#ethnic costumes books

[fashionbooksmilano]

Caftani

Daniel Rey

Fotografie di Jacques Paul

Idea Books, Milano 2008, 257 pagine, 26 x 34,5 cm,   Testo Italiano, Francese e Inglese,   ISBN  9788888033617

euro 79,00

email if you want to buy :booksinprogressmilano@yahoo.it

Patrimonio, nel XVIII secolo, i caftani sono oggi il simbolo della cultura femminile marocchina, l'elemento che rivela lo stato sociale di chi li indossa, l'abito che testimonia l'arte di vivere di un popolo in piena evoluzione, legato alle sue tradizioni e nel contempo volto alle tendenze artistiche dell'Occidente. Il libro, vuole essere un viaggio attraverso l'arte della moda, ripercorrendo la storia dei caftani attraverso le collezioni di Tetouan, Fès, Rabat, Salé: caftani appartenuti alle famiglie reali e principesche, e a quelle dei ricchi commercianti del Marocco. "Caftani" si sofferma inoltre sulla sua evoluzione da quando, abbandonato all'inizio del XX secolo, è tornato di gran moda grazie alla grande creatrice Tamy Tazi e ai nuovi stilisti quali Barada, Mao, Fadyla El Cadi, Nourredine e molti altri, che realizzano veri e propri capolavori sartoriali dai quali prendono spunto anche grandi stilisti come Yves Saint Laurent e Jean Paul Gautier. 

Caftans opens the doors of the greatest collectors of caftans of the past, and of the most secret and prestigious ateliers; meets both innovative creators and those more tied to tradition; witnesses thrilling fashion shows; and places devoted entirely to paying homage to one of the most fascinating chapters of female fashion.

21/01/23

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[is-the-19thcentury-man-okay]

Help! My 19th century man has become obsessed with olden times. He frequently visits ruins of old castles, composes odes about Agincourt, and he even went to purchase ancient armour when he heard something about the Earl of Eglinton putting on a medieval joust. Should I allow him his eccentricities? I worry that he'll forget what year he lives in entirely!

Fear not, dear anon, because it sounds like your 19th century man is very much of his own time and place with his medieval meanderings!

Here's Prince Albert himself, notable ye olde times enthusiast, in costume as Edward III in 1842. There are a number of books about Victorian medievalism that can help you understand how your 19th century man may be turning to the past as a rejection of Age of Enlightenment values (which modernity and war have tarnished in his eyes), or perhaps as a commentary on industrial society!

The aesthetics of historical times are a big draw to 19th century people (who even made ye olde medieval jokes about it). While you want to encourage a healthy balance of interests and activities, there is nothing wrong with indulging your 19th century man's love of courtly knights and castles. This is natural behaviour for him, and many of his 19th century male friends share his interests in fancy dress costumes and historical romance.

'Knight in Armour' costume from Male Character Costumes, a guide to gentlemen's costume suitable for fancy dress balls and private theatricals (1884).

[noir-fleur-creations]

Crill, Rosemary. Dress in detail from around the world.V&A Publications ; New York. 2002.

This book from the Victoria Albert Museum is “An illustrated journey through the intricate details of ethnic dress” (Crill, Rosemary). It features clothing from a variety of places including Europe, Asia, and India. It features detailed and full color photos of the garments, proving useful for any costumer. More importantly though for the costumer, this book features line drawing of the garment’s internal structure. In fact the book is designed for “designers, students, and other style-o-philes.” (Crill, Rosemary). It was published in 2002 but remains relevant to this day as an outstanding resource in their line of dress in detail reference series.

[crescenthistory]

10 people i’d like to get to know better<3

tagged by the lovely @rodyassock on my main account, mwah👩‍❤️‍💋‍👩

last song you listened to: sour breath by julien baker

favourite colour: i’ve always been a blue girlie up until two years ago when i embraced green and now it's all i wear

last book i finished: “trials of nation making: liberalism, race, and ethnicity in the andes, 1810-1910” for my uni book review 🥲 & i'm constantly rereading my favourite passages of my favourite novel “oranges are not the only fruit” by jeanette winterson

last show i watched: taskmaster uk lol

sweet/salty/savoury: for enjoyment sweet, for medical purposes salty (POTS gang rise up)

relationship status: long-term partnership with my best friend 🤍 (legally shes my wife bc of benefits so i love to call her that, but we prefer 'partnership' as a label because it's beautiful)

most recent google search: violet beauregarde (halloween costume)

current obsession: marauders era in general, this week i’ve mostly been thinking about rem

looking forward to: finishing my book review tonight so i can breathe

tagging (no pressure):

@regkitblack @hyunielover @soleilfool @poetichibiscus @gl1tterc0rpse @butt3rnugg3t @m00nkissedlover @honeyssweetened @rosieswriting @helens3amstuff @alwaysanundertone & anyone else who wants to play 🤍🤍

[felassan]

The Art of Dragon Age: The Veilguard - more preview pages, under a cut due to spoilers. Preview pages come from Amazon.

( Other batches of preview pages, spoiler warning for links:

[Foreword]

Google Books pages [Part One]

Google Books pages [Part Two] )

Antiva We wanted the city of assassins to be opulent, seductive, and theatrical. The tongue-in-cheek design concept was 24/7 Batman opera: dark roofs to perch on, rich interiors with daggers behind every curtain. Antivan designs worked best in high contrast with rich colors. It increased the overall drama. We made the rooftops the domain of the Crows. Above the city they move freely, striking bold silhouettes for the population to thrill at. Some parts of the city have sunk deeper into the sea.

Antivan Crow Costumes The Antivan Crows are murderers, yes, but they are wealthy, flashy, stylish, sophisticated murderers. They are not a goon squad killing innocent, helpless people. They are what Antiva has instead of an army to (for a price) protect the nation from threats both foreign and domestic. While outsiders may see them as swords for hire with delusions of grandeur, the Crows are a celebrated and integral part of Antivan culture. This is you working alongside Antonio Banderas in Desperado, not Steve Buscemi in Fargo. They may not be nice, and it is totally reasonable for a player to be opposed to working with assassins, but this specific group is not intended to be uniformly grim. Crows aren’t shy about displaying their wealth. [Center] Originally designed as a seasonal Halloween costume, this Crow was too good not to build. Costume design for a faction that’s all about theatricality gave us a chance to go big.

There are still a lot of different archetypes within each faction.   For the Crows, they can range from ominous to bombastic. It was fun to explore the range of Crows, from the elegant to the scoundrels. We briefly explored giving Crows functional grappling hooks. While the Crows were mostly about leather and silver, we still wanted to have some heavy armor in their lineup.

Furniture tells you a lot about a region. In the case of the Deep Roads, we went for as many single-cut stones as possible. Paragon sculptures celebrate prominent figures in every profession. [top right] A tongue-in-cheek design for a dwarven mining suit. Bas-reliefs, sculptures and signs all speak about what life was like in the Deep Roads before they were abandoned.

[top center] A mobile crucible. [center left] Crane powered by a walking wheel. [center right] A walking wheel-powered pile driver. [center bottom] Industrial-level blacksmithing equipment, including a trip hammer, a grinding stone, and bellows. [bottom right] An industrial-grade blast furnace where tons of metal are smelted and poured out into giant molds.

