#regency hat veils

[resplendentoutfit]

Regency Fashion: Veils

Regency era portraits and fashion plates show many examples of how sheer veils, sometimes of lace, were worn as fashionable accessories. For mourning, Regency and Victorian women wore black semi-opaque scarves. And, of course, veils were and continue to be fashionable as bridal wear.

Here are some of my favorite examples of veils in portrait paintings of the Neoclassical/Regency era:

Gilbert Stuart (American, 1755-1828) • Lucinda Smith • 1809

Solely a beautiful lacework veil arranged atop the head, framing the curls on the forehead. No other head accessory here or in the portraits below.

Thomas Lawrence (British, 1769-1830) • Lady Manners • 1794 • Cleveland Museum of Art, Cleveland, Ohio

In the Lawrence portrait, the veil (or perhaps less of a veil and more of a long scrarf) appears to be worn wrapped around the head, leaving some space for curls to show through, and flowing down gracefully past the waist.

Right: John Wesley Jarvis (British, 1780-1839) • Anne Brown Dickey • c. 1807-10

(Veil pinned to the the head with a lovely, pearl-studded comb.)

Left: Elizabeth Vigée Le Brun (French, 1755-1842) • Luise von Mecklenburg-Strelitz, Queen of Prussia • 1802

(A lace-edged scarf of the same material as the dress sleeves is worn with a bandeau and wrapped around a bundle of curls, flowing down the back. There's enough length that the woman can wrap a section of fabric around her lower arm.)

Below are fashion plate examples of hat veils.

These veils are likely worn to shield the face from damaging sun and/or to allow the wearer a certain amount of privacy, especially to hide crying eyes due a death or broken love affair.

[telekinetictrait]

you will always be in my heart, in my mind, and in your grave – lemony snicket

saw @buzzardly28's death bonnets and so of course i leapt into action. so heres some mourning looks! in order, they're inspired by the: regency period, 1830s, 1840s, 1860s, 1880s, 1900s, 1920s, and 1940s. <3 time to disappear into my hole again

cc links under the cut!

see my resources page for genetics!

regency: buzzardly28's sally hair / buzzardly28's mourning bonnets / batsfromwesteros' emma yellow coat / dancemachinetrait's pemberley gloves / gilded-ghosts' pemberley slippers

1830s: buzzardly28's ann walker hair / buzzardly28's mourning bonnets / simverses' mistress mysterious scarf / vintagesimstress' 1830's mourning dress / plumbjam's wool leggings / joliebean's satin tip shoes

1840s: buzzardly28's day hair / buzzardly28's mourning bonnets / vintagesimstress' 1843 day dress / pralinesims' reverb bead necklace (pearls) / javitrulovesims' midnight gloves

1860s: buzzardly28's day hair / buzzardly28's mourning bonnets / huiernxoxo's mulani gem earrings / simstomaggie's lenore dress / nords-sims' asalet necklace / javitrulovesims' midnight gloves

1880s: buzzardly28's 1890s hair (shhhh) / chere-indolente's dans la serre bonnet / emmastillsims' curbs birdcage veil recolor / ice-creamforbreakfast's céala earrings / chere-indolente's dans la serre long dress / glitterberrysims' onyx siren necklace / base game gloves

1900s: buzzardly28's 1890s hair (shhhh) / waxesnostalgic's brimmed rose hat / emmastillsims' curbs birdcage veil recolor / huiernxoxo's mulani gem earrings / chere-indolente's flöge v2 dress / glitterberrysims' ruby victorian necklace / nell-le's lace gloves

1920s: simmister's curbs caitlyn hair maxified / happylifesims' miss fisher cloche hat / emmastillsims' curbs birdcage veil recolor / happylifesims' 1920s day dress 7 / pralinesims' reverb bead necklace (pearls) / helgatisha's lace gloves / blueraptorsden's vintage stockings / waxesnostalgic's cuban mary janes

1940s: gilded-ghosts' wartime waves hair + dizzy dame hat + double indemnity dress / glitterberrysims' onyx siren necklace / kumikya's sheer gloves / historysims4's nylon socks / waxesnostalgic's cuban mary janes

thank you to @buzzardly28 @batsfromwesteros @dancemachinetrait @gilded-ghosts @simverses @vintagesimstress @joliebean @pralinesims @javitrulovesims @huiernxoxo @simstomaggie @nords-sims @chere-indolente @emmastillsims @ice-creamforbreakfast @glitterberrysims @waxesnostalgic @nell-le @simmister @happylifesimsreblogs @helgatisha @blueraptorsden @kumikya and @historysims4 !!

[no-shxme]

Ko-Fi Fill

(my kofi) (other fills)

shx note: they asked for hwei + anything. so i wrote jhinhwei in a regency-ish au, where hwei is a court painter and jhin is a travelling performer. this actually ended up long so i will put most of it below a read more.

.

