#could add fake moss to the costume

[cheerfullycatholic]

I don't wanna dress up as Trelawney anymore I wanna be something scary wHY DO I ALWAYS DO THIS I ALREADY HAVE MOST OF HER COSTUME

[thegreenwolf]

Betting on the Ponies (originally posted at my blog at https://thegreenwolf.com/betting-on-the-ponies/)

(Above:  Breyer Classic Arabian Stallion made over into a winged unicorn with real wings from a barnyard mix rooster I raised for meat.)

If you’ve been paying attention to my social media or my shop links at all, you may have noticed that I haven’t really been posting much in the way of new hide and bone art for the past year or so. It’s not that I’ve stopped; I still make some fun things for my Patrons on Patreon every month, and I make some bone, tooth and claw jewelry on Etsy to order. But ever since events dried up, I haven’t been regularly making new batches of costume pieces or other Vulture Culture art. My usual M.O. was to make all sorts of new things for an upcoming event, and then once the weekend was done and I was home, post whatever hadn’t sold on Etsy. And since there haven’t been events…well…I’ve just found myself doing other things.

Some of that is because I’ve had to scramble to make up for the lost income; events were a pretty big chunk of my “pay”, and losing them meant having to tighten the belt. I also lost several other income streams thanks to the pandemic making it unsafe to be around groups of people, which didn’t help. So I had to rely on what was left, along with adopting a few new sources of bits and bobs of cash here and there.

And, honestly, I’ve needed a bit of a break. I’ve been making hide and bone art for over two decades now, and while I love it, any artist eventually wants to explore different media for a while. Sure, I’ve stretched my Vulture wings in new directions, going from costume pieces and ritual tools to assemblages and the Tarot of Bones. But ever since the Tarot came out, I’ve been feeling….not really burned out, but a little creatively wrung out, at least. I’ve really appreciated my Patrons and Etsy customers who have helped me keep a hand in that particular medium, while also allowing me to head off in other directions, too.

Which is to say that if you have been paying attention to the aforementioned social media and shops, you may have also noticed that I’ve been increasing the number of customized Breyer model horses and other animals I’ve made over the past couple of years. This might seem like a heck of a departure from skulls, bones, and other dead things. But in a way it’s really me getting back to long-neglected roots.

(One of my favorite customs I’ve done on one of my favorite molds, the Breyer semi-rearing mustang. )

See, I was a horse girl when I was a kid. Or, rather, I was a wannabe horse girl. I never got to lease or own a horse, and even now in my early 40s I’m still about the greenest rider you’ll find. (Seriously, I need one of those kid-proof horses that’s seen it all, done it all, and is probably more trail-smart than I am.) But I was obsessed with horses from a young age. It started with my very first My Little Pony that I got Christmas morning, 1983 (Applejack, if you must know), and then exploded further with a book on how to draw horses and my first Breyer model (Black Beauty 1991 on the Morganglanz mold) in my preteens. Horse actually took over for Gray Wolf for a few years as my primary animal spirit during my teens, so we have a very long history indeed.

And since I couldn’t have a real horse, I ended up collecting model horses, mostly Breyers with a few old Hartlands for variety. I had over 100 at the peak of my collecting, but I had to sell them all in my early twenties when I was between jobs. In hindsight it was probably for the best because having less stuff made it easier to get through the period of my life where I was moving about once a year, but I do miss that collection.

Back then I did my part to add to the artistic end of the model horse hobby, mostly with badly blended acrylic paint jobs and terrifying mohair manes and tails. But it made me happy, and that was the most important thing. Even though I only knew a couple other collectors in my little rural area, and my only real connection to the hobby was through the quarterly Just About Horses magazine Breyer put out, my collecting really made me happy in the same way that my first fur scraps and bones would catch my interest a few years later.