Rivain Castaways making new lives. The majority are human, descended from Tevinters and their longstanding trading partners. There are ethnicities here who don’t seem to match the currently documented list of nations, hinting at shores not visited in living memory, and there are also Qunari. Some fleeing the Qun. Some not fleeing, but reinterpreting. There is a sizable Qunari community, and it is finding converts and alarming both Tevinter and the Qunari triumvirate. Rivain is a mix of outcast people making something new. Life beneath Rivain is just as varied. Banners of conquerors over buildings touched by many cultures, smuggler tunnels, Tevinter public works, the bones of conquered cities and even deeper infrastructure, elven ruins, deep roads, and deeper roads. Rivain was a great palate cleanser between dense urban regions, midnight swamps, and vast caverns. It may be beautiful, but it’s no less dangerous to navigate. From the earliest sketches, we wanted a land of tropical colors, infested with dragons.

Arlathan Forest Arlathan Forest, once the seat of power for the ancient elven empire, is now a realm where magic runs wild and twists reality itself into new and terrifying shapes. Artifacts from that long-ago time have begun to activate. Infused with the powerful magic that saturates the very ground in the forest, they have made what was already a dangerous place far stranger and more deadly. [right] [there is one more caption in this image that I cannot make out the text of]

Book art credits:

BioWare art: Matt Rhodes, Ramil Sunga, Albert Urmanov, Christopher Scoles, Nick Thornborrow, Steve Klit

Volta art: Gui Guimaraes, Stéphanie Bouchard, Akim Kaliberda, Alejandro Olmedo, Alexey Zaryuta, Julien Carrasco, Maksim Marenkov, Marianne Martin, Mariia Istomina, Marion Kivits, Matti Marttinen, Mélanie Bourgeois, Pablo Hurtado De Mendoza, Rael Lyra, Rodrigo Ramos, Thomas Schaffer, Tiago Sousa, Tristan Kang, Vladimir Mokry, Yintion J, Joseph Meehan, Stefan Atanasov, Julien Carrasco

Additional art: Marc Holmes, Thomas Scholes

[omgthatdress]

In Meet Marie-Grace, Marie-Grace celebrates carnivale by attending a masquerade party wearing a fairy costume loaned to her by her voice-teacher, Madame Océane, a leftover from one of her operas.

While a fairy costume isn’t inaccurate, the overall costume is tbh kind of plain for fancy dress costumes in the 1850s. Fancy-dress parties were a staple of the Victorian-era upper class, ie, the class who had enough disposable income to waste a lot of money on a frivolous dress that was only worn once, so they tended to be incredibly elaborate displays of wealth, like these costumes designed for House of Worth:

Costumes back then aren’t like they are today. They still fit the fashionable silhouette of the time and rarely strayed from polite dressing conventions. Subjects like fairies, shepherdesses, ethnic wear, and historical figures were common.

But you also had much more interpretive costumes, representing abstract popular themes and objects:

“Ben Franklin and his Luminous Kite”

A Dirigible

electric light

Good and Evil

a lily-pond

photography

a scrap book

[dcdreamblog]

A few decades ago while I was visiting Coast City, I found an interesting partial poster in a head shop. It was advertising an archery exhibition by "the Green Arrows of the World" in Star City at the Civic Auditorium.

The painted illustration has a fellow in what looks to be the pre-beard Green Arrow costume, and several men in "ethnic" variations of that costume in various bow-drawing poses.

The bottom of the poster where presumably the date and time of this event would have been printed was missing. I purchased the poster at a very reasonable price, the owner of the shop disclaiming any knowledge of how he'd acquired it, though he was quite voluble on the Rolling Stones concert one I also picked up.

I've often wondered since if there was ever a Green Arrows of the World event since I've never heard of non-USAn GAs otherwise, or if it was someone's fun fantasy project they got printed. Any thoughts or insights?

THIS poster? (Side note, this poster was done by truly legendary pop artist Jack Kirby who was probably most famous for his work at Marvel Comics but he also did a ton of miscellaneous work related to real life superheroes too) This exhibition was done during the early days of GA's career as you can see by the age of Speedy (Now Arsenal/Red Arrow) in the artwork. In short it IS the genuine article and the Green Arrows of the World was not only real but is STILL an extant organization. It consists of...well what it says on the tin. Green Arrow-esque heroes from around the world. There's been a lot of ink used about the prominence of archery in the heroic tradition (The book "Brave and the Bowmen" by Andy Diggle comes most easily to mind) with GA being its most obvious standard bearer in the modern day. Its membership has been fairly steady since inception including: Green Arrow and Speedy, naturally (USA)

Ace Archer (Japan)

Phantom (France)

Bush Bowman (Kenya)

Arabian Archer (Saudi Arabia)

Britannia Bowman (UK)

Troubadour (Spain)

Shark Sharpshooter (Samoa) Verde Flecha (Mexico) Archer of the Alps (Switzerland)

Emerald Bowman (India)

and Alba Archer (Scotland)

Now even those of you reasonably familiar are scratching your heads at most of these names but I promise this comes directly from the minutes of their only recorded meeting stored at the Moira Queen Memorial Library at Star City U. It's just that most of these heroes were fairly low key. Archer heroes and the urban vigilante type that they're usually part of tend toward low prominence and quiet careers because they're usually limited to action in singular cities or even neighborhoods. Most of them either did their time as small time protectors and then retired or are still fighting the good fight on a smaller scale. The Green Arrows of the World is a collective resource and support organization, sort of like Batman Inc in miniature. No one is quite sure who runs the organization's modest budget but lines have been drawn between it and Star City billionaire Oliver Queen whose philanthropy and focus on community organization projects is well known. They check up on one another, support one another where they can. There's only ever been one in person meeting of the organization, which this poster is from the public facing portion of, a charity drive run through the Queen Foundation for support of the then recent Boxing Day Tsunami. They're not open to public donation and are a rather private organization but spreading the word like this is part of my job. If the poster you have is different I highly, HIGHLY encourage you to turn it in at the museum of your choice. You may be holding an artifact of a much forgotten organization of heroes who really deserve the spotlight.

[sacredhyacinth]

Hi! As you seem to get more into Regency clothing, and as I am a person interested in historical accuracy in clothing and armor throughout history and grew up with the ‘Smithsonian FASHION , the definitive history of costume and style’ , I wanted to share some pictures .

The most common form of Regency clothing is in 1810s France. Unless this isn’t canon anymore, you have stated that Harmonia brought French culture to organa in a lore dump post but without a date of when she traveled to France would be hard to say what era of clothing she would’ve brought to the island. I’m gonna assume she went when napoleon just gained power and picked up some fashion and culture from that time, so around 1799 to 1801. Also after the Duke of Wellington defeated napoleon at Waterloo, Wellington boots were popular. I don’t know why I included this.

