#garments surplus

[historic-on-main]

"vintage made to order" made to order means it's new, bitch

"vintage-inspired" okay WHAT vintage??? is the style victorian gothic??? 70s disco?? medieval??????? "vintage" isn't an era you dumb bastard

"vintage pre-2010" I am going to beat you to death with a calendar

"vintage-looking" you mean broken?? you mean cracked??? you mean "might be original or a recreation but I can't tell"? you mean "I got it for 2 dollars at a thrift store and will now try to pass it off as a valuable antique for 200"?????????

[brandedsurplus]

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[brandedgarmentswholesalers]

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[valueshoppe]

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[onegirlatelier]

Floral vest | November, 2023

This vest is a Frankenstein of two patterns—the construction is from the Ophelia Slipover by Toshiyuki Shimada 嶋田俊之and the floral pattern from the Flower Yoke Pullover by Erika Tokai 東海えりか (@erika_tokai on Instagram). Both patterns are listed on Ravelry but only available in printed books.

Now, it is not my genius idea to piece these two together. I think it was first done by a fellow Chinese knitter and designer, who is XS KNITTING on RED and XS_KNITTING on Wechat. I have both pattern books but she did provide very detailed instructions on how to combine the two patterns for this vest. I mostly followed her notes – see modifications below.

Overview of the construction

Make a provisional cast on with a waste yarn.

Knit colourwork in the round from bottom up, ending at approx. underarm level. Decrease on the sides as instructed. You will later steek the fabric at the sides so the pattern includes the additional allowance for steeking.

Knit the front and back yoke sections flat, following the instructions for neck and shoulder shaping. (There is no armhole shaping in the yoke part.)

Sew together the front and back yoke parts, pick up stitches to make the neckband.

Reinforce the steek and cut. Pick up stitches from the steeked edges to make the side bands. Sew the bottom bit of the side bands together.

Pick up stitches to make the hem.

Needles

(all 80cm circulars)

Colourwork: 3.00mm

Yoke: 2.75mm

Neckband: 2.75mm, bind off with 2.5mm

Side bands: 2.5mm, bind off with 2.25mm

Hem: 2.75mm, bind off with 2.5mm

Yarn

Biches & Bûches Le Petit Lambswool 248m/50g, in white and light pink. This is a 2-ply woolen spun, slightly rustic but soft yarn. It softens even more after washing and blooms too, making an incredibly light but hearty fabric. I always thought it was produced in Europe since this is a French brand, but the Lambswool range is actually spun and dyed in Scotland. Hence it is a little less local than I thought (and their website doesn’t say where the wool material comes from), but I’m also happy to support Scottish mills that produce less chemically treated yarns in small batches.

Another nice thing is that each of my skeins/balls actually weighed 55g, so there was a little surplus than what I paid for.

Yardage

I took detailed measurements just in case you (or future me) are worried about having enough yarn, or thinking about doing differently coloured bands, etc.

As can be seen, the bands and hem take up quite a bit of yardage.

Modifications

Colourwork

I think I followed the instructions entirely for the colourwork.

Yoke

I knitted one more row at the bottom of the front and back yokes respectively, because I somehow started from the wrong side and the pattern started from the right side. The shoulder seams are done with Kitchener stitch instead of a three-needle bind-off. Therefore I think I had about 104 rows in the yoke instead of 100 in the pattern, which means I picked up 84 stitches instead of 80 for the side band at the yoke section.

First block and felting

After I finished the yoke, the colourwork looked rather uneven. Since the yarn I used was thinner than the Shetland yarn in the pattern and I knitted the colourwork loosely to match the instructed gauge, the fabric was also quite loose and not as supple as I wanted. The good thing is that the finished garment (using the required gauge) had quite a lot of positive ease for my body measurements. So I decided to shrink the garment slightly by hand-felting it.

To felt a wool garment, you need one or more of the following: high temperature, moisture, agitation, soap. Here’s what I did to felt it as gently as possible. The half-finished main body had no live stitches at this point so I just soaked it in icy cold water as how you would normally block a knitted garment, but without soap. Then I just use my hands to agitate the fabric until I felt that it had first evened out and then tightened up. Trust me, without hot water or soap you need quite a lot of agitation to felt a garment—not just swishing it around.

I’ve also seen people putting their work into a pillow case into the washing machine on a hot drying cycle and stopping every few minutes to check if it’s felted enough. I have no confidence in operating my washing machine but you can try.

The result was satisfactory enough for me to go ahead.