The gardens are a sprawling empire of greenery, dark and monstrous by night. During the daytime you can stand on one of the west-facing balconies and peer over the well-manicured hedges to see the flowers growing, budding or blooming in reds and yellows and pinks and most other colors that you might believe in. The gardens are dotted with benches throughout, and statues hidden in alcoves, of which you can only see the tops from the balconies if at all; the polished heads of royals, the stone feather in their hats. Hwei himself has spent hours admiring them and the way sunlight soaks into the stone. A master sculptor makes them in a little studio across the channel. He’d come to visit in person once, unveiling his latest creation the way someone introduces their new bride. Hwei had paused, his brush hovering above his canvas like a hummingbird. The tarp had been drawn away like a veil, Hwei remembers that detail specifically, and the rest of the attending court had sucked in a breath, just one breath together, split between all of them.

That’d been the winged eagle, caught mid flight, that now sits atop the central fountain in the gardens. It’s magnificent. Hwei still doesn't know how he’d done it. Sculpting is something you have to see to believe. If you stand on the balcony you can spot it with wings outstretched, talons sharp and reaching, about to snatch something from the waterspouts.

Hwei is not usually allowed on the balconies. They are reserved for royalty or their guests. You can’t see anything at night anyway. He is standing beneath the balconies, waiting, and the oddly shaped hedges have become evil spirits, coiled in the dark. Hwei is staring at the wall of bushes to his left, imagining a hand reaching out through them like a tree branch, thin, twisted fingers looking to drag him into the blackness. So when Jhin whispers his name he jumps.

“O-oh,” he says. “Apologies—I was lost in thought.”

Khada Jhin takes to shadows well. He is wearing his stage mask again, tilted up to shroud his face even further. Beneath the balcony it’s already very dark, and Jhin becomes a streak of black, moonlight only finding his shoulder and his pale mask. Hwei takes a step towards him, his shoes sinking into the soft grass. The artist in him doesn’t want to disturb the scene—the perfect composition, so he tries to commit it to memory. It would be a difficult piece; Shadows are easy to ruin. And it would have to be done privately, away from the court’s eyes, while everyone is asleep. But Hwei almost doesn’t want to paint this, because if he begins then he’ll eventually finish. Maybe if he never starts then Jhin will still be waiting for him to set up his easel, and the moon won’t move.

He hasn’t brought his easel, anyway, or his paints, only the small golden snuff box hidden in his hands. And Jhin won’t stand there forever. Hwei crosses over to him. There is an ache in his chest. It’d started a week ago and had only grown, becoming an enormous bruise inside of him. It throbs at the thought of Jhin leaving, as if it is alive.

“I was getting worried.” Hwei laughs, tucking a lock of hair behind his ear. Jhin makes him feel—younger. That’s a good way of putting it. Hwei hasn’t felt nervous like this since he’d been a teenager.

“The night before takes much longer,” Jhin says. They’re speaking so quietly to each other, but Hwei can still hear the missing pieces of his sentence. The night before we leave. 

“You don’t have to go,” he says, half-joking. Jhin knows he’s half-joking. He doesn’t answer. Hwei can barely discern the features of his face, a flash of his white teeth.

“Well.” Hwei glances down at the grass. “I’ll miss you.”

Sometimes Jhin stands so still that Hwei cannot fathom what he’s thinking. 

“I’ve enjoyed our time together,” Jhin finally says, and Hwei is unable to ignore the fact that he’d worded it like that. Jhin is deliberate. Even so, Hwei still wants to protest. Two months of meeting under the balcony can’t mean nothing. Two months go by and suddenly this is the last night, the final period dotted on a summer-soaked letter. Hwei doesn’t shy away from big feelings, but this is different. He knows there is a change upon him, even if he can’t figure out what it looks like yet. 

Then Jhin adds, with audible difficulty, “I will miss our talks,” and Hwei relaxes, even as his ache worsens. 

His fingers dance on the sides of the snuff box before he offers it. “I’ve made you something.” He presses it into Jhin’s hands.

“Wha—”

“Don’t open it yet,” he says quickly, a little too loud for the quiet gardens. Hwei lowers his voice. “Wait until tomorrow night.” (And this time Jhin is the one surely picking up the meaning: When you’re far away from here.)

Jhin says nothing. This close, Hwei notices a small smear of something—mud, maybe, on the edge of his normally pristine mask. He rubs it off with his finger. “Maybe the King will invite you back. He loved your troupe.”

“Perhaps,” Jhin breathes, sounding strange. Hwei can’t tell if he thinks it’s likely. The King loves art, even if he doesn’t have much of a critical eye for it, but Jhin’s troupe travels far and wide.

“I have to go,” Jhin murmurs. 

His heart seizes. “Already?”

“We leave early,” He answers, taking a step back. Hwei reaches out to catch his hand, to feel his fingers slip out of his grip.

“I’ve never met anyone like you before,” he blurts out.

Jhin pauses. 

“Neither have I,” he admits. And half of Hwei has felt enough, the ache blossoming like a rose bush into something beautiful. And for a moment he might be happy with nothing more, never untangling whatever time they shared, because all the most beautiful things never last anyway. The flowers, the sunset—even the statues will weather away and lose their edges. If they lived forever it wouldn’t mean as much. For a moment he would be fine never answering the question, because sometimes the question is enough, and once it’s answered you regret asking. And he and Jhin have had some form of religious experience together, for two months under the balconies, that much is irrefutable. Hwei doesn’t want to lose the power it has over him, he doesn’t want to take another bite and find out it’s gone sour.