Here are the actual pictures of the Regency era clothing from the Smithsonian book:

(The 1830s had a stark contrast in fashion and looked at bit weird with their sleeves.) also looking through my old sketches I found my first fan-sketch of Jane O’gunua

The historical accuracy was a bit of a mess on my part. I tried to go for the whole ‘mysterious’ thing with a veil and that didn’t work. Also I imagined her as a governess or wet-nurse for Harmonia before you re-canonized her as a formal 2nd wife , but historical wise, the medical period to late 17th century weren’t that big on wet-nurses if they had a different skin tone or ethnicity or religion as the family paying them (some shit about ‘corrupting’ the child).

and this is my current fanart:

((The back of the dress is a mess.) also I had the weird idea of her wearing more and more red and less gunua yellow/gold the more she got more used to the house of Julius.)

YOU.

the way I’m going insane over jane’s design it’s so fricking cool

[lesorciercanadien]

French Canadian and Acadian culture resources, music, retailers and media

I want to share where I usually find resources regarding my culture, what I tend to trust, and what music, movies and literature informs my spiritual practice! Many of them are in French, with options to switch to English within the website parameters.

Cultural, historical societies and archive centres

Centre Marius Barbeau: The Center specializes in the area of immaterial culture. Its mission is to preserve, promote and encourage recognition, conservation, passing on and spreading of Quebec folk arts and traditions including those of the First Nations and the ethnic communities. The centre owns more than 10,000 documentary pieces of which a very large part is already catalogued and indexed! Costumes, songs, recordings, visual art, and so so much more! https://www.cdmb.ca

Centre de recherche Père Clarence d'Entrepont, Musée des Acadiens des Pubnicos, Société Historique Acadienne de Pubnico-Ouest: The Archives « Centre de recherche Père Clarence-J. d’Entremont» is located on the second floor of the Museum and Centre de recherche annex. The archives house many collections including the private collection of historian Father Clarence-J. d’Entremont. Amongst the collections found in the research center are over 5000 library books and periodicals (historical and genealogical), genealogies, land grants, deeds, microfilms, photos, maps, photographs, church records, etc. https://www.museeacadien.ca/research-center

Acadian Research Center of Prince Edward Island: Part of the Acadian Museum in PEI. They have more than 4,000 Acadian family records, including information on birth, marriage and death dates, as well as various censuses. This is in addition to the 30,000 genealogical records that their volunteers have transcribed over the years, as well as the 160 Acadian family files, binders and booklets given to them by independent researchers. They also have 340 thematic files covering various topics related to Acadian history and a library of more than 1,500 books on Acadian history as well as rare books. The Acadian Research Center of Prince Edward Island has more than 230 fonds in its collection, belonging to individuals or organizations.To view some archival fonds and photos, please visit: http://acadieipe.ca The Acadian Research Center follows the same opening hours as the Acadian Museum. To view the documents mentioned above or for more information, please contact the Acadian Museum at (902) 432-2880.

Centre d'études acadiennes Anselme-Chiasson, University of Moncton, New Brunswick: The Centre d'études acadiennes Anselme-Chiasson, established in 1968, collects and preserves all relevant documentary material concerning the Acadians and Acadian Society in various fields (history, genealogy, ethnology, sociology, archeology, folklore, demography, geography, economics, language) and offers inventories and tools to facilitate access to this material to interested researchers and members of the public. It has the largest collection of private and institutional records on Acadia in the world. It is located next to the Acadian Museum, which features a permanent exhibition and temporary exhibits, as well as guided tours and screenings of historical films and documentaries. https://www.umoncton.ca/umcm-ceaac/

Scholars and authors

Georges Arsenault (1952- still alive): historian and folklorist, born in Abram's Village, Prince Edward Island. He has published extensively on the folklore and history of the Acadians of his home island, many of these books I have in my collection for the traditions and holiday celebrations of my culture. Favorite book: Contes, légendes et chansons de l'Île-du-Prince-Édouard. Grande Marée. 2018.

Père Anselme Chiasson (1911-2004): a Catholic priest, educator and writer, born in Chéticamp, Nova Scotia. He has made significant contributions to the recording of Acadian history and folklore and folktales. He also published several volumes of Chansons d'Acadie, collections of Acadian songs. Favorite book: Chéticamp : Histoire et Traditions acadiennes. Préface de Luc Lacourcière. 3e édition. Moncton : Éditions des Aboiteaux, 1972.

Marius Barbeau (1883-1969): A monumental figure in folklore studies in Canada, he was born in Ste-Marie-de-Beauce, Quebec. Ethnographer, folklorist, a founder of Canadian anthropology. He is known for his early championing of Quebecois folk culture and his exhaustive cataloguing of the social organization, narrative and musical traditions and plastic arts of Quebecois and many First Nations oral traditions for a mass audience. He worked from 1916 to 1950 as editor on the Journal of American Folklore, in that time focusing a lot on Canadian folklore. TW: this researcher may present biases towards First Nations people and their cultures, using terms that are not considered okay today. So please, support more recent scholars and preferably First Nations authors to know more. Favorite book: Ceinture Flechée. Montréal: Paysana. 1945.

Pierre DesRuisseaux (1945-2016): Born in Sherbrooke, Quebec, he was a novelist, essayist, poet, and journalist. He wrote many works on the expressions, proverbs, sayings, and folkloric tales of Quebec. Favorite book: Croyances et pratiques populaires au Canada français, Montréal, Éditions du Jour, 1973.

Jean-Claude Dupont (1934-2016): Born in Saint-Antonin, Quebec, he was an ethnographer and researcher at University of Laval. His ethnological thesis, Héritage d'Acadie, documented the spiritual traditions of Acadians, and I use it heavily in my practice. He was a pioneer of material cultures research, using this in his ethnological research. Favorite book: Heritage d’Acadie. Collection Connaissance, éditions Lemeac. 1977. 

Carolyn Podruchny (still active in academia!): PhD, is a Professor of History at York University. Her research focuses on the relationships forged between Indigenous peoples and French colonists in northern North America. Her first monograph, Making the Voyageur World: Travelers and Traders in the North American Fur Trade (2006), examines French Canadian voyageurs who worked in the North American fur trade based out of Montreal, and ranging to the Great Lakes, the Great Plains, northern woodlands, and the subarctic. She focuses a lot on Indigenous Peoples , History, The meeting of Europeans and Indigenous peoples in the North American fur trade. The cultural, social, gender, labour, and environmental questions, Early Canadian history, Metis history, fur trade history, colonialism. She is an amazing resource! Favorite book: Making the Voyageur World: Travelers and Traders in the North American Fur Trade. Lincoln, Neb.: University of Nebraska Press. 2006.

Benoît Lacroix (1915-2016): Born in Saint-Michel-de-Bellechasse, Quebec. A Quebec theologian, philosopher, Dominican priest, professor of medieval studies and historian of the Medieval period, and author of almost 50 works and a great number of articles. His collection is extensive in terms of religious life in Quebec, and a high recommendation for spiritual inspiration! Even just the list of publications on Wikipedia is a wealth of possibility, I recommend it! Favorite book: Folklore de la mer et religion. Editions Lemeac, 1980.