Neckband

Neckband was finished with a tubular bind off with two rows, i.e. one pair, of reinforcement (the ‘tubular’ bit’). To do this, you would first use a slightly smaller needle to switch the ribbing from 2*2 to 1*1 as you knit across (see Suzanne Bryant’s video). I used a needle one size smaller but I think I could’ve gone down two sizes, as the finished neckband feels a little too loose.

Side bands

I reinforced the fabric using the crochet method and then steeked it. Some people recommend the hook to be one size smaller than the knitting needles, but I used a 1.5mm and it worked well for me. It;s absolutely possible to steek with an even number of stitches (many tutorials say you can only do an odd number of stitches).

Using a 2.5mm circular I picked up stitch for stitch for the colourwork and 84 for 104 for the yoke. One stitch is added at either ends. There was no stitch decrease after picking up. I finished with Italian bind off which is another kind of invisible bind off like tubular bind off, just without the ‘tubular’ bit.

To do this: On the 15th row (wrong side), I knitted the first 35 sts (which were not bound off) using the 2.5mm needle in 2*2 ribbing. Then I switched to 2.25mm and switched the ribbing to 1*1 as I knitted across, and finished by knitting the last 35 sts using the 2.5mm needle again in 2*2 ribbing. On the 16th row (right side), I knitted the first 35sts in the 2.5mm needle and 2*2 ribbing as usual. Then I adjusted how I held the project so that I could pull the working yarn to the opposite side (front/back side) of the garment and start the sewn bind off from the wrong side.

It is absolutely not necessary to do all this. Some people make a very simple knitted bind off. This is purely because I want an invisible bid off and the ribbing pattern made it easier to do it this way. Also see illustration.

Then I Kitchener-stitched the 2*2 ribbing to make the side seam.

Hem

I took out the provisional cast on and transfer sts to a 2.75mm needle. My side bands were slightly wider than instructed so I picked up more side stitches for the hem too. 336 sts I think. I did 2*2 ribbing and finished with a tubular bind-off with four rows, i.e. two pairs, of reinforcement.

And that's it! I'm really pleased about this little vest and might make more in different colour schemes in future.

[doufudanshi]

for anyone who criticizes jyl for bringing soup to yiling instead of like, money—

we should first ask: could jyl actually have given wwx money? she must have something, you say. the jins are rich! she could even give him some of her betrothal gifts.

but realistically jyl probably didn't have much money at all! let's think this through. not only did she not marry jzx yet at the time of her yiling visit, but (based on many, many imperial palace tv shows lol) all her worth would be in betrothal gifts of jewelry, fine clothing, or other misc items, which is 1) heavy and difficult to transport without notice, but that doesn't actually matter bc it's ultimately 2) disrespectful to sell and worse to have the gifter find out when they come by for tea and you begin chatting about the event in two days and they say oh where's that one-of-a-kind jade bracelet I gave you wouldn't it match the also one-of-a-kind silk garment that lady jin gave you sooo well oh you will look so lovely in it won't you wear it.

or worse, have it recognized in some random pawn shop on the street by someone who has never really liked you and WILL get you in deep shit for it.

does jyl have any money from the jiang side? well, jc has been busy at work rebuilding lotus pier and the clan since before wwx's defection, and even if he's not borrowing a shitton of money from the jins (which he almost certainly is), he definitely has the opposite of surplus funds. he's also busy organizing and buying gifts for the wedding too, making him go more in the red because you know the jins aren't going to want cheap-ass things even if you don't have money.

let's say jyl did get a significant bride price (aka given money money)—not only does that go to her family (jc), but it is given during the ceremony (which, again, hasn't happened yet). and, realistically, jc probably will have to use it to offset the costs of the above.

beyond that, let's just take this scene from a storytelling perspective. sometimes it is simply about the emotional resonance. the vibes. let's say jyl did have some funds to give wwx. but imagine if jyl was like here a-xian take all this money 😐 ok sure useful for some period. but is that the gift that wwx would want during the first time he's gotten to see her in months, and likely the last time he will see her in a long, long time (possibly years)? would that be impactful for the story?

meanwhile, the soup she brings represents her love. we hear in the extra, from wwx's own words, the care she put into selecting the ingredients, making sure the lotus root is fresh and perfectly ripe. it also takes hours for her to even make iirc. wwx derives so much comfort from it—that's why it comes up again and again. it is one of his first memories of feeling safe in lotus pier, of home. it provides wwx some semblance of normalcy. he hasn't had any this entire time, and is likely something he aches for whenever he's homesick or sad or questioning his choices. it is simply, given the circumstances, incredibly thoughtful. (and how meaningful was it to see wn treat it with such respect? seeing that is literally the moment in the chapter when wwx realizes—ah. the wens are people I cherish as well.)