2020….well, it sucked. We all know that. Pandemic, political stress, financial roller coasters and more made it a really tough year for anyone who wasn’t wealthy enough to hide away and weather it all. And many of us found ourselves with more time at home, in need of distractions and solace. It ended up being a time where many people rediscovered their love of childhood hobbies. I’m one of those people. I’ve been slowly edging my way back in for the past few years, starting with repainting a few old Breyer models found at thrift stores, and then gaining momentum as I found that not only was I much better at customizing these models than I used to be, but I was having fun without the pressure to make a living off of it. (Yes, I love my hide and bone art, but when an art form is your bread and butter, it changes your relationship to it. But that’s a post for another time…)

So 2020 saw me really ramp up my customization efforts. I had to stop for a few months in summer and fall when I moved to a spifftacular new living space on the farm I’ve been working on the past few years (with, by the way, THE best studio space EVER!) but as the days shortened I found myself making more dedicated time to repainting and otherwise customizing models. I even started keeping a few of the models I’d bought to customize that were in better condition to create a small, but slowly growing original finish collection, and that really helped me feel like I was back in the (not actually a) saddle.*

That’s why a well-established artist of organic, pagan-influenced arts made from fur and leather and bone and feather suddenly started painting all these secondhand plastic ponies. It’s giving me that deep injection of childhood nostalgia balanced with adult skill and perspective, and it’s offered me a much-needed break from the exhausting schedule I’ve been living the past decade or so. Because suddenly, even with the time spent rearranging my income opportunities to make sure I could stay afloat, I found myself with a little time that hadn’t been scheduled to death, and when I thought about what I wanted to do with that time, I gravitated toward one of the few creative outlets in my life that was purely for fun.**

(Yes, this IS fan art of “The Last Unicorn”! I used a Breyer Stablemate rearing Arabian for the unicorn, and a Breyer Spanish fighting bull for the Red Bull. A LOT of fun to make this particular project.)

In a way having all my events canceled was one of the best things that happened to me, because it made me slow the fuck down. I no longer had several weekends a year where I had to spend weeks beforehand making art and otherwise preparing to be away from all my farm responsibilities for 4-7 days at a time, with all the packing and moving and setup and vending and teaching and teardown and going home and unpacking and exhaustion that goes with each event. I realized just how much each one was taking out of me, especially as I’ve gotten older. And I also recognized how much pressure I had been putting on myself to ALWAYS MAKE MORE STUFF FOR ETSY EVERY WEEK OR ELSE.

So the model horses are really sort of a symbol of the childhood joy I’ve managed to recapture, wresting time and energy back from my workaholic tendencies. I’ve even been thinking about what my professional life is going to look like once the pandemic eases up enough to allow events again, and whether I’ll put the same amount of time toward vending and and teaching at conventions and festivals as I used to. (There are a few favorites that I’m not going to miss for anything, so don’t worry about me dropping out entirely.) But for the first time in a very long time, I’m relearning to prioritize myself, and figuring out that maybe I don’t have to go hell-bent for leather every week, every year, in order to keep the bills paid and the critters fed.

And maybe, just maybe, it’s okay for this dead-critter-artist, pagan-nonfic-author, teacher-vendor-farmer, to indulge herself with something fun, and bet on the ponies to help her get through the tough times.

(P.S. Amid everything going on, I am back to working steadily on my next book, which I mentioned in this blog post almost a year ago. As a recap, its working title is Coyote’s Journey: Deeper Work With the Major Arcana, and it’s a deep dive into that section of the tarot using pathworkings with the animals I assigned to the major arcana of the Tarot of Bones. It’s not just a Tarot of Bones book, though; it’s a good way to get a new, nature-based angle on the majors in general, as well as hopefully gain a better understanding of yourself. My goal is to have it out later this year, self-pub of course, and at the rate I’m going it may end up being my longest book! Stay tuned, and if you want to get excerpts of the work-in-progress, become my Patron for as little as $1/month!)

*At the height of my “horse girl” phase, I had a really beat-up pony saddle I’d bought for ten bucks at a yard sale, and got a cheap saddle stand for it and put it in my room. And yes, I occasionally sat on it and pretended I was riding an actual horse. Hey, it made me happy at the time, and it was the closest I was ever going to get apart from a trail ride every few years.