Antonine Maillet (1929- still alive): This lesbian queen of the letters in Acadie! She is an Acadian novelist, playwright and scholar. She was born in Bouctouche, New Brunswick. It's impossible to note down which of her books are the best, they're all such authentic works! For my favorite book, it's for my research into the folklore of course! I first read her for her novel, Pélagie-la-Charette, published in 1974. It's about an Acadian woman who guides her fellow Acadians out of Georgia back to their homeland, enmeshing folklore and history together in her narrative. Favorite book: Rabelais et les traditions populaires en Acadie. Les Archives de Folklore, 13. Les Presses de l’Université Laval, Québec, 1971.

Fred Pellerin (1976- still alive): a legend of traditional Quebec storytelling, Fred is from Saint-Élie-de-Caxton. He is a storyteller, author, and screenwriter. He's especially known for his double-entendre turns of phrases, clever verbal acrobatics, rhythm of speaking, and his amazing imagination of the Quebecois landscape and villages of the 19th century into the 20th. He has many books with accompanying CDs with his many stories of his village and the colourful characters inhabiting it. He also collaborated on the film adaptations of his folktales Babine (2008), Ésimésac (2012), and L'arracheuse de temps (2021). Favorite book: Dans mon village, il y a belle Lurette…, livre et CD, Planète rebelle, collection « Paroles », 2001, 142 p. (ISBN 2-9225-2855-3)

Musical heritage and modern bands

Le Vent du Nord: Favorite album: Territoires (2019) a mainstay in the Canadian folk landscape, Le Vent du Nord specializes in traditional French-Canadian folk music. Fiddle, mandolin, accordion, guitar, bouzouki, hurdy-gurdy, and rich vocal harmonies and podorythmie beats. Their Shrewsbury music festival shows on Youtube are absolutely riveting to watch! One of my all-time favorite bands for my magical musical needs! "La Turlutte a bassinette" is one of my main grounding songs.

Luc Arbogast: Favorite album: Oreflam (2014). This man. Where to begin with this amazing individual!? He's from Larochelle, France, and was a contestant on season 2 of the Voice. He is a troubadour who plays traditional instruments like the Irish bouzouki, lute, bells. He is known for his unique countertenor voice and medieval songs inspired by artists like Hildegard of Bingen, Walther von der Vogelweide, and Guillaume de Machaut. He sings in old dialects, French and English. If I ever cross his path on the streets of Strasbourg one day, I will fanboy scream.

Vishtèn: Favorite album: Terre Rouge (2015). They are a folk music group from Prince Edward Island and the Magdalen Islands, whose style is rooted in Acadian music. They performed for the Library of Congress, available on Youtube "Vishtèn: Acadian music from Prince Edward Island". They fuse French, Acadian and Irish tunes. Quite beautiful harmonies too!

Les Tireux d'Roches: Favorite album: Tapiskwan sipi (2021). They're from St-Élie-de-Caxton, Mauricie, Quebec. They are considered storytellers-musicians-troubadours of Quebecois folklore and music. Using the cello, bouzouki, guitar, banjo, saxophone, clarinet, accordion, flute, harmonica. Folklorist and storyteller Fred Pellerin used to play with them!

La Bottine Souriante: favorite album: La mistrine (1994). From the Lanaudière region of Québec, La Bottine Souriante formed in 1976 during the Québec renaissance of traditional music. They use accordion, fiddle, guitar, piano, double-bass, which gives them a jazzier sound. They are known far and wide in Québec for their New Year's Eve anthems resounding in our homes, and they really go deep into the old tunes of the logging camps and voyageur trails, with some new compositions guaranteed for foot-tapping.

Les Charbonniers de L'enfer: Favorite album: La traverse miraculeuse (2008). Hailing from Quebec, they concentrate especially on vocal harmonies and acapellas, the jaw harp, and foot rhythm. They focus especially on traditional songs from the archival repertoire of French music imported with the settlers into New France, and voyageur call and response songs.

La Croisée d'Antan: Favorite album: L'antre Des Loups (2017). A trio of multi-talented musicians, La Croisée d'Antan features the violin, banjo, podorythmie, harmonica, accordion, guitar, and beautiful vocal harmonies. They have lots of traditional tunes, and new compositions with inspirations from yesteryear.

Le Diable a Cinq: favorite album: Sorti de l'enfer (2017). Five instrumentalists from the Ripon region of Outaouais, they aim to bring back the kitchen parties so fondly remembered in French Canadian households with their music. They're all from the same family: three brothers, one cousin and a friend. They use guitar, piano, vocal harmonies, accordion, podorythmie, violin, mandolin.

Movies (this list is always in progress as I discover more!)

Babine (2008): Adapted from Fred Pellerin's book Il faut prendre le taureau par les contes, the film stars Vincent-Guillaume Otis as Babine, the village idiot of Saint-Élie-de-Caxton, Quebec. A lifelong outcast because his mother (Isabel Richer) was believed to be the town witch, he becomes the immediate suspect when the town's church catches fire, killing the parish priest (Julien Poulin). However, he will receive the support of the village's merchant, Toussaint Brodeur (Luc Picard), as he attempts to prove his innocence.

Ésimésac (2012): Although an unofficial sequel to the 2008 film Babine, unlike the earlier film Ésimésac was not directly based on Fred Pellerin's previously published stories; instead, the film's screenplay placed some of Pellerin's established characters in a new original story. The film stars Nicola-Frank Vachon as Ésimésac Gélinas, a young but physically strong man whose distinguishing trait is that he does not cast a shadow. He convinces the village of Saint-Élie-de-Caxton to plant and maintain a community garden after an economic crisis has left many of the townspeople hungry, but finds himself in conflict with village blacksmith Riopel's (Gildor Roy) plan to focus on building tracks for a railroad.

L'arracheuse de Temps (2021): Based on the 2009 story by Fred Pellerin of the same name. It stars Jade Charbonneau, Marc Messier, Céline Bonnier, Guillaume Cyr, Émile Proulx-Cloutier, Marie-Ève Beauregard, Pier-Luc Funk, Sonia Cordeau, and Geneviève Schmidt. An illness-worn grandmother tries to convince her 11-year-old grandson that death does not exist. She tells him about the adventures of her youth in Saint-Élie-de-Caxton, in 1927, when she had tried to eliminate death in the village.

Visual Artists

Clarence Alphonse Gagnon (1881-1942): One of my all-time favourite artists, and a really distant relative of mine! He was born in Montréal, Quebec. a painter, draughtsman, engraver and illustrator. He is known for his landscape paintings of the Laurentians and the Charlevoix region of eastern Quebec, where my family lived. It enchants me to no end, seeing my familiar landscapes with his brushstrokes! Favorite painting: Dans la clairière, Charlevoix. Huile sur panneau de bois, 1915. 15.7 x 22.8cm. no. 1988.113. 

Claude Langevin (1942-2024): A quick painter of landscapes, self-taught! His use of the brush is reminiscent of the Impressionists. He wished to express his affection for his people and his land. His depiction of the Laurentian landscape allows the viewer to feel a strong unfailing connection between the artist and the region he calls home. His use of light in his works reminds me so much of how the sun illuminates the Saguenay region, much to my fond memories. Favorite painting: Au but de champs.

