feel I am made to watch the story of her reacting to chaebols and to the mystery of corporate sabotage rather than her being the fulcrum of her own universe. And at no point does the mystery seem morally urgent to me, and it’s because 1) why does it matter if all this is is a giant M&A negotiation 2) why should we care if it doesn’t feel real to us? So what if there’s sabotage? Why on earth isn’t this company guarded like fucking Fort Knox? Why is this company ostensibly so influential, so powerful and yet capable of unusually amateurish errors that are the centre of the show so far and not on the periphery of it? Where is the moral quandary that is meant to grab us by the throat?

Is it a question of the writing? Have her interests shifted and did she want to do a show without having to do too much character work? If anyone has earned a vibes-only moment it’s Lee Soo-yeon, and I respect that for her. I hope the direction isn’t stifling the writing, because that means there is an arresting, politically trenchant drama underneath this dry procedural, and that’s upsetting to consider. We still have a ways to go and I think there is potential, but I have to remind myself not to expect something like SF, that maybe you can’t bottle that formula. That it’s the gold standard for a reason. But honestly, Disney, in the words of TikTok star imo_unusual, you’ve made this show like God was dozing off when the angels were working, now RELEASE US (and LSY writernim)

[kingcunny]

Lol at the nightgown thing, doesn't rhaenys wear the same nightgown in the drftmark episode and the scene where she's locked up in her room at kings landing? Those moments are like 6 years apart and this is one of the richest, if not the richest, lady in westeros.

i cant believe viserys makes rhaenys wear aemmas old nightgown while shes sleeping with corlys. what a sick fuck

[lowqualitygarbage]

Vault 666 quick sketches from this weekend combined, featuring:

“Oops I made them a ghoul so now they’re my favorite character”

I may try coloring in the two bigger sketches later.

Husk trivia:

He did have a family before he got ghoulified and kicked out of New Vegas; he probably has grandkids kicking around that are Charlie’s age, but he’s never met them

(the alcoholic jackassery far predated the ghoulification, going ghoul just meant it was more expensive to get drunk and he couldn’t live in a “normal” city any more; he was disowned/estranged before he turned)

He’s prone to growling/hissing/rumbling and other more “feral” vocalizations when distracted or startled

He gets really embarrassed and self-conscious if he notices he’s doing it or someone points it out  

Alastor sometimes refers to him as his pet cat mockingly because of the vocalizations and his prickly/independent attitude (the others picked up on the cute nicknames, but don’t realize how insulting it really is to Husk when they use them) 

Charlie is so fucking lucky that Al loaned her probably the only guy in their corner of the Wasteland that has actual experience working a hotel

In this AU he not only bartends, but helps manage their books, advise the girls on supplies and repair priorities, and is basically the on-site facilities manager since Alastor spends more time at the radio station

He’s done a bit of everything back in New Vegas, from pickpocketing as a kid, to performing, to bartending, to management

He basically cornered the market on organized gambling in the Wasteland during his stint as Overlord - everything from running numbers to full-on casinos had to go through him

His SPECIAL stats and skills would probably be the most balanced of the cast, a good jack-of-all-trades type of character

His weapons of choice are throwing knives, a .357 magnum revolver, and Molotov Cocktails - he prefers mid-range fighting

He genuinely thought Alastor was a friend for a little while when they were both Overlords, until Al completely fucked him over to get the upper hand, which makes his servitude that much more humiliating

[zorawitch]

Babes I am in desperate need of a good, quality image of Crowley’s Elspeth Arc outfit with the brightness modified. Trying to do a historical clothing dissection

[plausible-possible-perhaps]

I, for one, am most excited to see what the costume designs will look like in HBO's The Penguin. Gotham's most dangerous Italians better appear as if they jumped out of a noir film!

[dancerinthestorm]

Tagging @seagull-energy for some more details of these amazing costumes (purely academic reasons, of course 🙃).

These Thranduil promo shots are golden

[freunwol]

honestly shocked that the wicked movie is apparently really good bc every single thing id heard about it had generational flop written all over it and yet

[trustedealcosplayandcostume]

⚡🧙Kyouko & Harry Potter Collab Slytherin Hufflepuff Ravenclaw Gryffindor JK Uniform Coat available at Trustedeal.com

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[deconstructthesoup]

One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.

From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.

Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.

Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.

When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.

You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.

Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.

Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?

Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.

And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.

The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.

So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!

[7-oh-ta1]

I wanted to redraw that dramatic falling scene from the trailer with my au and promptly realized I had only thought abt their designs for post-botw totk and not even rough drafted them :(

[resplendentoutfit]

The Carrick Coat

James Tissot (French, 1836-1902) • On the Ferry Waiting • c.1878 • Private collection

A Carrick or Garrick (in Great Britain) is an overcoat with three to five cape collars, worn by both men and women primarily for travel and riding, in the 19th century.