**Yes, I do sell my customs. But I don’t make them on a schedule, I take commissions VERY sparingly, and I’m getting to stretch some new creative muscles, especially in the realms of sculpting and painting, so this is primarily for my enjoyment. The sales are just a side benefit.

(My ode to the forests of the Pacific Northwest, a Breyer deer repainted to resemble the Columbian black-tailed deer that frequent the farm I live on, along with hand-sculpted Amanita muscaria mushrooms, real and fake moss, and real lichens from fallen branches.)

[troublesometrollhunters]

Trying your damndest to look like aaarrg for Halloween + reaction

It's hard. Hell it's impossible but you want to see your favorite trolls reaction to your efforts.

First Aarrrgh is a lot bigger than you so you have to make some bulk. You have a wire cadge that you put under a gray colored sheet to make you look bigger. Next you sew fake patches of grass on the sheet for Aarrrgh's moss. The wire cadge holds it up. Painting the now mossy gray sheet with cracks it begins to look more realistic. You had wheel on the wire cadge so you pull that forward to make it look like your moving.

Next is makeup. You smear gray face paint on and tie your hair back. Painting your nose black you add in details. After come the fake tusk like teeth and green contacts to your eyes. When you look in the mirror it's obviously a costume but it's cool none the less and your proud of your work.

Marching down to Trollmarket with your prize Jim commends your costime and Toby is in awe asking if you could give him troll makeup sometime. You agree and the redhead is ecstatic. When the kids drag Aarrrgh outof the library to show him something cool he's stunned

He can smell it's you and he's concerned your secretly a changeling. How you look like him? You laugh and step out of your costume showing him the inside of the costume.

He licks at your makeup covered face and says he likes it when you look like you best.

[dippedanddripped]

“I’M SO OFF MY TITS ON COFFEE,” Stella McCartney admits, knocking back yet another cup in the foyer of a boutique hotel a stone’s throw from her home in London’s Notting Hill. “I had four school drop-offs this morning,” she explains. “I start at 6:30 a.m., and by the time I get to work [by bicycle], I feel like I’m literally done for the day. I’m a big hot sweaty mess, too,” she adds, having decided that a thick organic-cotton flying suit (no pesticides used in its production) was the way to dress for a Monday morning that started grimly overcast but soon turned sultry. “It’s just so difficult being in fashion, isn’t it?” McCartney sighs. “We have to pretend to be so perfect. I’m the one that comes in with a punk-rock kind of ‘fuck this perfection,’ ” says the woman who famously turned up, with Liv Tyler, to the Costume Institute’s 1999 “Rock Style” exhibition, both wearing jeans and custom T-shirts spelling out ROCK ROYALTY. “It’s not maintainable, it’s not wise, and it’s very old-fashioned. So there you go.”

McCartney does the school run five days a week with daughters Bailey, 13, and Reiley, 9, and sons Miller, 14, and Beckett, 11. “When you’ve got a job and you’ve got kids,” she says, “it’s when you get to see them, and you have to wake up super early and engage in that moment. Then I try and squeeze in some exercise, and then I go to work. And I try and get back for the bookending of being a mum.”

On weekends, McCartney spends more time with the family when they decamp to an estate in the wilds of unfashionable north Gloucestershire, the result of a house hunt born, as McCartney has explained, of “a desperate mission to find land so that I could ride my horse.”

McCartney married the dashing and protective Alasdhair Willis—the former publisher of Wallpaper and a creative guru himself—in the fall of 2003, and their aligned aesthetic passions run the gamut from the innovative indoor-outdoor architecture of the midcentury Sri Lankan architect Sir Geoffrey Bawa to old English roses. Over the past 15 years, the couple have transformed their handsome but once desolate Georgian manor house, sitting in bleak open farmland, into “a redbrick box within a garden within a garden within a garden,” as McCartney describes it, a breathtaking landscape of grand walled enclosures and allées of trees reflecting both her belief that “being out in a beautiful garden is nicer than sitting in a beautiful room” and her husband’s passion for such stately English flowering landscapes as Hidcote and Sissinghurst. “We planted a million trees,” McCartney told Vogue in 2010, “made another Eden.”