Only for a moment.

Jhin has disappeared into the darkness, back to his troupe. Hwei is too wound up to return to his quarters yet, so he wanders into the garden and sits by the fountain. A cloud has covered up the moon and in its absence Hwei imagines Jhin’s face on the marble busts, scattered in the dark garden waiting to be discovered. His ache envelops him like a shadow, a wash of color tinting his whole world. He sits there for a long time.

[goldieghoulie]

Threads research (chapter 13)

As I work on Threads of Fate (think historical romance novel meets Ghost fanfic, set 1312-1318), I'm publishing the research I do for each chapter here

Caveat: I am not a historian, just a nerd.

Spoilers for Chapter 13 below the cut

The like Real History bits

While Isabel, Secondo, and the whole Ministry is obviously very made up, many of the events causing them to go to Varberg were very real.

Queen Isabel was the sister of Robert the Bruce who married a king of Norway. They did have a daughter together named Ingeborg. After Queen Isabel's husband died, the throne of Norway passed to his brother. This king also had a daughter named Ingeborg (named after the former, her cousin). These two Ingeborgs married the two brothers of the Swedish king.

In December of 1317 the king of Sweden invited his brothers to a banquet where he captured and imprisoned them. Eventually they starved to death. Sweden (I've struggled a bit to figure out exactly who was involved, but think more nobles than peasants) was not a fan of this and the king was ousted later in 1318. This caused the younger Ingeborg's son, Magnus (aged ~3), to become king, though his mother and aunt remained part of his regency government.

Varberg

So, from what I can tell, we do not actually have historical evidence for the Duchesses Ingeborg gathering at Varberg in March of 1318. We have evidence for them both being in Kalmar on April 16th to sign a treaty, but I couldn't find evidence for their locations before that. Thus ~artistic license~ says that they met up at Varberg.

Varberg is located in a strategic spot between Sweden, Denmark, and Norway. Indeed, it changed hands between the 3 kingdoms several times in the early 14th century. I did see mentions of Ingeborg, Duchess of Södermanland residing there (though again, whether that was before or after (or both) the meeting at Kalmar I'm uncertain)

As the fortress was heavily modified throughout the centuries, it's hard to fully understand the medieval layout. Below is a interpretation of what it may have looked like around the time that Threads is set. It's largely what I'm basing it on as I write.

Fashion

I've been finding the early 1300s a real challenge to research in regards to fashion. Most sources seem to hold that "fashion" itself started around 1330 or more towards the middle of the century. And, of course, there were many styles that people chose to wear. So while veils and other cloth head coverings were a thing, some of the fun medieval hats were starting to emerge.

Crispinette this fantastic post, and this were my sources. Which, if they are to be believed and the fashion reached England with Queen Isabella, she married Edward in 1308. So, by 1318 we can assume that it might have reached Scotland and Mary could be wearing it.

[fashionhistorysoup]

A Long but Necessary Guide

Hello! I am Soup and this is my History, Anthropology, and Archeology sideblog! Welcome to my current passion, and here are a few things to make your stay a bit easier.

Tagging System

I try to tag in this order and with these details: decade, century/millennium, era/age, continent, region, country, culture, medium, misc.

Example: for a picture of a museum's embroidered Irish wedding dress worn at a lesbian wedding from 1837, I might tag it like this: 1830s, 19th century, Regency, Victorian, Europe, Western Europe, Ireland, Celtic, Exhibit, Embroidery, Queer History, Wedding, Veiled (usually in this order but most likely in any order. I will list multiple places, labels, decades, centuries, and ages/eras as I feel necessary. I will also omit tags if necessary/if no plausible info can be found).

Places are stated as nouns and cultures are stated as adjectives. Example: America not American, but Jewish or Nubian not Jews or Nubia.

Countercultures, societal generas, and established aesthetics count as cultures lmao. (Pirates, Bollywood, Punk, Cottagecore, Cavalier, Goth, Greek Revival, Hanfu, Rococo, Pop Culture, Grunge, Disco, etc.)

Miscellaneous tags so I don't forget:

Bags and Belts

Body Art and Tattoos

Charms and Amulets

Embroidery

Glass and Glasses

Hair

Hats

Jewelry

Makeup

Pajamas and Bathing

Pins and Patches

Socks and Shoes

Technology

Underwear

Veiled

Weapons

Armor

Ceremonial or Religious

Children

Fabric and Textile

Folk Regalia

Momento Mori

Mourning

Uniform

Wedding

Black History

Celtic History

Disabled History

Indigenous History

Islamic History

Jewish History

Maritime History

Queer History

Anthropology

Archeology

Cosplay

Dance

Filmography

Fine Art

High Fashion

Iconography

Theater

Activism

Art Reference

Exhibit

Fantasy (for costumes)

Favorites

Fiction (for fan art or similar)

Meme

Not Clothing (for posts I couldn't resist)

Resources (posts with heavy info or link to other references and sources)

Shopping (for posts with links to purchase items)

Dating Method

This is very important as things maybe get confusing.