and regarding jyl coming in her wedding dress—it is not for herself. it is for wwx. we saw how devastated wwx was just to even hear that jyl was getting married because he had to hear it from someone who wasn't jc or jyl. and to immediately then realize he cannot go? even more heartbreaking. and jyl, who clearly knows wwx extremely well, would know, without having to ask, how upset wwx would be to miss such a huge occasion in their lives that was previously a given. this is what she can do to offset that, even just a little. because jyl came in her dress, wwx gets to experience a piece of her wedding even though he cannot physically be there. not to be a 2000s mastercard ad, but there really are some things that money can't buy.

idk there's also some fist-shaking at the class discrepancy in the scene. and I get it. it sucks! her dress is certainly lavish, and the wens are farming on a corpse mountain and have only just started making a bit of money. yes, it's fine to think that if you were in the character's shoes, maybe you would've found it to be in poor taste—but the story isn't about you. it is about these characters, and what this scene means to them. and I'm of the camp that if there is no indication that wwx is upset by any of this, and in fact moved by it, there really isn't reason for the reader to be righteously indignant about these things on a character's behalf. that's just not the focus or the point of the scene.

plus, jyl is sharp. she is likely more aware of the discrepancy than most people think. she has also been shown in the text to not just be another sheltered, spoiled noble (re jzx soup incident). but if what you want is guilt from jyl—I personally think that guilt is performative, and accomplishes nothing. her guilt would've only made wwx unhappy. instead, here is an action that is meaningful and brings joy to wwx. to share her joy with him is not selfishness, nor is it some lack of awareness of their situation. if in this moment, she shows off her dress, if she revels in her joy, her happiness, it is for wwx, and wwx is incredibly moved by it.

and let's face it—wwx, of all people, would want to see jyl in a wedding dress that cost more than rebuilding lotus pier from the ground up. he wouldn't want anything less.

[probablyasocialecologist]

Fashion waste manifests at three stages in the value chain: during the production process where surplus raw materials accumulate; in warehouses where excess buffer stocks settle; and in landfills where post-consumer waste mounts. While the instant fashion model does likely reduce buffer stocks (although the companies don’t share these data to validate their claims), it’s hyper-dependence on fossil fuel-based polyester summed with the short half-life of its cheap clothing causes consequential environmental damage at the other stages of the process. Instant fashion’s popularity overlaps with the surge in plastic as a fashion input. Prior to 2000, natural fibers (such as cotton and wool) were the primary inputs to clothing. However, as fossil fuel producers have come under pressure from the growth of renewables, growth in plastic supply has proved a welcome offset with the fashion industry serving as a reliable customer. Cheaper, more readily available, and with some preferred properties (e.g. quick-drying, wrinkle-proof, durable, ability to “take” color, and more), synthetics have powered the growth of activewear and instant fashion. While consumers have benefited from lower prices, the negative impacts of synthetics are an environmental scourge. Energy used to produce plastics is often fossil fuel-intensive leading to increases in carbon emissions. During a plastic garment’s useful life, it sheds microplastics into waterways that end up in the food supply, as do excess concentrations of hazardous chemicals. A recent Greenpeace investigation found that 15% of Shein’s products contain concentrations of hazardous chemicals that breach E.U. regulatory limits. Finally, it takes hundreds of years for cheap synthetic shoes and shirts to decompose, all the while emitting methane and further contributing to climate change. (It’s important to note that even producing clothing with natural, untreated fabrics impacts the environment; the most sustainable option is to produce and consume less.)

[ph0enix-12]

Ichorverse - chapter 3

~ Knowledge’s keeper ~

This may sadly be the weakest chapter in the story, there just wasn’t that much to say

<- Chapter 2 . Chapter 4 ->

He was named Dust, for that was all he was, dust to be swept under the rug and forgotten. To be left in a library and gather over the books, to be quiet and invisible, to not ever be seen by anyone.

His family was far too powerful and influential in high society to be seen with a son like him, a frail and cursed child.

He was never fully alone, he saw spirits as they moved around his parent’s villa, but even they didn’t spare more than a glance at the forgotten child.

Many of the books of the library were used as decoration, lining the shelves just to fill them, like magic books, his favorite thing in the world. He was honestly grateful to be in that family just because it meant he could study magic. His mana lines always felt full and stuffy, making him always sluggish and sleepy. He only realized once he grew up that the reason for that was a surplus of magical energy hidden inside him.