“You know what I was doing this weekend?” asks McCartney. “I was riding my horse barefoot and bareback, with my daughter [Reiley]. It was about as good as it gets.”

On a visit there in 2010 I was intrigued to discover—among the bridle paths, wild meadows, orchards, and Downton-scaled rose gardens and herbaceous borders—a series of reed-filled ponds that turned out to be the McCartney-Willises’ off-the-grid sewage system. “See?” says McCartney with her impish laugh. “Being an environmentalist can be sexy!”

McCartney has been environmentally conscious since childhood. “I was privileged,” she has admitted. “I grew up on an organic farm; I saw the seasons. My parents were vegetarians—they were change agents.” (That childhood idyll is evoked in her late mother, Linda McCartney’s, book The Polaroid Diaries, which also captures the world of McCartney’s American relatives, including her Eastman grandfather, who lunched at the exclusive Maidstone Club and hung de Koonings and Rothkos in his Billy Baldwin–decorated Fifth Avenue drawing room, where the infant McCartney amused herself with Joseph Cornell’s magical shadow boxes, alluringly placed on a child’s-height shelf.)

The great outdoors is also reflected in McCartney’s state-of-the-sustainable-arts London flagship store—which she designed herself, with a soundtrack that includes a three-hour loop of her father, Paul’s, demo tapes along with a Bob Roth meditation in the changing rooms. “The audio is important for me,” she says as she proudly walks me round it, “because it’s obviously such a big part of my upbringing.” There are papier-mâché walls made from “all of the shredded paper from the office,” along with a silver birch grove and a moss-covered rockery of giant granite rocks brought from the 1,100-acre McCartney family farm on Scotland’s Mull of Kintyre. “My personality is this sort of contrast between the hard and the soft, the masculine and feminine,” says McCartney. “I wanted to have life in the store—to bring nature into the experience of shopping,” she explains as she takes me up in the Stellevator to the floor where she fitted the Duchess of Sussex for the glamorous halter-neck dress she wore for the wedding reception following her marriage to Prince Harry. There are also pieces from McCartney’s “All Together Now” Beatles collaboration, inspired by a friends-and-family screening of Yellow Submarine that her father staged on the film’s 50th anniversary. “It just blew my brains because I hadn’t seen it since I was a kid,” she recalls. “It’s astonishing—just mental and so trippy and so childlike and so innocent and so heavy and so meaningful.”

Since McCartney’s 1995 Central Saint Martins graduation show, her brand has been defined by the urgent desire to do away with animal cruelty in the fashion industry. And while, 20 years ago, there were fake furs on the market, the only glues available were animal-based. “I imagine Vikings sitting around a pot, boiling down the last bones of the elk that they skinned for the fur,” says McCartney. “And I think, Wow—we’re still there.” Today McCartney uses renewable energy where it’s available for both her stores and offices; the eyewear she shows me in her store is bi-acetate, and her sneakers are made with biodegradable Loop technology; she uses regenerated nylon, polyester, and cashmere but also works with producers making innovative fashion fibers—building fake fur from sustainable corn fiber, for instance, producing vegan microsilk, and growing mycelium-based “leather.”

“I was always a bit of a freak in the house of fashion,” McCartney says. “My regime, my culture, has been different from day one.” In Paris, where she was appointed creative director of Chloé in 1997, she struggled with the perception that at 26 she was too young and unqualified for the job (“The Beatles wrote Sgt. Pepper when they were 26,” she told Vogue tartly), and her working practice was “totally at odds with the rest of the industry,” as she recalls. Even now, she says, “every single day in our office is this sort of daily challenge—a way of trying to perfect and persist and find realistic solutions within the luxury-fashion sector—and even in a more broadstream way with the collaborations with Adidas [initiated in 2004]. Each day,” she says, “there are questions that I ask that we try to find an answer for. And if we can’t, we’ll try again tomorrow.”