Tom Roberts (1909-1998): Born in Toronto Ontario. He drew inspiration from the Group of Seven and French Impressionism. His paintings, characterized by vivid colours and dynamic compositions, captured the diverse landscapes of Canada, from Northern Ontario to the Maritime provinces. His use of both watercolours and oils brings versatility and an array of variety! Favorite Painting: Quebec Landscape, 1950. Oil on masonite 24 x 30” in. 

Books and Witchy Tools and Where to Get Them

Most mainstream anglophone shops like Chapters Indigo don’t have much. There are other options within Québec and in local regions for our books, and some of them ship elsewhere!

Archambault: this retailer has a lot of Quebec authors, music. Many books in their collections have folklore, regional histories, folk tales and more! Simply type the region you want, for example, Charlevoix or Saguenay, with any key words like “contes” and “folklore” and you’re bound to find a few good reads. https://www.archambault.ca

Septentrion: a bookstore specializing in historical monographs and scholarly works, especially those of France, Québec and any other region where we settled. https://www.septentrion.qc.ca

Bookmark Halifax: https://halifax.bookmarkreads.ca/. A local independent bookshop in our maritime province specializing in local interest authors and titles. Many features books include local history, graveyards, notable people, local plants, and so much more!

Carrefour Atlantic Emporium and Puffin Gallery: https://www.carrefouratlanticemporium.com. An eclectic paradise of local handicrafts, books, art from all over the maritimes! There’s a location on 1869 Upper Water Street, Halifax. I go there for most of my witchy tools like hand-carved spoons, woven tapestries, jewelry, statuettes, and lots of books on Acadian and Scots plants, folklore, history and culture books, as well and Indigenous titles. Sadly I don't think they ship, but always worth asking!

Honorable mention to Jennifer's of Nova Scotia! They're a local shop in Downtown Halifax where a multitude of local craftspeople and artisans sell their works! I get my pottery, tea, candles, art, jewelry, and trinkets from them! They only deliver within 20km of the store.

For those who garden or who are interested in Quebec-grown plants and seeds to incorporate into your spiritual path, here's a website to have a list of all available growers and seed providers! https://notreheritage.ca/semences/semenciers/#:~:text=Situé%20sur%20la%20Rive%2DSud,plein%20potentiel%20de%20chaque%20cultivar.

There's also the Pépinière Ancestrale, based in Saint-Julien, QC. a regional nursery for fruit trees, shrubs and plants! They ship to Quebec, Ontario and the Maritimes! https://www.pepiniereancestrale.com

That's all I can think of for now! There's certainly more, but here is plenty to get any of you started! Feel free to reach out and ask any questions!

[trekbait]

THIS is why you keep FAILING to blend in on ANCIENT EARTH!

Getting stuck on Earth of the past is a surprisingly common occurrence for Starfleet crews. Between slingshots, Q, Devidians, orbs, Borg, kemocite explosions, rogue temporal agents and stray tachyons stuck in your ablative armour; we estimate 80% of time travel occurrences land officers specifically on Earth in North America in the 100 years between the 1930s and 2030s (give or take).

This is your guide on how to stay undercover until you escape.

What year is this?

Try not to ask this question. It is not something that comes up in regular conversation so it will look weird. Instead, look for a shop with large folded batches of paper on display. These will be newspapers and will invariably show the date in the corner of the front page. 

If you have 24th-century technology, you might also be able to tell from the level of pollution or radiation in the atmosphere, or from astrometric readings.

Continue to check the news for more information about this era, its society and historical events that you may be influencing.

Where are you from?

Try not to be specific lest they know the place and ask if you know someone there. Keep it to a general “up north”. If you’re quite far north already, substitute with “down south”.

If you stand out a fair bit, suggest that you are from France (unless you are in France, of course, but this is statistically unlikely). But do not suggest your Vulcan officer had a rice-picking incident or that you are a secret agent; such stories may be read as too outlandish. Plan your cover as soon as possible and research your era and location to get your facts straight.

Funny looking pyjamas

People of this era consider Starfleet uniforms to look like pyjamas. Go with that and say you had to leave your flat in the middle of the night due to a fire or an argument with the “missus”. This is also a good opportunity to appeal for advice on where you can find replacement clothes. 

If necessary, do not be afraid of stealing period-appropriate clothes to maintain your cover. It may not be moral, but you will be less disruptive to the timeline by stealing a shirt than walking around in full uniform. 

You should avoid high-security places when committing theft without technological aid; interacting with law enforcement can be deadly in this era. This is especially true for officers who cannot pass as humans of the local dominant ethnic group; these individuals should lay low as much as possible.

Non-human officers

The unexpected nature of time travel may preclude preparation for non-humans to hide their more obvious alien features. Some species (Betazoids, Deltans, Baku) can easily pass as humans and will have no problem blending in. Others may pose a challenge. Here are ideas of how to stay covert;

Vulcans, Romulans: Wear a hat, sweatband or long hair to cover your ears and eyebrows.

Bajorans: A band-aid over the nose and pass it off as an injury.

Trill: Pass off your spots as tattoos or wear a hood to cover the sides of your head.

Former Borg: Pass off your implants as jewellery or a body mod. Draw on some extra tattoos to add to the effect. Alternative communities can provide great cover to non-humans due to their non-conformity with the dominant society.

Orions, Andorians, Bolians: Add makeup and glitter to your face and say you’re going to a festival (Andorians should also wear a hat for the antenna - pick a flashy one to add to the festival aesthetic).

Cardassians, Ferengi, Klingons etc.: This is a lot harder. These species should stay hidden as much as possible unless there is a “comic book convention” in town. In this case, steal a lanyard and offer to pose for a photo to anyone who gets suspicious. They will assume you are in an elaborate costume seeking attention

These later examples will protect officers in casual interactions but will be out of place if entering more formal environments.

Zippers

Clothing items and bags on Earth often used a device called a “zipper” formed of metal teeth. You placed the ends together then pulled a tog up to close the two sides of the fabric. You won’t be familiar with these because they have been banned by the 2274 Oddenbery Accords after zippers were instrumental in the collapse of space-time in the Kandari sector that cost 6 million lives. 

It goes without saying that 20th-century humans should not be made aware of the mortal danger zippers pose to the universe or you may alter the timeline. Holographic versions are safe to use if you wish to practice their function and blend in.

Currency

Old Earth still relied on capitalist economics and the use of currency which had no intrinsic value. This currency often took the form of circles of decorated metal and printed slips of paper; in later decades it was also electronic, traded via plastic rectangles. The plastic rectangles will be unobtainable to you (and if stolen, would allow your movements to be tracked) but you should be aware of their purpose. 

Currency was required to even access the most essential services such as shelter and food so your first priority should be acquiring some of these scraps of paper. 

Theft: Ideally you don’t want to steal from individuals. Poverty was widespread and you could impact someone's life significantly. Instead, if safe to do so you should aim to steal from an institution such as a bank’s currency dispenser (such companies would not be impacted by small-scale theft due to something called “insurance”).

Trade: If you have on you something that holds an intrinsic value that does not contain components from the future, consider taking it to a “Porn Shop”. Tell the shop owner you have something to sell and you can obtain legal tender from them. 