This blog will primarily use the Holocene Calendar, in which the current year is 12,023 HE and the Human Era began at the building of the oldest known structure on Earth. The equation is (10,000 + current year) - (date + current year) = Human Era year. So if it's 2023 CE and the object is from 494 BCE, the object is now from 9506 HE.

All CE (Common Era, formally written as AD, the most recent 2000ish years) dates will be referred to by traditional methods and not tagged with a corresponding millennium to save myself the headache: 18th century, 1900s etc . HOWEVER, all BCE dates (Before Common Era, formally written as BC and with numbers going maddeningly backwards) will be instead portrayed by Human Era dates only. Luckily this will only be a problem from the Mesolithic Era and back so I'm not terribly worried about causing confusion.

Example: a picture of an exhibit of a bone necklace from North Italy dated from 3300 BCE might be tagged like this: 5320s, 54th century, 6th millennium, Neolithic, Chalcolithic, Bronze Age, Europe, Southern Europe, Western Europe, Italy, Alps, Exhibit, Archeology, Jewelry. Again, I overlap labels, eras, and regions as I feel necessary.

It seems confusing at first but it actually makes reading history a whole lot easier; rather than everything from before a certain Nazarene being squished together in a confusing hodgepodge of jumbled backwards dates, we now have a clear context of just how long ago an object is from as well as a clear linear view of history. Which of course leads to better appreciation.

Traditional Eras in Human Era Context:

Paleolithic: 2.5 million years PreHE - 0 HE

Mesolithic: 0 HE - 2000 HE

Neolithic: 2000 HE - 5000 HE

Bronze Age: 5000 HE - 8800 HE

Iron Age: 8800 HE - 9500 HE

Classical Age: 9500 HE - 10500 HE

Middle Ages: 10500 HE - 11500 HE

Modern Age: 11500 HE - Present

FINALY: Please note that this is a work in progress, and I only work on it when I want to, so not everything is tagged yet qwq.

Thank you! And enjoy this blog!

[whennnow]

Making Medieval Plans

October 3, 2023

[Image ID: a photo of Alex in a pink medieval tunic and dark belt, posing with a straw hat and small basket and pretending to wipe her forehead.]

With basic SCA garb done (in the form of my t-tunics), I can start making more elaborate, long-term plans.

Nothing is concrete yet, but I want to do this in a strategic way so that I don't end up with partial outfits for multiple eras.

My goal with each era is to make a small capsule-style wardrobe which I can later add to and upgrade, while still knowing that everything will go together well. I've already decided on color schemes for the Greco-Roman stuff (sage green and slate blue) and the 13-14th centuries (blue, oranges and yellows, small amounts of green and pink).

13th Century (1200-1299 AD) (vaguely English/French)

My t-tunic are a great base for the 1300s, and I'll just need some accessories to really pull off this era. I don't have much interest in this era, so I'm aiming for a general look as a branching-off point for other eras (and so I always have backup garb).

Other than the historical-looking crocheted snood I'm working on right now, my first priority is a white linen veil and wimple, and probably a simple cap to wear them over. A barbette and filet/"pie crust hat" could be made to go with the snood/hairnet if I want to double down on the last quarter of the 13th century.

A drawstring bag to wear from my belt is also high on the list, but I can use some of my Regency reticules for now.

For some variety in over-layers, a cyclas (like a sleeveless overdress) or two out of thrifted sheets would be easy, as would some sort of mantle/cape.

I might work on under-layers while I'm in this era, too, just to really have the basics down. (Or to really procrastinate.) A simple linen smock, probably a supportive linen smock, maybe some hose (stockings) and braies (technically men's underwear).

14th Century (1300-1399) (vaguely English/French)

This was my original goal when I got into the SCA, and still my favorite!

The cap, veils, bags, and any underthings I've done already will be a good starting point here, and allow me to focus on larger pieces.

If I haven't made one already, a supportive linen smock with a wide neckline will have to be my first priority here, since I will be the foundation garment for my fitted cotes/kirtles (dresses).

Next up is the kirtles themselves! I should be able to use the supportive smock pattern as a starting point for these. One is necessary. Two-three in different colors is ideal. I bought a slightly too-large one in dark blue from another SCA-dian which will be refashioned to fit me. I'd also like a tawny/orange one.

The 13th-century cyclas evolved into the sideless-surcote. One sideless surcote would be fine, especially if it is reversible. These were often statement pieces, so something silk-like would be best. Maybe one side in a golden yellow and one side a pink/peach?

In the third quarter of the century (~1350-1375) a second, usually short-sleeved kirtle could also be worn, often with tippets (white armbands with streamers) and fitchets (pocket slits, usually bound in white). One of these is probably enough, and it's a low-priority project. Probably a middling or lighter shade of blue.

Hoods are an important cold-weather accessory. I'd like at least two wool hoods - one in an earlier style and one in a later style. I have enough cotton from my t-tunics left over to line one hood with each color.