He studied science even if magic was his true calling. Reading every single book written by the greatest researchers he could find was easy, always hungry for knowledge and more stimulus for his head.

He found magic books of all kinds and he ate through each one, devouring the words eagerly and stewing over each single page for days until he knew it by heart.

He quickly learned that spell casters were able to save spells as cards. Spell caster, mage, magic user, he loved those appellatives, he yearned to be called that too. So, he started to make his own cards, and even if the first ones were incredibly unsuccessful, he kept going every day he spent in that library. Painting and writing each little detail he found described in the books he so loved.

And then his parents had to ruin it all, of course.

After almost his entire life spent in that library, he was dragged out to attend some sort of party, which was weird, but he would have been an idiot to question them.

The lights were too bright and the music was way too loud even if soft jazz was the only thing playing. He felt the expensive garments he was made to wear stick to his bones and the lace itched badly, the tag of the shirt dug into his neck like searing needles. It was all too much all at once.

He couldn’t look people in the eyes, even if it was required for him to speak to other nobles. He didn’t care about this stupid thing, he didn’t care that he had the honor to be hosted in the king’s palace. Why the heck would he!? His library was perfect, he liked his living conditions!- to a certain degree..

He ran out into one of the openings that from the ballroom gave into the gardens outside. His breath was short and everything was spinning. Dust tried to shield his eyes, because everything felt too bright, and loud and- Something was wrapped over his head…it was a nice fabric, it felt like good quality, but not like some stupid fancy lace.

He heard someone quietly guide him to take deep breaths and he listened, slowly being able to open his eyes again.

He was utterly stunned when he saw the man in front of him, who had wrapped the cloth over his head. This was no ordinary man, this was a god.

The god had a golden crack over one of his eyes and from that close, Dust could notice tiny cyan freckles over his cheek bones. He knew very well who the god was, since there was only one other god to live in the mortal realm. This man was Nightmare, Dust had read stories about the six gods before, and he was the youngest among them even if he came from a set of triplets.

His older siblings made the sea and the planets in their galaxy, while he made the night. From the moon and the stars, to the darkness that was casted over the world- he had made it all.

And now, there he was, looking at Dust with a calm yet worried expression.

“Are you feeling better? Can you hear me now?” He asked, making sure to keep his voice low for the startled mortal, “Yeah- i am fine-“ Dust blushed at his stuttering, it wasn’t often he spoke to new people and it was surely the first time he spoke with a god.

The star sighed relieved, “good. I worried when you ran out” he tenderly wrapped the cloth around Dust further, it was like a big scarf made of heavy cotton and thankfully not itchy wool.

The god sat beside him on the grass, keeping his legs gracefully folded under himself, “thank you..” Dust muttered shyly, “I- don’t know what happened”.

“You almost had a meltdown” he was hesitant, but he gently placed a hand over Dust's shoulder in an effort to soothe him further, “did something in particular upset you? Did someone bother you?” Dust closed his eyes, surprisingly letting himself get touched. “Uh- I don’t know” he spoke softly, starting to get embarrassed- fuck, the king had to step in to calm him from a meltdown, first day out into society and he was already messing up.

“It was…loud and bright. And these clothes suck” the god chuckled amused by his brashness. “Yes well, fancy clothing isn’t really ‘sensory friendly’” he smiled at him and the mortal felt..understood, maybe.

“You are Dust, correct? I learned just today that the Arkani family had a son” He tried his hand at some light conversation, maybe trying to distract Dust from the noise of the party. “Yeah..I don’t get out much, I mostly study” He perked up, looking interested, “really? What do you study? I enjoy litterature the most”

A small smile bloomed on Dust's face, hidden under the scarf that wrapped around his head, “magic…I like magic studies”

He was admittedly very excited to finally talk with someone cultured about it.

Dust proudly showed him his cards, he hadn't even realized how much he needed someone to ask about them and to see his achievements-

“It is rare for a young man like yourself to be interested in this field. Who taught you?” Dust blushed, ashamed, “..no one taught me..your grace” he lowered my head- most nobles had a proper education, none of them were self taught like him.

“You learned magic by yourself? That is-'' Dust hunched his shoulder, ready to be chastised or something, “-quite impressive!”

To say Dust was stunned was quite the understatement- he had understood this man to be someone interested in culture, he would have imagined to be reprimanded for not having a teacher-

“You have quite the interesting talent for cards too” the god gently picked up one of the spells Dust had displayed on the grass. He studied it carefully, squinting his good eye and rubbing his chin, the mortal admitted to himself that the god looked a little silly doing so-

“-and the writing on the cards is very pristine and polished, it means that you have been writing multiple cards for a long time-” Dust hid his little snort of amusement as the god kept examining his work, he honestly felt a lot better now, the sounds and lights were dulled by the scarf he had been given.