Labour: Those at the bottom of the socio-economic hierarchy obtained currency via performing labour for most of the day. Your best bet is irregular work such as cleaning; this will give a very low return of currency despite intense labour but it is your best way to stay under the radar.

Gambling: Humans of this century gambled a great deal more than they had the resources to. If you have an unfair natural advantage in the games they play then you should find people willing to place a wager. Humans bet on anything, from animal races to elections or their whole economy.

Humans were particularly attached to their money and gave it names like “Abe” or “Benjamin” to create a bond with it. You should come up with your own (human) names for any money you obtain to blend in with capitalist exchanges.

Note that this region was fond of “tipping”. This is when low-wage staff were given extra money by the customer beyond the stated value of the service to compensate for their employer paying their staff less than that needed to survive. This will often be indicated by holding out a hand or a quiet cough.

Colourful metaphors

Profanity is common on old Earth in a way that is seen as inappropriately aggressive today. Nobody pays any attention to you if you don't swear every other word. So you may need to employ some yourself in casual conversation to truly blend in. Many words used then are now automatically censored by our universal translators such as ****, ****, ***** him, go **** yourself up your ******* *******, **** ** ***** **** then ***, and *. 

Transport

North America of this era was obsessed with a highly inefficient and dangerous form of personal transport known as the automobile (or “car”). These will likely end up being your primary form of transport and being a proficient driver of these vehicles is important for blending in. So you best spend an hour on the holodeck familiarising yourself with the control scheme of its interior.

Mass transit also existed, though due to chronic underinvestment in the regions you are statistically most likely to arrive in, you may find it difficult to obtain. The most common of these are “buses” which are large automobiles capable of moving around 50-100 people at a time along major routes. Usage will require currency; be sure to check the fare before boarding as some may require “exact change” to be provided.

And the timeline?

Let’s leave that side of things to the boys at the Department for Temporal Investigations. But what we will say is that this era is particularly savage. You may be tempted to right injustices left, right and centre (there are a lot) but if you, say, save a woman from getting killed by one of those deadly automobiles we mentioned then you could find out that the whole timeline is thrown off course. 

So follow these tips, keep your head down and look for a way home. That is unless you cause the death of a pivotal revolutionary figure and need to take their place to restore the timeline. Naturally.

What tips do you have for passing as a local on ancient Earth? Let us know below and Follow us for more essential tips in your Starfleet career!

[mirthpilled]

Explain vegvesir tag plz

This requires a base knowledge of like, what the ethnic faith is, why it matters that it's *ethnic* and all that good stuff. But you and I talk about that already so you're good. If anyone else has questions, read a book or something

Basically, Vegvesir has been taken to be some sort of... I don't know, mighty Viking symbol? People call it the Viking compass and tattoo it on their bodies and stuff.

Except the Viking age ended basically a thousand years before Vegvesir was ever recorded. Our earliest mention of it is 1860, in a book written by Christians, for an already millenia old Christian population in Iceland! That means it wasn't used by a (primarily) pagan populace in the first place, but I'll get to that in a second. My major gripe is that I think Viking worship, and therefore overuse, and incorrect use, of Vegvesir, is a little hokey. You know me, I never liked Viking worship in the first place, and the only thing worse is this weirdo syncretized costume version of it that Netflix inspired in the general populace.

Now, onto my "primarily pagan populace" bit... There is an interesting case to be made that Vegvesir, while drawn by people who called themselves Christian, is still a symbol of the ethnic faith. I still won't accept its use as a religious symbol akin to the runes, but there's something to this because despite very loud protests that, "once europe was christianized the pagans magically went away and were never seen again", we still had things like the Galdrastafir (also called the Huld manuscript) being written by commonfolk. Again this book dates back to as late as the 19th century. That's a lot of time lapsed between the official Christianization and the penning of a book of magic spells!

I don't know. I think it has use as a symbol of the persistence of our folk. But to use it and then start saying things about the old ways is simply false. Not valid.

[strwbrryvagabond]

wanted to get on here and yap about American Girl for some reason today

I'm far from a brand loyalist, and honestly, I was shocked I didn't grow up with the off-brand dolls you could get at Walmart or Target since I grew up poor until recently when my mom informed me that I would save money up for months and months at a time so that I could buy the dolls, and my parents only even actually purchased one for my birthday once we started to do a bit better financially, and after they saw how much I loved and took care of the dolls

I bought accessories for them myself as well, both from the actual company and from other brands like Target and Walmart ones, and even paid my mom to order me a bunk bed for them off of Etsy or something because I was so distraught that they didn't all have their own beds.

Anyways, I know brands are bad and stuff, and American Girl is not without faults and controversies, but tbh those dolls really shaped me as a kid, like I intentionally bought Rebecca Rubin as my first doll when I was a kid after seeing her in a catalog that we got sent by mistake because she was Jewish and looked like me. I had never seen a doll or character, or pretty much anything at that age who was Jewish like me and looked like me, and she wanted to be an actress, and at the time, I also wanted to act

I took that doll very literally everywhere, half the pictures of me from that age, she's tucked under my arm in a different outfit, her hair as well taken care of as I could manage for being so little. I accidentally messed up one of her curls while trying to fix her hair, and I cried for like a solid half an hour until my mom helped me fix it. even after I got other dolls, all of which I still loved and took care of religiously, Rebecca was the one who came everywhere with me

I'd already been a big reader before that, which is a whole other post, but I devoured those books, and I totally blame them for my current love of learning history and historical fiction. and the different dolls were all depicted as activists and feminists, and do not get me wrong here (I say on the 'taking things out of context' website) they were far from perfect with their diversity and activism, like oh jeez they did some very questionable things sometimes, but for the early 2000s and 2010s? revolutionary

the store closest to me closed a little before my birthday last year. I didn't know that it was even happening, and honestly probably still wouldn't have known if I hadn't been shopping with my friends at that mall like two weeks before my birthday since that was the only day we could all make work. Despite not having touched my dolls in a while, everything was super on sale, and I had been planning on taking Rebecca to college with me, so I figured I might buy her an outfit or something.

while the store was pretty ransacked, I was shocked and, no joke, teary-eyed over how many things they had for different cultures, different religions, and how many little girls I saw in there with big starry eyes looking at a doll that looked like them

I ended up buying a Channukkah outfit, and one of the friends I was with convinced me to, against my nature, let them buy a Lunar New Year outfit for me as well, which almost made me cry again. What really did it was seeing one of the previous Girls of the Year, Corrine Tan. Oh my gosh if they had had her when I was a little girl, she would've gone right beside Rebecca with how obsessed I was with her. I don't think I've mentioned it here before, but as a kid, I LOVED Mulan, and when I went to Disney World and the dress up boutique they had, I was DEVASTATED that they didn't have a Mulan costume. I latched onto her so hard for a very similar reason that I latched onto Rebecca so hard; because even though she wasn't the same ethnicity as me, Mulan was Asian, and so am I. I wore out I think three burned copies of that movie I watched it so often