Misc Accessories

I managed to thrift a nice, generic-looking straw hat which is suitable for most of the medieval era. I also have one of those long leather belts with a metal ring at one end that you see on a lot of SCA/ren faire/fantasy outfits.

A simple linen apron would be a quick project and should be plausible for the 13-14th centuries.

I've started accumulating a vaguely medieval sewing kit, which I would like to continue adding to and upgrading. I even have a lucet fork, which I'm excited to learn to use! These currently live in a small, stained linen pouch, which in turn lives in a thrifted wicker basket. The basket is about the size of a small purse, and is a good size for carrying at smaller events.

Speaking of bags, I also have a large, heavy-duty linen market bag which I made at a local workshop! It's a bit too big for most of my needs right now, but I imagine it would be nice for bigger events. A smaller one might also be nice if I can find something suitably heavy-duty.

Other

I'd also like to upgrade my ancient Roman ensemble with maybe a new chiton, some sort of decorative border on the pallas, and maybe even a patterned stola.

Eventually I'd like to take a stab at a 1490s/northern Italian Renaissance ensemble too, but that's even further down the line. (Colors: maroon, yellow, and warm pink.)

[fashion-plates]

Magazine of Female Fashions of London and Paris, 1800

{click for higher res}

[demon-of-the-ancient-world]

ASOIAF House Fashion Headcanons Part 2

Here's part 2 of this post:

Riverlands/House Tully:

So first of all I think there would actually be a lot of overlap between the North, Riverlands, and Iron Islands, especially the latter two seeing as the Riverlands were historically invaded and ruled by the Islanders

So stuff like the styles of jewelry and other decorations would bear a lot of similarities, but the Riverlanders would still have their own distinct style for sure

I thought of a Celtic vibe for most Riverlanders

All shades of red, blue, green, and teal - they'd probably get the closest to purple with either deep wine reds or indigo blues

I can for some reason see children or at least younger generations wearing lighter shades of these colours though (sea green, eggshell blue, dusky pink etc.)

I even thought some kind of plaid? Or at least patterns woven into the fabrics

Knitting would also be big here, again with fancy stripes and patterns with different coloured yarns

Freshwater pearls as decoration on fancy clothing or as jewelry

And other blue stones like Lapis Lazuli (probably amber from the north too)

All kinds of cloak pins, brooches, clasps etc.

Hair would be well taken care of and an important part of appearance, lots of elaborate and delicate layers of braids, both for men and women

In general I think the three northern kingdoms would wear their hair longer and generally looser for practicality's sake - it's warmer after all

Idk I like the idea of them having some kind of decorative fringe on the edges of shawls or cloaks

Reach/House Tyrell

I see somewhere between regency era and 1930s elegance in terms of style inspirations

I feel like their fashions would look more "modern" to us, to add to the thematic significance of them being the "new" nobles in King's Landing, Margaery replacing Cersei as queen etc.

Light pastel shades of green, blue, yellow, gold, and pink, or delicate embroidery and lace over white cotton and silk

Plenty of rose imagery of course

Delicate yellow and rose gold jewelry, pearls and light coloured gemstones like peridots, aquamarine, topaz, and rose quartz

Elaborate hair updos, in warmer weather they'd want hair off their necks (but still long enough to style)

Hair jewelry, ribbons, and netting, and flowers as hair decoration

A lot of clothing would have short sleeves, sometimes sleeveless altogether

Though I can see intricately embroidered silk shawls being used for evenings and cooler days

Victorian-esque fan etiquette would have a place here I feel

Stormlands/House Baratheon

Tudor/late Elizabethan inspired; structured and heavily layered

Brocade fabrics in rich, dark colours; dark gold, burgundy, black, navy blue, dark copper brown

Lots of leather and hides worked in, emphasis on hunting

Furs

Heavy, blocky jewelry - I'm thinking copper and bronze with stones like garnets, jasper, and carnelian

Wide silhouettes and broad shoulders, long surcoats for men and sometimes women

Wide leather belts

A variety of hats and headdresses/headpieces

A general impression both strength and impressiveness given through clothing

Vale/House Arryn

They're an old and traditional house, so their fashion wouldn't have changed much over the years

Emphasis on the past, each noble house has its own heirloom jewelry (and I'd assume even some of the smallfolk would have something of that nature even if it's just a single brooch or ring that's been passed down)

I want to say 12th century Medieval is my inspiration, lots of drapey layered gowns and such

Hair nets and veils, lots of hair decoration and dramatic hair fashions

Mostly shades of blue, green, cream, and grey and white, and expensive fabrics like velvet, silk, delicate lace, and satin

Furs too! They're up in the mountains and even though it's not that far north it would get pretty cold especially in the Eyrie, but instead of heavier furs like in the north you'd have more delicate, sleek pelts of rabbit and ermine and even some kind of snow leopard

Lots of blue and white precious stones like moonstone, agate, sapphire, and opal, they're not close to the ocean but they'd be able to afford pearls which fits nicely into their aesthetic too

Possible feather decoration in some form, half capes, drapery, or other accents made from feathers sewn onto cloth (not unlike Sansa's 'raven dress' on the show), or at the very least feather designs embroidered onto clothing