The star offered him a polite smile as he handed the card he held back to the mortal. “How would you like a place in my court?”

Dust blinked. “Me?” the god chuckled amused, “yes, you, Dust Arkani”

He blinked again, “are- you sure your majesty?” the god shrugged a little, “why not? I don't think you want to be stuck in a library forever, no?”

How did he-

~~~

I’m so sorry Dust, I promise you are interesting in other chapters 😭😭😭

[pattern-recognition]

Ive been reading about the FDR era civilian conservation corps and particularly the clothing the enlistees were issued, they always looked fly as fuck. not only were they given certain military spec garments and modified surplus from WW1, but the government also contracted new production, high quality workwear for a variety of climates and occupations. if i had the disposable income atm i’d commission an artist like Ostwindprojekt to draw an anime girl in CCC apparel; put that anime girl to work with the Tennessee Valley Authority

[inkandguns]

If you’re looking for base layers this is the place. 25% off purchases of $100 or more with the link.

So far I’ve tried two tops (Comet is my favorite), a few t shirts, and a neck gaiter. All have been really excellent you just can’t put them in the dryer. I may or may not have shrunk the t shirts this way…

Edit:

I also have the Vapor hoodie and I poked a few good holes in it working at the farm. Unless you’re literally made of money I’d plan to use the wool items as base layers under something sturdy.

I use the Woolcloud vest as a mid layer often. It’s outperformed down for warmth but I wouldn’t use it as an outer layer because the pockets don’t have any kind of retention to close them. Under a goretex shell it works perfectly.

The website shows models using them as a standalone garment, but I could see getting tips and tears in them this way easily. If you’re looking for base layers that are affordable/expendable, I suggest going with military surplus items.

[brandedsurplus]

Breaking News | ValueShoppe ka hua khulasa | original branded garments ...

[badjohnspeakeasy]

Time for a Crackpot Theory (Webcomic Spoilers)

One-Punch Man Webcomic readers might remember this guy. The Neo Leader and Great Prophet Infelsinave, founder of the Church of Otherworldly Reincarnation. He had nearly a million loyal followers, and he joined the Neo Heroes to fight for justice or something.

I don't think he ever said a single fuggin' word, so I guess if one wanted to list his positive traits, you could call him stoic and humble.

His fighting abilities were probably negligeable, other than the well-built suit of armor underneath his regal robes, but he was elected a Neo Leader due to his admittedly vast influence.

He had divine powers, whatever that means.

To be quite honest, I use the phrase "might remember" because he's pretty forgettable.

He was murdered recently.

As you can see, he had a tough go of it during his first battle and wound up dead in the road.

I'm here to give the prophet his due and investigate his murder a little. Let's put on our detective hats and examine the evidence.

He got a hole punched in his Neo Hero armor by a monster.

The monster killed him, then bounced. It's quite possible that's all it was; a monster saw Infelsinave, brutally ran him through, then walked away.

But notice that his homies were there to witness the murder. A horde of allies who were as weak as Infelsinave survived the attack without so much as being looked at by the murderer.

Are monsters usually that selective? No! Monsters are typically connoisseurs of surplus killing, like weasels targeting hordes of hapless mice.

So, why didn't the monster go on to maul the rest of the Neo Heroes present? Why were the other humans on-scene not worth its aggression?

So, that's my first piece of evidence; the monster seemed to have a grudge against Lord Infelsinave specifically.

But we don't know a single person with enmity towards Lord Infelsinave, do we? He had a lot of followers, which means he probably had plenty of detractors. Maybe there was a monster who hated cult leaders? In that case, we'd have no idea who killed him.

But what if, and bear with me on this, the monster didn't have a beef with Infelsinave in particular?

What if the monster was looking for a different person, and mistook Infelsinave for someone we know a little better?

I have a long-shot theory; whatever attacked Infelsinave was actually hunting our friendly neighborhood Saitama.

Both are bald, both wear flowing garments (Saitama's cape, and Infelsinave's dorky cloak), and though their similarities are only passing, Saitama has a bland enough look that Infelsinave's attacker might have made the honest mistake of killing the Neo Leader like a dog without taking a closer gander for Saitama's trademark perfunctory visage.

Now, who has the power to smash through Neo Hero armor like butter, a grudge against Saitama, and the speed to assault Infelsinave and leave before his Neo Hero squad could react?

Well...any Demon-level monster, really. Awakened Cockroach, Bug God, Royal Ripper, or even the Lion Eating Zebra could probably speedblitz Infelsinave and leave, unfraught by any Neo Goon resistance.

But I have a theory.

It was THIS GUY. The Ninja Village Leader!

He has the skills,

he has the motive,

and he's so unfamiliar with Saitama that mistaking Infelsinave for him would be believable.