Despite what she refers to as “a lot of resistance,” McCartney turned the Chloé gig (which lasted through the launch of her self-titled brand in 2001) into a triumph, tripling sales. Today, as we march inexorably to global Armageddon, her commitment to cruelty-free fashion and sustainability is fast becoming the industry norm. In recent years, for instance, luxury brands including Gucci, Prada, Michael Kors, Armani, and Chanel have declared themselves fur-free. “I’m hugely relieved,” says McCartney, “but I’m actually astounded that it’s taken so long.”

McCartney now gives scholarships at Central Saint Martins, her alma mater, for students who “adhere to our ethical charter,” and helps young designers navigate the complicated terrain of sustainability. “We’re in the farming industry in fashion,” she says. “We look at the biodiversity and the soil. It’s crazy. It’s basically exhausting. It’s much easier not to do it. So I kind of understand why the world hasn’t quite followed.”

BUT McCartney has far more ambitious goals for expanding her global industry reach. Last year, she bought back full ownership of her label from Kering, 17 years after the group’s then–creative director Tom Ford had urged the company to invest in McCartney’s fledgling brand. Following her move, “people began to show an interest quite quickly,” as McCartney recalls. “I was fortunate enough that Mr. Arnault was one of the people.” She’s speaking, of course, of Bernard Arnault, the all-powerful chairman and chief executive of LVMH, which acquired a minority share in Stella McCartney in July. “I think it’s incredibly exciting. It sends a big, big message to the industry if Mr. Arnault is asking me to be his personal adviser on sustainability at LVMH. I think that was one of the attractions for me—it is a big, timely statement, and hopefully game-changing for all of us.”

McCartney points out that the fashion brands with the biggest environmental impact in terms of scale are “the high-end luxury houses, and then the fast-fashion sector. They have massive impact in a negative way, and they can have a massive impact in a positive way.” These fast-fashion retailers, as she observes, turned from fur far earlier than luxury brands. “They’re more in touch with the youth,” she says, “and what the next generation of consumers actually wants. It’s a given for my children,” she notes, “that you have to show some kind of mindfulness or awareness.” (In recognition of the next generation’s activists, McCartney has launched the Stella McCartney Today for Tomorrow Award—video nominations via Instagram—“to celebrate,” as she says, “a new generation of change agents and eco-warriors under 25 who are kicking ass for Mother Earth.”)

She may have her work cut out for her. A week after our coffee klatch and four days before presenting her spring-summer 2020 show in Paris (“our most sustainable collection ever”), Arnault, addressing an LVMH sustainability event in Paris, called out 16-year-old activist Greta Thunberg for “indulging in an absolute catastrophism about the evolution of the world” in her electrifying appearance at the United Nations summit on climate change. “I find it demoralizing,” he added. It was perhaps no accident that McCartney raced to put together a sustainability panel (no questions, no photographs) of her own on the eve of her show at the Opéra Garnier—a panel that included Extinction Rebellion activist Clare Farrell, the legendary environmentalist and activist Yann Arthus-Bertrand, and author Dana Thomas (Fashionopolis: The Price of Fast Fashion and the Future of Clothes), who noted that “we wear our clothes seven times on average before throwing them away . . . we’re perpetuating this bulimia of buying, using, and throwing away.”

“What we’ve seen over the last few weeks and months,” McCartney said, pointedly, “is children and young people taking action.” The designer also addressed the issue of young activists’ rejecting the idea of consumerism. “If the youth of today stop buying into it,” McCartney added, “then obviously, the people at the top have got to deliver on that.”

Rayon, or viscose, an indispensable fashion fiber, for instance, is created from wood pulp. “This year alone,” McCartney says, “up to 150 million trees have been cut down just for viscose.” McCartney now sources hers from sustainable forests in Sweden. “I’m trying to create something that’s still sexy and desirable and luxurious that isn’t landfill,” she tells me. “Every single second, fast fashion is landfill.”