White gold and silver

Gloves

I have no idea where this comes from, but I really really want them to have some kind of subtle face paint designs - not like the Islanders' style war paint but almost a high fashion-y imitation of it. Idk I feel there's a "removed" quality to the Arryns/ Vale inhabitants and even though they're involved in Westeros' conflicts, they'd want to appear "above it all" (maybe I just feel this way because of the mountain thing *shrugs*) and thus take something that seems like it should be for battle and turn it into a fashion statement ?? idk

Sort of like Lady M's subtle blue face paint stripe in the 2015 version of Macbeth - this is exactly the vibe I'm thinking

Dorne/House Martell

I'm thinking ancient India as a vague inspiration (possibly Mughal Empire?)

The book mentions this and I like it so I'm gonna roll with it; mostly warm shades of red, gold, pink, orange and yellow - offset with bright blue-greens

Though it seems contradictory, I feel like those in the mountains and the desert would tend to wear more blue, green, or teal to offset their warm-toned environment, while the coast dwellers would dress in more warm colours

Printed/stamped on patterns, but also lots of rich embroidery and bead decoration

Light, fine silks, linens, and cottons

I like the idea of armor-like jewelry; arm cuffs, anklets, torcs, decorative breastplates

Gold and copper jewelry, stones such as turquoise, opals, tiger's eye, topaz

Near the sea I can see coral being worn as jewelry too

Or glass? I like the idea of them having painted glass bracelets and pendants

Like the Iron Islands, I thought tattoos and piercings would both make an appearance (though in a very different style and with more of an emphasis on decoration rather than intimidation)

I think in such a warm climate it wouldn't be uncommon to see women with shorter hair, way more so than in the rest of Westeros

[usssnarfblat]

Laziest Disney Designs--Eilonwy

Sure, Eilonwy's character is good. She was really the first Disney princess to have some spunk, predating Ariel by four years.

But her visual design?

Oh, but, "Hand-drawn animation! Frame-by-frame! Hand-drawn! Hand-painted! Time! Details! Deadlines! Hard!"

Eilonwy debuted in 1985.

For comparison:

1937

First full-length animated feature in the U.S.

First animation of this quality

Look at the bows. The cape. The collar. The little red Shakespeare thinggies on her sleeves.

"But muh! First Disney movie, big deal! Special case! Main character!"

Okay, how about the Blue Fairy? Look at the effects they put into her, the glitter, the sheer sleeves. The distinctive face they gave her.

"Not main character tho! Just a few cameos! Also second Disney feature, still special case! No count!"

Okay, fine. Looking at other heroines from before Eilonwy, most of them do have pretty basic looks. But they still at least have something distinctive, related to their time period and/or character.

Look at Cinderella (1950):

Not much detail bar the pink dress's cameo, but each outfit is still distinctive. You know right away if you're looking at a poor(ly treated) working girl, a nice but humble party dress, and a Regency Era ballgown.

Sure she's a clone of Katrina Van Tassel from "Sleepy Hollow" (1943)...

...but at least Cindy wasn't ripping off some household name from a major Disney hit. And at least Katrina's bodice and pilgrim hat hint at a different setting.

Alice (1951) and Wendy (1953)

Victorian/Edwardian little girls, one in a daytime/teatime outfit, one in her nightgown. Got it, copy, roger, acknowledged, etc.

Aurora (1959)

Black lace boddice, barefoot, shawl, hair drawn particularly pretty with swirls and light outlines and stuff. Clearly a peasant girl of notable, possibly title-relevant beauty.

Alright, her blue/pink dress doesn't exactly hint at the time period, but it's still cool looking.

Maid Marian (1973)

Double-horned headdress (made out of her ears, I know) veil thing, gemstone pendant...Medieval noblewoman/furry. Got it.

But Eilonwy?

She looks like Aurora at age 12, in the blandest possible outfit.

And unlike with Cinderella copying Katrina, a character from a short that wasn't as well known, Aurora was a pretty famous Disney character by the time "Black Cauldron" came out. And unlike Cinderella, and all these other chicks, Eilonwy's outfit has, like, NOTHING distinctive. Her headdress is literally just a black line.

It's like all of the most basic princess cliches boiled down to the lowest common denominator. Face it, if you weren't a hardcore Disney buff, you'd have NO idea who this was. Her ONLY physical identifier is "mini-Aurora in purple."

And remember, this is PRE-Disney Renaissance. Ariel had not yet trademarked red hair--which Eilonwy reportedly has in the book! Merida hadn't coded the green or aqua Medieval dress.

Heck, Rapunzel's cute, lacy, Medieval Princess getup would've been perfect for Eilonwy, simplified of course.

Heck, Young Odette's outfit from "Swan Princess" would've been even more perfect!

Never mind the different hairstyles or headdresses they could've chosen to fit her into the Dark Ages time frame (braids, Leia buns, those cute Medieval hats that look like round mints...)

Disney, you weren't even trying.