Call me a gormless gumshoe. Mistake my detective hat for tin-foil. But I'd bet a fat Hamilton ($10) that the Ninja Village Leader is the culprit who eliminated Infelsinave, and he did it under the mistaken belief that he was taking down Saitama, the man who beat him up and stole all his cool ninja stuff.

Mystery solved!

"But BadJohn, Infelsinave is alive!"

No he's not. That's baloney. That guy is a fucking robot husk designed to fool his followers and steal all his money.

I'm not crazy, YOU'RE crazy

[positivelybeastly]

Why do you generally wear clothes but sometimes just trunks, maybe an open lab coat. Especially when out fighting crime when you might get shot etc. are you an exhibitionist. Do you have a death wish. I’m sure it wouldn’t be hard to get a vest or something to protect your vitals in size Big Boy Beast if you can get suits tailored your size

"What are you talking about? I wear clothes all the time! Granted, I do have to buy them from specialist retailers, but I don't habitually go without garments unless it's a Danger Room exercise or I'm relaxing in the comfort of my room. It's not even a matter of propriety, it's a matter of safety, as you intimated."

"'Cause sometimes mama McCoy's bouncing baby blue Beast wants to shake what God and the good ol' MGH gave him, and other times he wants to dress up all fancy so that there's more to take off when it comes time to have fun."

"Nah, but in truth, it's for free movement! You ever put shoes on your hands? That's what it feels like for me to wear too much clothing! I'm covered in thick, bountiful blue fur - I get antsy and overheat and cranky when I wear clothes for too long."

"That, dear heart, is none of your business."

"Do you have any idea how much it costs to buy clothing in my size? This isn't a Wolverine situation where I can just run down to the local cowboy surplus store and refill my wardrobe - as you intimated, I have to get it all custom made, and that does not come cheap. Every time I have to shuck off a shirt to operate at peak efficiency, every time I get blasted with some stun ray that fries my clothing to a crisp, that is unnecessary expense."

"I'm not a field operative. I have no need of clothing unless I require specialist equipment or an above-standard amount of body armour."

"Well, of course I'm an exhibitionist. Have you seen me? All the sad little flatscans need to know what they're missing."

You might like to give this a read, friend. It's a little outdated, but it still rings true. The short answer is, there's a very specific context and reasoning behind when he wears clothes and when he doesn't.

[disarmarchive]

Behind Raf Simons’ “Riot Riot Riot”

Raf Simons is a recognisable name to anybody interested in the fashion space, and an undoubtedly polarising figure in the industry. A visionary Belgian fashion designer who has made a significant impact on the fashion industry, Simons is known for his minimalist designs and avant-garde approach to fashion. Since his debut in the mid 1990s, Simons has pushed boundaries and redefined what it means to be a designer. His unique aesthetic and outstanding ability to seamlessly blend high fashion with streetwear has earned him a dedicated, cult-like following and numerous accolades.

One of Raf Simons' most recognisable collections, “Riot Riot Riot”, was first displayed during Paris Fashion Week for Fall/Winter 2001. Simons drew inspiration from the vigour and rebelliousness of the punk movement for the collection, which was a reaction to the social upheaval and political turbulence of the moment. The collection's harsh, monochrome colour scheme, vivid geometric patterns, and oversized shapes pushed conventional notions of form and proportion. Models stormed down the runway in a flurry of movement and emotion during the runway presentation, which was a spectacle in and of itself. “Riot Riot Riot” is evidence of Simons' aptitude at using clothing as a vehicle for cultural expression and a window into his environment.

The symbolism in Raf Simons' “Riot Riot Riot” collection is multifaceted and deeply rooted in cultural and political contexts. The use of oversized silhouettes and graphic prints represents the rebellious spirit of the punk movement, while the stark black and white colour palette signifies a rejection of traditional fashion norms. The collection's title itself, "Riot Riot Riot," is a nod to the political unrest of the time and an acknowledgement of the power of youth-led movements. The collection's use of graphic prints and bold text further emphasised its message of rebellion, with slogans like "riot," "power," and "control" emblazoned across t-shirts and jackets. In this way, “Riot Riot Riot" served as a visual manifesto, using fashion as a means of communication and a platform for social commentary. By incorporating these powerful symbols into his collection, Raf Simons was able to tap into the zeitgeist of the time and make a statement about the world he was living in.

“Riot Riot Riot” was heavily influenced by Eastern Europe, with many of the collection's motifs and designs drawing inspiration from the region's rich history and cultural traditions. The collection featured a number of garments that were reminiscent of traditional Eastern European dress, along with long coats with oversized lapels, assorted military surplus, and a general oversized look. The looks also had many layers, which could be seen all throughout Eastern Europe, due to the extremely cold climate of the area. The collection's use of bold graphic prints and stark monochromatic colour scheme also reflected the visual language of the region, with its history of propaganda and political upheaval. Simons' use of these Eastern European influences served to emphasise the collection's message of rebellion and political resistance.