Artist unknown. Costume Parisien. Chapeau de Velours. Carrick et Guêtres de Drap., 1816. Hand-coloured engraving. London: Victoria and Albert Museum

Sources:

Fashion History Timeline

Metropolitan Museum of Art

[creekfiend]

I hate a christmas carol on political and ethical grounds but I do enjoy observing the delightfully period accurate costuming on display in a muppet christmas carol. the m lotch lapel on that overcoat... the construction details... the sleeve insetting.... the varieties of colors textures and patterns... someone, somewhere, sculpted a period accurate victorian era top hat on a little wooden model of gonzo's head. think about it

[shitpostingfromthebarricade]

At risk of having completely misunderstood what it is you wanted, here are some progress photos from the 1830s waistcoat with a shawl collar that I made in June/July using this Black Snail pattern.

hey guys quick question, how the fuCK do you stitch a shawl collar

the physics are evading me and i am Frustrated

[the-corvidae-arts]

Just finished my rewatch of Hannibal and there's a detail about Will's costume choices that I noticed. Early in the show, we see him in a lot of softer lines and fabrics (that green coat he lived in) but I always noticed that by the time he takes the trip to Italy, he's wearing a lot more geometric lines and more structured clothing (crisper shirts and overcoats, etc.) and it contributes to his overall tone to me. He says he never feels more sure of who he is than when he's with Hannibal and I sort of see that reflected in how he presents himself. We see him in more defined lines when he is sure of how he stands with Hannibal and when he is connecting with him. When he is at his peak of trying to be connected to him he is seen in a lot more defined lines and shapes (early season 3 and the very end of it) compared to when he is trying to be apart from him like in the beginning and during the 3 years apart. I noticed this during the moment when Hannibal turns himself in and we see Will on the porch suddenly back in season 1-ish clothes with his hair more forward and his glasses on. It struck me how not only did he change how he wore his hair and carried himself but also the structure and lines in his appearance. Idk if anyone else would agree with this but... it's on my mind.

(surrender scene and with Molly)

(Italy after he decides what he's doing, when he arrives he is in that green coat but he quickly changes out of it)

[luveline]

please could you do vampire!sirius going out with reader for halloween except r is dressing up as a vampire so it’s pretty funny to him? idk if that makes sense! thank u <3

“You know, the best part of Halloween is that you can bite me to your heart's content and I don’t have to cover it up,” you say. You must have a rash of them down your neck, red pin pricks, the freshest turned black with blood spots. 

Sirius spins you around by the hand, the edges of your skirt and your dark velvet cape flared by the momentum. “You don’t have to cover them at all.” 

“I fear you’d be killed otherwise.” 

“I can’t be killed,” he says, letting you swing his hands between you. 

“That’s what you and James like to say, but that’s an illusion of grandeur you’ve made, where you think vampires are the apex predator.” 

“Darling, we are,” he says with a laugh. 

“In your dreams, perhaps.” 

“Often, but,” —he yanks you toward him in a cruel show of strength and thumbs at your sore neck— “in actuality, too.” 

“It’s not exactly hard to bite someone who’s asking you to do it.” 

“Begging, I thought.” His hand falls along your shoulder and downward to caress your elbow, pinching at your velvet sleeves. He grins at you, as though you’ve said something funny. “If I’m such a terrible predator, you won’t want to dress as my kind for Halloween, after all.” 

“I’m dressed as Lestat, you know this.” 

Sirius wrinkles his nose. “Mm, yes, Lestat. That great phoney.” 

“You’re quite like him.” 

The frills and dark colours of your clothes contrast him severely as he leans down to kiss your heart, without sound nor warning, a nosing at the beating, gurgling thing in your chest he’s come to adore. “Lestat doesn’t know half as much of romance or… seduction as I do, my mortal sweetheart,” he says, a cute laugh to his voice as he straightens up, and cups your cheek. “You’re more like Lestat than I, rude girl.” 

“Stop doing the strange voice,” you demand. 

“What voice? This is how I talk. You should practise, if you want your costume to have the full effect.” 

“I look vampire enough!” You have a lace and silk camisole, skirts with black frills, an overcoat and a cape that runs along the floor when you walk. You’ve stained your lips and cheeks with real black cherries, and elongated your canines with temporary prosthetics. It is the most effort you’ve ever put into anything, and Sirius is an ungrateful lump. “Doesn’t this make you want to spend eternity with me?” 

“Oh, my sweetheart, I will be, want or otherwise. You’re trapped in my web now.” 

“I walked into it willingly. You always forget.” 

Sirius rolls his eyes. “Of course you did.”