[sartorialadventure]

Discussion of Walking Dresses or Promenade Dresses in the Regency era

^Lady’s Monthly Museum January 1804 “Walking Dresses” This is only half of a larger fold-out print that included two other dresses – a morning dress and an evening dress. (You can see the line of the fold in the figure on the right.) The two walking dresses are described as follows: “1. A light Blue Beaver Military Helmet Hat, covered with light Blue Netting, ornamented with a White Feather. A short Walking Dress of White Muslin. A Military Spencer, trimmed with Silver Cord, and Epaulette. York tan gloves. “2. A Scarlet Velvet Bonnet, with a White Ostrich Feather. A Pelisse of Scarlet Kersimere, trimmed with Black Velvet. Brown Bear Muff.”

^La Belle Assemblée July 1807 “Kensington Garden Dresses for July 1807” The print is described in the magazine as follows: “No. 1 – A plain cambric round dress, a walking length. Roman spencer of celestial blue sarsnet, with Vandyke lapels and falling collar; finished with the same round the bottom of the waist, and flowing open in front of the bosom. A village hat of Imperial chip, with bee-hive crown, confined under the chin with ribbon the colour of the spencer. Cropped hair, divided in the center of the forehead with full curls. Gloves and shoes of lemon-coloured kid. Parasol of salmon-coloured sarsnet. “No. 2 – Round train dress of India muslin, with short sleeves, ornamented round the bottom and sleeves with a rich border of needlework. Promenade tippet of Brussels lace, lined with white satin. Hat of white chip, or fancy cap of lilac satin, with a Brussels lace veil. Hair confined in braids over the right temple, and formed in loose curls on the opposite side. Gold hoop earrings. Gloves and slippers of lilac kid.”

^ La Belle Assemblée March 1810 “Hyde Park Walking Dress” “A pelisse of black merino cloth or velvet, buttoned from the throat to the feet, made to fit tight to the shape with a band of crape, ornamented with a double row of gold braiding, or an oriental embossed silk trimming, worn over a chemisette of French lawn. A Spanish hat and flat drooping ostrich feather tipped with orange. Half boots of black or orange coloured Morocco; Angola muff lined with yellow [painted pink in this print]; the hair lightly curled on the left side with a thick braid crossing the face. Ear-rings of gold or amber. Gloves of York tan.”

^La Belle Assemblée November 1812 “Morning Walking Dress” The print is described in the magazine as follows: “Short pelisse of deep lilac, shot with white; back broader than they were worn last month, and on each hip a Spanish button. It is made with a collar up to the throat, and trimmed round with rich fur; sleeves long and loose, with a fur at bottom to form a cuff, rather shorter in front than behind, and two Spanish buttons are placed just at the bottom of the pelisse in front, which fastens with a loop crossing from one to the other. The bosom is ornamented in the same manner; a belt of embroidered ribband round the waist, and a gold clasp in front. A bonnet of the same materials as the pelisse, crown a helmet shape, front very small, and a wreath of laurel round it; three white feathers are placed at the back of the bonnet, and fall over the front; broad ribband, same as the bonnet, is pinned plain under the chin. The hair is brought very low at the sides, and a single curl on the forehead. Buff gloves, and dark brown kid boots. Large silver bear muff.”

^Ackermann’s Repository of Arts November 1814 “Walking Dress” The print is described in the magazine a follows: “An Italian striped sarsnet lilac-coloured dress, ornamented round the bottom with a double quilling of satin ribband; short full sleeve, trimmed to correspond; the fronts of the dress cross the bosom and form an open stomacher; a Vandyke French ruff, and full bordered cap to correspond. The satin straw hat, tied under the chin with a check or striped Barcelona handkerchief, crossing the crown with a small plume of ostrich feathers in front. French shawl, a white twill, embroidered with shaded scarlet and green silks, and fancifully disposed on the figure. Gloves, Limerick or York tan, drawn over the elbow. Half-boots of York tan or pale buff kid.”

^ La Belle Assemblée January 1815 “Morning Walking Dress

^Ackermann’s Repository of Arts November 1817 “Walking Dress” The print is described in the magazine as follows: “Cambric muslin high dress, the lower part of the body made full, and the upper part, which is tight to the bust, composed entirely of rich work. A row of pointed work forms a narrow pelerine, which is brought rather high on the bosom, and ends in a point in front. The bottom of the skirt is finished by a deep flounce and heading, composed of the same material, which is surmounted by a row of soft muslin bouffone let in at small distances from each other. Over this dress is worn a spencer, composed of gros de Naples, ornamented with figured buttons, which are intermixed with a light, novel, and elegant trimming. For the form of the body, we refer our readers to our print. The sleeve, of a moderate width, is finished at the wrist to correspond with the body, by a double row of buttons and trimming intermixed. The epaulette, of a new and singularly pretty form, is edged with trimming, and finished with buttons on the shoulder. Autumnal bonnet, the front rather large, and of a very becoming shape; the crown low: it is tied under the chin by a large bow of ribbon. We are interdicted from describing either the novel and elegant materials of which this bonnet is composed, or the ornament which finishes it in front. Swansdown muff, lilac sandals, and pale lemon-colour kid gloves.“