Does McCartney feel that she’s had an impact on the practices of other brands? “That’s not for me to say,” she demurs. “That would be so unchic of us. But we are a kind of incubator. I have sympathy for how hard it is to shift the massive Titanic ship away from the iceberg,” she says. “We’re a little agile sailboat, and we built the ship. And I think that’s easier than changing something that’s been going in one direction for so long.”

While she was at Kering, the company developed an environmental profit-and-loss tool that assigned a monetary value to environmental impact—something that led to McCartney’s decision (to give just one example) to stop the use of virgin cashmere, a material with 100 times the environmental impact of wool. (It takes four goats to make enough cashmere for a single sweater, resulting in a need for grazing land that has destroyed the steppes of Mongolia and led to desertification and sandstorms in northern China.) Her label now uses regenerated cashmere, made from factory scraps that are shredded and respun into new yarn, and focuses on alpaca (“a much more friendly material”) and traceable wool (four sweaters from one sheep).

McCartney also holds an annual forum for all of her suppliers to talk with them about what her company requires and to share information on recent advances. “A lot of people see change as something scary,” she says, “but the mills are interested in working with innovators.

“I think that in a sense we’re a project,” she adds. “We’re trying to prove that this is a viable way to do business in our industry—and that you don’t have to sacrifice any style or any edginess or coolness in order to work this way. At the end of the day,” she says, “we’re a fashion house trying to deliver on the promise of desirability. Without that, I can’t even have this conversation. So I have to try and find a healthy balance—and doing both jobs is a balance. It’s the same as being a mum. My other ‘family’ is work. And I have to find the balance between this conversation of fashion and the conversation of consciousness—and they have to complement each other.”

[gallopinggold]

Some Halloween behind the scenes, because I got to be pretty crafty this year! I hate the idea of single use costumes, and some single use aspects were unavoidable to make this costume work (when will I ever wear a blue yarn wig again?) but I did my best to mitigate it.

My sweater and J's sweater + pants were thrifted, and are totally able to worn again, as all the modifications were not permanent. I thinks J is a perfect subtle but still spirited Christmas sweater too. The undershirts and shoes for both of us were already owned.

The pants I'm wearing in the dressing room photo I also got with the intention of making into the doll pants, but ended up liking them so much as regular pants I couldn't bring myself to destroy them. My original plan was to use a pair of waaaay too small jeans that I've been holding on for years hoping they would one day fit to cut up and place patches on top of the pair of thrifted jeans that actually fit. So plan B became to take a second pair of too small pants I already had and cut them both up to hopefully make a pair that at least semi fit? It did technically work, though I had to add additional holes along the seams so I could bend my knees lol. I tried sewing them and after the first patch got frustrated with how long that took for how bad they still looked, so I hot glued the rest and just hoped I would not bust through the seams like a Pillsbury biscuit that comes in the cans. Yarn for the stitching was random yarn I already owned.

Our buttons and Dr. Hakim we're made from a cardboard box I had medicine shipped to me in, and scrapbook paper + ribbon I already had in my craft collection. It actually worked out really well the box had a corrugated insert, because it made book pages for the side with very little effort on my part. The vines were from an old wreath I had taken apart and just safety pinned to the outfit, I used the wood from those vines to make the stem of the leaf head piece.

Buying new, I did get a head band from the dollar tree for the leaf + the fake moss, and I got the two blue yarn beanies from there as well. I hot glued blue yarn on one beanie to fill out the wig, so the only future use for that is as a cat toy, but the other beanie for the top bun part is perfectly fine. The yellow ribbon in the wig is actually reused from Mary's quidditch Halloween costume a few years back!

Bonus craft: I made little graveyard puddings for the party, and instead of buying plastic cups to put them in, I reused a couple of jam and peanut butter jars instead

[tweenw]

Little Red Riding Hood-(Theo Raeken)

Prompt no. 1 and 19- ‘Just one bite?’ and ‘I’m scared’

Pairing: eventual Theo Raeken x Reader

Word Count: 637

Warnings: swearing, some mentions of blood and guts(duh it’s a halloween prompt)

Summary: Theo and (Y/N) work at the local haunted house, but will romance form outwith the characters they play?