The use of patches played an important role in conveying the collection's message of rebellion and social unrest. Patches have long been associated with counterculture and the punk movement, making them the perfect symbol for a collection that sought to challenge traditional ideas of fashion and society. The patches used in "Riot Riot Riot" were intentionally placed in strategic locations, such as on the elbows of jackets and the knees of pants, to suggest that these garments had been worn in the heat of protest and physical confrontation.

Many of the patches featured on the garments were references to artists who put themselves in harm's way, or sacrificed their physical and mental health for the sake of their art. This is often viewed as a reference to Simons’ own life, as he had just taken a hiatus before designing and releasing this collection, largely due to the lack of success and sales from his previous work. His mental health was deteriorating, and the references on these patches were symbolising Simons’ beliefs about sacrifice for one’s art. Releasing an extremely abnormal and never seen before collection of garments in this state of mind could be viewed as a huge mistake on Simons’ part, and temporarily, this seemed to be true. The collection was not hugely popular, and many of the items were struggling to be sold. However as time passed, the public began to view the collection for what it was, an amazing creative feat, with deep rooting meaning and social commentary.

One patch that reoccurs throughout this collection is an infamous image of Richey Edwards, the lead guitarist of the Manic Street Preachers, a Welsh punk band most prominent in the early 90s. Upon receiving criticism about the authenticity of the band, with many journalists stating that they were not truly punk, Edwards would use a razor to carve ‘4REAL’ into his forearm. The patch depicts Edwards bleeding from the arm, with fresh razor wounds, and can be seen on many garments in the collection. The Manic Street Preachers are the topic of many other patches in this collection, and this is the most clear example that Simons’ uses, of an artist putting their art (in this case their authenticity) before their own health.

Another patch that continues this theme of harm for art, is an image of Monte Cazazza, an artist known for pioneering the genre named ‘industrial music’, and even played a large role in coining the term. Other than this however, Cazazza normally participated in performance art, much of which was on the extreme side. During his performances he would pull guns, dump cement onto people, perform stunts involving dead cats, and methods of self-harm were also a prominent part of his performances. The patch in question depicts Cazazza profusely bleeding on his chest, and seemingly ‘grasping’ at the camera.

The connection between these two patches is clear, and this can be seen throughout many others displayed in the collection. The symbolism and connection that Simons’ is drawing through his use of these patches is obvious, which is the relationship between an artist's physical and mental health, and their works. These references show artists who put their art before their health, harming themselves for the sake of the art (and occasionally the harming is the art itself). It could be argued that Simons’ uses these references to show his support, however I believe he is simply making a social commentary and comparing his own experiences as a creative, rather than offering up an opinion.

While it is difficult to know the exact state of Raf Simons' mental health during "Riot Riot Riot," it is clear that the collection was deeply personal and reflective of his own struggles with anxiety and depression. In interviews, Simons has spoken candidly about the toll that the fashion industry can take on one's mental health, and it is likely that the pressures of his work contributed to his emotional state during this time. The collection itself was a risky form of catharsis, allowing Simons to express his own feelings of anger, frustration, and rebellion through his designs. Today, Simons continues to be an advocate for mental health awareness in the fashion industry and beyond, using his platform to raise awareness and break down the stigma surrounding mental health issues.

Why did this collection originally go over terribly, and why was Simons’ largely misunderstood as a designer? As with anything new or unseen, many people can take their time in adjusting, as their preconceived notions of a ‘good’ item of clothing or collection of garments is set in stone. The juxtaposition of “Riot Riot Riot” against the fashion space at the time was clearer than ever, and his adventurous attempt to be himself did not go over well with the public. Even Raf Simons cult following had to adjust to this new look he debuted, as his previous works had been much more slim and tailored, with much less layering. Even though it would be expected that the reception to this collection would damage Simons’ mental health even further, he actually came out of it much better off. As previously mentioned, Simons’ was using this collection as a form of catharsis and rebellion, and the positive effects that this had on him were apparent. Simons’ would continue this oversized, avant-garde look throughout his career, all while incorporating some of his earlier, tailored look.