I'm just weirdly sadder than I expected that American Girl is closing so many stores and not making as many sales I guess. I'm really fighting being a brand loyalist right now, because there are about a million other brands that make super similar dolls that I'm sure little kids all over loved, it's just always stuck with me that they at least seem to care about representation in the stories they make for these dolls

I mean, it clearly impacted me growing up, and I think it was for the better. I remember reading Addy's book being one of the first times I was exposed to the idea of children being slaves because they obviously didn't talk about that in an elementary school in the 2010s. I really just wanted to get all of my thoughts out, I've been thinking about it a lot recently since I took Rebecca to college, and I've now been hearing stories from girls who see her in my room about what doll or what toy shaped them as a child. Very excited to dress her up for Channukkah when it comes around, and tbh I've been looking for more outfits for her online. I just want her to be something I take with me throughout my life I guess. I mean, I took her everywhere when I was little, so it kinda feels wrong not to take her with me on this super big part of my life.

yeah anyways uh, if you had one of these dolls go... idk kiss em on the forehead or something. remind the toys that shaped you that you love them for what they did for you and all that. yap session over

[irish-dress-history]

I’m wondering if you have any examples of Irish clothing from the early 1600s (around 1610-1615)? I haven’t been able to find much from this era so I’d appreciate any sources or museum collections that you could recommend.

Starting this out with the caveat that if you're looking for the same level of detail and precision that we have for English dress history in this period, you are going to be disappointed. The types of English primary sources we have for this period (well-dated detailed paintings, well-preserved rich-people clothing, wills, printed books, etc) just don't exist for Ireland. There also seems to be much less research interest in 16th-17th c. Irish dress history, so there isn't nearly as much for secondary sources (books, articles etc.).

You don't mention if you are interested in a specific region in Ireland. Ireland in the early 17th c. was a pretty heterogeneous place. People in Dublin and Waterford wore English-influenced styles. According to British-appointed solicitor-general Sir John Davies, by 1606 a few of the wealthier people in Connacht had started wearing English dress, but many others were still wearing Irish clothing. Ulster was a mix of Irish who were wearing Irish dress and incoming English and lowland Scots settlers.

All of the extant Irish clothing I know of from the early 17th c. comes from either bogs or archaeological excavations. It looks like you've already seen my post on extant garments at the NMI. The NMI also has a couple of felt hats that might be early 17th c. This one is from Knockfola, Co. Donegal. It originally had a decorative cord or band where the pale line is:

There are also another cóta mór and brat, found on a bog body from Leigh, Co. Tipperary, which I don't think the NMI has on display. I did not bother to include them in my post, because they are so similar to the ones from Killery, Co. Sligo, but the fact that these have been found in multiple places suggests that they were common, widely-used garments.

The other major garment-find from this period is the Dungiven outfit which is in the Ulster Museum. a short video The bright blue thread was added by a modern conservator; it's not original. (Side note: The identification of this outfit has gotten unfortunately politicized. Tartan trews were worn by both the Irish and the Scots during the 17th century (McClintock 1943, Dunlevy 1989). The presence of tartan should not be used to draw conclusions about the ethnicity of the wearer.) The primary publication for this outfit:

Henshall, Audrey, Seaby, Wilfred A., Lucas, A. T., Smith, A. G., and Connor, A. (1961). The Dungiven Costume. Ulster Journal of Archaeology, 24/25, 119-142. https://www.jstor.org/stable/20627382

The one other reasonably-well preserved outfit that has published on is from a child burial from Emlagh, Co. Kerry, now at University College Cork. Shee and O'Kelly give it a late 17th c date, but they largely base this date on the presence of a rather generic-looking comb. IMO the outfit could easily be early 17th c.

The Emlagh gown, photographed on a living 8-year-old child who was wearing a sweater and skirt underneath. (The 1960s was a different time.)

The bodice has a wrap-front closure with a back and button-up sleeves similar in cut to the Killery cóta mór. The skirt is a pleated rectangle with the pleats sewn in vertically, somewhat like the Shinrone gown. Publication:

Shee, E. and O'Kelly, M. (1966). A Clothed Burial from Emlagh, near Dingle. Journal of the Cork Historical and Archaeological Society, 71(213), 81-91.

There are also, frustratingly, a bunch of fragmentary clothing finds at the NMI which might be 17th c, but no one seems to care enough to do publications on them, and NMI Archaeology still does not have their collection on-line, so they are useless to us.

The typical Irish shoe for this period is known as a brogue (also called a Lucas type 5 by archaeologists). broguesandshoes.com has photos, a pattern, and construction information.

Unfortunately, the illustrations from Speed's map are the only images I know of from this specific period.

If you want details on what materials were used, I recommend Susan Flavin's dissertation. It's about the 16th c. economy, but things didn't change that much between 1599 and 1601. free download here

If you don't mind wading through early modern English and a bit of period-typical prejudice, I recommend reading A Discourse of Ireland, by Luke Gernon written in 1620. His description of Irish clothing starts halfway down p. 356.

Finally, if you can find them, Dress in Ireland by Mairead Dunlevy (1st ed. 1989) and Old Irish and Highland Dress by H. F. McClintock (1st ed. 1943, 2nd ed. 1950) are the best books I know of for this period.

[kirafier]

Kichka

Sometimes I am amazed at my persistence when I draw. ":3

I love ethnic and historical costumes and jewelry, this drawing was my training in hand detailing as 90% of the details are hand drawn and the rest are brushes that I made myself.

Headdress. Kichka is an ancient Old Russian female headdress worn by both married women and brides. Kichka were different shapes and sizes, such kichka as on the art is called horned kiska, which is the rarest. The kichka was mostly worn in the south of Russia, in the Tambov and Ryazan regions. Horns are one of the pagan symbols of fertility like the goddess Mokosh and the god Veles. They were believed to bring a woman good luck. Because of this, the Orthodox Church disliked this headdress, but women to the last wore this headdress, but unfortunately this tradition of wearing a kichka died.

Dress. Actually on the art should have been a traditional outfit of the Ryazan bride, but at the last moment I changed my mind and decided to add something from myself. By origin, I'm half Belorussian, but unfortunately only recently I've become interested in my second homeland and learn a lot of interesting things. This outfit is a traditional belarusian dress with traditional belarusian ornaments that I found in books. It was a pleasure for me to draw these patterns, to look closely into them and recognize their meaning.

The image of this girl originally implied a mixture of two cultures and nationalities, as in me there are two of these cultures.

ART (c) MINE

[scarlet--wiccan]

Hello! I was wondering, what would you classify as the outfits defining the different eras of Wanda? Like her first, classic, Wada, and Dauterman outfits.

Well, I think you've kinda answered your own question. Wanda's had lots of costumes, but her most iconic ones can usually be attributed a specific artist's work on a specific book. She didn't really start changing up her look until the 90s, but I would say that her most iconic outfits, outside of the classic one, really are the Pérez dancer costume from Avengers (1998), and Kevin Wada's design from Scarlet Witch (2016). A lot of her other looks are more short lived, or just not well-remembered. The new one's made a big splash, but it's too soon to say what kind of staying power it'll have.