Working at a haunted house has it’s perks. You get on all of the rides for free, you get 60% off on all of the food stalls, and you get to scare the shit out of people for $12 an hour. Not to mention that you get to work with insanely attractive people, such as Theo.

“You’re on in a minute.” Janice shouts over to Theo and I who are putting finishing touches to our costumes. I apply the last bit of fake blood and admire my handy work in the mirror. We don’t get professional makeup artists, so we have to make do with ourselves. Though I’ve become the go-to person for makeup and hair somehow.

The red and white dress fits just right and the red cape floats down to my knees. Theo also doesn’t look too bad, though all he had to do was rip up a shirt, put some fake blood on and do some impressive sfx makeup on his face to transform him into a werewolf. 

“Ready, little red?” Theo asks as he walks towards me, impressive fangs coated with fake blood. There’s a playful smile on his face. 

Over the last few weeks, since the two of us got paired to play out the Little Red Riding Hood and Bad Wolf scenario, we have become close, to the point where we’ve become pretty good friends. And I would be lying if I said this guy isn’t the definition of perfect.

“As per usual, shall we?” I smile up at Theo and let him take my glove-clad hand and lead me to our little room in the haunted house. 

The room was converted to look like the woods. The floor is covered in moss, with built-in smoke machines to add for effect. The walls are also covered in 3D panels that project an image of never-ending woods. It’s surreal and pretty convincing, if you ask me.

I lay down onto the moss-covered ground as Theo hides behind the prosthetic tree, and as the excited chatter of teens near, the brightness in the room dims. Time to have some fun.

“I’m scared.” I choke out, clutching onto the werewolf’s shirt hovering above me. His wolfish face looks down at me, his tongue flicks over his lips as he takes a whiff of my neck. Sneakily, Theo licks my neck too, trying to make me laugh. But as much as I want to, I don’t break character.

“Just one bite.” He growls, his hands holding me as he kneels next to my body, now covered in blood and fake guts hanging out of my stomach. 

I manage a weak nod, and just before Theo sinks his fake teeth into my flesh, for a split seconds, almost so quick that I miss it, his eyes flash a different colour. I would have questioned it, if it weren’t for the ghost-faced teenagers looking at us with horror. 

Suddenly, the lights go out all together and Theo and I scramble to chase after the kids, me throwing the fake intestines at them and Theo howling and growling.

As they run out screaming and the doors lock behind them, the lights come back on and Theo and I laugh at our performance, proud we’ve once again managed to scare the shit out of some teens. 

The two of us walk towards the back door and Theo slings his arm over my shoulders, a cheesy grin plastered on his face. 

“So, what do you say, little red? You and I, cinema trip tomorrow? We could watch some cheesy horror movie to fit the theme.” Theo grins down at me. My heart skips a beat at his proposal. Yes, we’ve always had a flirtatious friendship, though It’s never occurred to me that he’d want to take things further. With a massive smile, I enthusiastically nod.

“I’d love to.”

Taglist:

@superhero-lover101  @jannalionheart

[prettythingsandhearts-blog1]