Raf Simons is a revolutionary fashion designer who has left an indelible mark on the industry. His "Riot Riot Riot" collection, which was heavily influenced by Eastern European culture and the punk movement, is a powerful example of how fashion can be used to convey a message of social commentary and rebellion. Through the use of oversized silhouettes, graphic prints, and strategically selected patches, Simons was able to tap into the zeitgeist of the time and make a statement about the world he was living in. Despite initially receiving a lukewarm reception, the collection has since been recognised as a creative masterpiece, with deep-rooted meaning and significance. Overall, Simons' work is a testament to the transformative power of fashion and its ability to challenge traditional ideas and push the boundaries of art.

[artwithoutblood]

Wait… if Aeron just ‘adds a bit back there’ and then when they return to normal there’s stuff leftover… where did that extra flesh come from?

It seems they didn’t just move it from elsewhere on their body but added a surplus. And if it’s cushioning physical impact and behaving as living physical demon material it’s not just a glamour.

Do they have to conserve mass when they alter their bodies bigger or smaller? Like, do they stow any extra demon junk somewhere to get thinner - or consume matter/energy to get more material, pad their body out bigger then can choose to discard it after. Or do they just expand or compress?

Also if they assume an appearance just as a trick do they have to change? Or is it more like a hologram? Or an illusion from messing with your eyes? (I’m assuming Aeron is doing that to Dorian’s muzzle. I don’t think they have the power to remove it unless they put it there and I don’t think they did.)

Does the size of the latest absorbed host affect how much they have to work with? And can they partially consume to repair? Or they always have to wait until they’re a write off and do an entire body hop. (I know Aeron regenerates their body with a special ability from tattoos, but the demons in general.)

If they died and there was no host or entire corpse they could ooze to, could they stay alive in a severed body part just long enough for help or a proper host to come?

Don’t mind me and there doesn’t have to be answers, thinking about it is just intriguing.

there's a place for storage, or it's like a little ball picking up bits of dust and dirt. some sort of fucked up blood bending. it caaaan be an expression and compression of material, which is what makes skin in certain places a bit "thinner".

aeron didn't put the muzzle on dorian, i'll clear that up. an external force did. in dorian's current form, it is an extension of his body. a metal brace. the clothing appearance thing changes from person to person. aeron, for example, is able to change bodies and clothing because it's usually all some illusion. you may be seeing a pretty girl in front of you, but it could be aeron's regular appearance.

with someone like genesis, for example, he typically would have to change garments. he can appear some on from his trusty closet, but genesis usually wears baggy clothes for body-morphing reasons.

the tldr is if the demon's ability doesn't have to do with object manipulation, sight, or fabrics, they can't really change clothes on a whim.

genesis can also regenerate, it's not just aeron! genesis is just WAY more reckless.

the size, health, and state of decay of the host typically affects how long it takes for the demon to take over that body. excess material is stored. where it is stored is unclear even to them.

If they died and there was no host or entire corpse they could ooze to, could they stay alive in a severed body part just long enough for help or a proper host to come?

basically, though most prefer to travel as an ooze until they find something to take over. demons, at their core, are concepts. they are energy. if all else fails, they will reawaken in a body which uses them. dissonance will awake in the body of a person who has used hearing to deceive their opponents.

[nova-aurelia-deleon]

STARTER: Nova & Xiomara LOCATION: Thrift Store STATUS: CLOSED

Nova was a regular at Greywood’s local thrift store now, heading down there around once a month to drop off whatever clothes she was no longer enjoying wearing. She had a rather extensive wardrobe - back when she’d been growing up and then a young mother getting her degree, there hadn’t been any money spare to spend on things like clothes. But now? Now she had a surplus, and she enjoyed spending it on new items of clothing. Besides, she needed a whole separate wardrobe for work and for play, and so the result was a lot of clothes.

Heading in clutching a back stuffed to the brim of freshly laundered items, she strolled up towards the counter, resisting the urge to flick through the garments hung on the racks that surrounded her. “Hey… I’ve got these to drop off,” she hummed, heaving the bag up onto the counter, eyes meeting those of a woman’s she did not recognise.

@werewolf-xiomara​