Some of those short-lived looks are actually my favorites, though, so I want to do a brief history of Wanda's costumes. This is only going to be from the main Earth-616 continuity, and, full disclosure, I'm cribbing most of these images from uncannyxmen.net's costume gallery.

The classic Scarlet Witch costume has had several variations over the years. She consistently wears some version of this outfit from the 60s through to the 90s, but there were often changes to the style and cut of her garments. She wore a wimple-like headpiece in her early appearances, and traded it in for the now-iconic M-shaped diadem in Avengers #36, published 1966. She also went through a few maternity versions of her costume during her pregnancy in Vision & The Scarlet Witch (1985).

Wanda's first major costume changes were actually the result of possession or mental manipulation-- when possessed by Chthon, Wanda takes on a ghastly appearance and her clothing transforms into a dark red bodysuit with a tattered cape, sans headpiece. [Avengers #186] Later, while under Immortus's influence, Wanda cuts her hair short, ditches the headpiece again, and dons a red-and-black costume with a dramatic purple cape. [Avengers West Coast #55]

Wanda began changing her look more frequently in the 90s. During the late run of Avengers West Coast through Force Works, she wore a red dress over a black one-piece, with a necklace, gloves, and boots-- no headpiece. This is the first real costume change that she made of her own volition. She also had a brief-lived costume which first appeared in The Crossing, that drew more inspiration from the magical characters in Doctor Strange.*

The Pérez design first appeared in the opening storyline of Avengers (1998). In an alternate reality conjured by Morgan le Fay, Wanda and Pietro both appear as sterotypical "gypsies." Wanda later adapted her her outfit from this world in a contemporary costume. This was intended as an earnest representation of Wanda's cultural identity, but it fell quite short of the mark. Alan Davis later designed a more conventional superhero suit combining many of the same elements, without being an ethnic costume.*

In the early 2000s, Wanda debuted a set of red body armor with that combined fantasy aesthetics with a superhero silhouette*. This what she's wearing during Disassembled, but it's not well-remembered, perhaps because of the understated color palette. Wanda returned in Children's Crusade wearing a slightly updated version of the classic costume, with a halterless one-piece and cowl-neck cloak. I think this is the version most people refer to when they draw her classic suit, so to that end, it might be the most iconic.

Wanda had another rapid succession of costume changes in the 2010s, starting with the knee-length red dress with built-in gloves she debuted in Uncanny Avengers (2013).* In the Uncanny Avengers 2015 miniseries, she and Pietro both donned new, but very short lived, futuristic costumes for a brief adventure into outer space.

Then, in late 2015, Wanda received her first solo title in two decades, and it came with full aesthetic overhaul. Kevin Wada designed a collection of looks inspired by witch-house and dark romance fashion trends. This was eventually streamlined into a cohesive superhero suit for other ongoing comics, with an ornate red bodice and jeweled diadem.

In 2022, Russell Dauterman designed Wanda's look for the second annual Hellfire Gala event, taking heavy inspiration from the silhouette of her Crossing costume and the darker, more ornate aesthetic of Wada's design. A slightly simplified version of this look became Wanda's main costume in Scarlet Witch (2023) Most notably, this design incorporates the same magical galaxy effect from her son Wiccan's costume into Wanda's skirt and hair, signifying her mastery of chaos magic. Whether or not this costume lasts, I believe that the dark, bejewelled aesthetic and galaxy effect will continue to define Wanda and Billy's looks for years to come.

*these are my personal underrated faves

[in-pleasant-company]

Hello new friend,

I'm a 41-year-old white queer femme who has just recently retrieved my three AG dolls from the attic where I put them away before I went to college. I have Kirsten, and the original release Felicity and Addy. I brought them out to clean up and give to my daughter, but have found they have released a great deal of stored up energy, and I have been deep diving into the world of AG since I put it down in 2001. I have been working my way backwards in your Tumblr, and am in 2020 now. I want to thank you for your clear love of and dedication to American Girl, and I really appreciate your various thoughtful perspectives, especially as it relates to the historical PC and current Mattel relationship with race and ethnicity. As an Elder Millennial, I don't really know how to Tumblr, but you can find me on IG as quiltereina (my public account), so you can see that I'm not a total weirdo-in-a-bad-way - just a domesticated rebel with grandma hobbies living in a hippie suburb of my hometown of Washington, D.C.

I found my dolls, but not their clothes or accessories yet, which is a devastating. I received the dolls as gifts, but I earned all of their clothes through chores. I have already sewed more clothes for my girls (plus the three new ones I have purchased since Jan 1) than I had the entirety of my childhood, having leaned to sew in the intervening years. I am balancing the desire to recreate all of the clothes I had, using time-period appropriate prints and patterns, but in my own preferred color schemes (mostly pinks and purples), a sort of alternative history recreation for my own inner child, plus the desire to make fun and frilly costumes for my five-year-old's enjoyment. In these pursuits, I have not only saved the Pretty Dresses PDF from AGPlaythings, but have been searching for patterns that will as closely as possible replicate the Meet outfits for my girls; I have found Addy's from doll-princesse, and think I can wing Kirsten's from her school dress, but Felicity? Still searching.

So I have one very specific question - a woman in a 18" doll facebook sewing group claims that there was 1992 Pleasant Company book of patterns released, which included Felicity's Meet Dress. I have searched the ends of the internet; she is not referring to the PC Pretty Dresses Patterns; there is no record in the AG Wiki or in the Library of Congress for this book. She said someone on Etsy was selling copies of the book and the FB poster got blocked for harassing the Etsy seller for selling a book still under copyright, but I cannot find the like on Etsy or Ebay. Have you ever heard of such a book? Or is _someone_ -lying- on the internet? And if you have any other deep-dive pattern suggestions (I've seen everything on Etsy, PixieFaire, Pemberly, etc), I'd be grateful, and also happy to compensate pattern makers/recreators.

If you've made it this far, thanks for your time reading this, and again for your insightful and informative Tumblr-blog.

Best,

LaLa

Hi, welcome! It's wonderful that you're giving some love to these old dolls once again!

As for the book with Felicity's pattern, it sounds fascinating. I will keep a lookout for it. It's possible the book was an internal, company only creation that was meant for creating the mockups before the doll clothes went into production in West Germany (and later in China). I will say that there was a set of doll patterns (or possibly multiple sets?) that were briefly available from Colonial Williamsburg that the person may have been remembering as Felicity patterns. It could also have been a pattern that was made available for special events at places like the Madison Children's Museum. I know of a pattern for Felicity's Bedding that is associated with the Madison Children's Museum.

The patterns available from Colonial Williamsburg were from Past Crafts patterns (labelled Evoking Period Style for Dolls), and I'm almost positive that there was a set of doll clothes patterns designed by someone who worked in the textiles department of Colonial Williamsburg, but I haven't been successful in tracking them down.

Edit: Could it be they were talking about the GIRL sized pattern for Felicity's Meet Outfit? It wasn't in a book but a paper envelope like commercial patterns.

Edit 2: I reached out on the AG Playthings message board and got some answers. Yes, the pattern does exist but it was never available for sale from Pleasant Company. I imagine it was an internal document that was somehow leaked/stolen. Mystery solved!