Bohemian Attire

Boho Chic Bohemian Style For Summer season 2017

Bohemian Fashion outfits have gotten very popular daily because of its rich fashion statement hooked up to its is one of the reason nowadays many tops celebrities like Sienna Miller, Mischa Barton, Zoe Kravitz, Pleasure Bryant, Nicole Richie,Kate Moss and Vanessa Hudgens have been noticed in cool bohemian outfits many times. There are some nice ways to translate the boho theme in your bridesmaids attire. Bohemian type is loads about clothing being move-y yet tight and in addition just a little bit revealing so as to add some enjoyable into it. PRINTS CHARMING: There is no such thing as a should be afraid of mixing and matching prints-the bohemian look is all about embracing those colourful patterns. A bohemian look, especially bracelets and necklaces, like to spotlight the most attractive colours portrayed in the world. And thus, she impressed all brides around the world to use floral wreaths for bohemian weddings. You will discover Nicole Richie and the Olsen twins on the purple Carpet dawning true boho-chic attire. The images under with fashions from and can also be your options to have a modern-boho get-up without sufficing your masculinity. Soiled pink, off-shoulder sleeves, all these features will make you appear to be a modern Bohemian gal. Much like the Hipster type, the Bohemian clothing trend has the identical thought with regards to sun shades. There are a lot of male performers in different genres who've worn the codpiece as properly. So now all subject and pseudo-discipline flowers are everlasting supporting décor for bohemian inspired weddings. For those who're searching for a delicate option to match with your bohemian theme be sure you consider lace options in your robe. ASSERTION ACCESSORIES: A cool pair of sunglasses or an announcement necklace is all you could carry a little bit bohemian type to your wardrobe. That is how Bohemian clothes works and I'm here to point out you the right way to piece collectively your outfits to create a implausible look! Again, the emphasis on a pure https://indiebohoboutique.com/collections/shop-staff-picks look also has its affect on the principle colour palette for many bohemian and boho chic outfits. And to complete our running a blog runway” we advocate the classic Nataya Bohemian impressed Trend This costume is great for a really dangerous bride who still insists on having a basic Bohemian wedding. Slim boyish figures were made for the determine-hugging look, comparable to little denim shorts teamed with a bra-high, and topped with an oversized denim jacket. Carla Estévez Marcos is rocking the classic bohemian type in this outfit consisting of a wool cardigan, a fringed leather bag, and assertion crimson cowboy boots! Bohemian Romance Prime will go higher with leggings or pants, thus, giving your attire the stylish of basic Bohemian wedding ceremony. Here are some strategies of wedding ceremony guest outfit coordinated with the wedding's theme. Nicholl Vincent is rocking a classic floaty gown in sheer white here, making a gorgeously bohemian silhouette which is perfect for summer time put on! Fake fur is a should have in case you are invested in attaining a true bohemian fashion! For example, the vintage fashion of bohemian costume sticks intently to the unique hippie concept, with an emphasis on the peasant styling of the early 70s. Traditionally, bohemian attire (for males) resembles that of Johnny Depp's outfit in the photo under. For a easy however traditional bohemian fashion, try wearing a short fringed costume witha pair of funky ankle boots like Rebecca Laurey Add a straw hat for that extra diploma of authenticity! The important thing of this theme is to decorate in relaxed yet tremendous-stylish attire evoking that informal beauty of a cowgirl. Natalia Cabezas has opted for a more subtle, modern tackle the bohemian fashion. However, trend paramours reshaped the normal bohemian fashion for it to appear extra up to date and wearable within the trendy-day. Younger Bohémienne Natalie Clifford is the very consultant for the basic bohemian fashion. With this fashion in particular, some of these necklaces can either go along with your simple black costume, a pleasant plain coloured crop high with a wrap or fringed vest, you name it. General Bohemian fashion is supposed to precise you as an individual in addition to the world around you. The luxurious colors of this costume will reanimate the old spirit of Bohemian group and you will come out great in your marriage ceremony photographs! For this kind of bohemian combo, you can put on white colored pleated knee size skirt and or the shirt you can go for the lacey white coloured skirt. There are clearly loads of choices when you are on the lookout for a gown for a wedding. Imagine it or not, Bohemian clothes could seem to be a bunch of your basic colours, comparable to browns, blacks, burgundy, and so on; however, there's actually a lot of shades and creative colours to play with for acquiring a Bohemian look. As for the other details, well, it almost goes without saying that burlap and lace are just made for including candy details to rustic wedding themes. Monmartre Doll” Nataya collection presents a terrific instance of a Classic inspired jacket for Winter Bohemian Weddings. To get a cute and summery bohemian style like this one, try combining pastel colours. Bohemian types do not need to be all vibrant coloured and completely different patterns in it but it will also be white coloured and lacy.