^Ackermann’s Repository of Arts February 1818 The print is described in the magazine as follows: “A fawn-coloured poplin round dress: the body is of a three-quarter height; it is cur byas and has no seam, except under the arm. The back is narrower than last month; the fronts just meet, but do not cross; the sleeve is long, rather loose, and confined across the wrist by a satin piping disposed in waves; they are about two inches in length, and are finished by a small silk tuft at the end of each wave. The bust is trimmed to correspond, and the skirt is finished round the bottom by three rows of satin pipings, which form a deep wave, and which are also finished by tufts.“Over this is worn a pelisse composed of fine fawn-coloured cloth, and lined with white sarsnet. The waist of the pelisse is of a moderate length, the body is tight to the shape, and it has a small standing collar. The trimming which goes down the front, and finishes the bottoms of the sleeves, is extremely tasteful; it is an embroidery composed of intermingled blue ribbon and chenille, which ha a very striking effect. The sleeve is rather wide, except at the wrist, and is finished by a half-sleeve in the Parisian style; that is to say, very full on the shoulder, and confined across the arm by a row of small silk buttons. Head-dress, a bonnet composed of satin to correspond with the colour of the pelisse, lined with white sarsnet, and elegantly ornamented with a light embroidery in straw. For the shape of the bonnet, which is singularly becoming, we refer our reader to our print: it is trimmed with blue satin ribbon and a large plume of feathers. Limerick gloves, and half-boots composed of fawn-coloured kid.”

[almaasi]

I must ask, did you have any reference dresses you were thinking about in particular when writing Crooked Crowns? /That/ black dress yo 👀

YES I DID

kinda like this!!! but with the front more like this (and criss-crossed corset ties at the back). but with MORE RUFFLES.

actually you know what i’mma draw it because i know what i mean

he also put on a black lace shawl to cover his arms and shoulders. but i don’t wanna figure out how to draw lace right now :P

the dress is heavy black velvet, and has boning in the corset but no petticoat or dress hoops. when he spins around with Aziraphale it does that bell-shape thing!! plus lil hat. there’s a lace veil attached to the hat but it was pushed back. sleeves are something lighter, maybe cotton.

and he stole Anathema’s boots!! like this or this

idk why you want this information but i am delighted that you do :D

–

fic link: Crooked Crowns (92k Crowley/Aziraphale Regency era AU!! tender-soft forbidden love & courting, ft explorations of gender presentation, and a lil bit of background drama)

[mimicofmodes]

Sanditon, episode 4 part ii

Arthur has fainted from sunstroke while taking a very hearty walk on the cliffs. Diana’s response is that he can no longer exercise and “must move only when it is essential.” Poor Diana! These ladies who found him have a few interesting things going on - the striped gown on the left was more like a 1790s open robe, and the bonnet on the right seems like a late 1840s type? But I do like the boldness of  the red ribbon on the left bonnet with the paleness of the gown.

The Misses Beaufort are well-dressed and well-coiffed for the period. Nice! I appreciate that time is taken even for these very minor characters that exist only to be inspid foils for Georgiana.

Sidney comes to Mrs. Griffiths’s to find Georgiana, and the ruse is unveiled!

Lady Denham is lecturing Sir Edward about getting married to a wealthy woman, and Esther and Clara exchange significant looks. This is obviously about what she saw earlier and the power it gives her over the Denhams, but may a bitch not read sexual tension into every set of exchanged glances? May a bitch not nominate this work of fiction for Yuletide in order to write Clara/Esther? “Could it be that no man will ever measure up to Edward?” Clara asks to goad her when Lady Denham rails about Esther not even trying to get married. “That’s a fair question, I grant you,” says Edward in all seriousness. (Lady Denham, who has been meaner and meaner to Clara through this whole series, whips out the emotional abuse, telling her that she’s so much more agreeable when she smiles and says nothing. This does help to make the machinations over her money in her will less morally concerning.)

Otis explains to Charlotte that he was born in Africa and taken to the West Indies as a slave, then freed and educated, which is why he’s a member of the Sons of Africa, an abolition society. Charlotte is floored because she thinks “slavery is consigned to history” ... it’s really nice to have someone point out that “enlightened” English people of the time benefited enormously by the slavery practiced overseas, but it’s hard to believe that Charlotte is really so stupid she doesn’t know that slavery still existed in the Americas and Caribbean. Georgiana then tells her that Sidney made money from slaves in Antigua somehow, which floors her again.

It all has the effect of making Charlotte not butt in when G and Otis go for their goodbye kiss. She even offers to help G take a back way home so they won’t be seen, and apologizes for her initial coldness, and when G suggests that Sidney doesn’t want her to marry Otis because he’s black, she looks like she’s not sure but certainly doesn’t argue that that can’t be true.

Clara claims to need help turning pages in order to get Esther alone, then taunts her with a thinly veiled discussion of tempo, calling herself semplice (simple), Esther agitato (agitated), and Edward lusingando (coaxing, tender), forza (forceful), or passionato (passionate), and Esther storms out. It seems a bit stupid of Clara to not just say, “I know what’s going on, leave me alone or I spill the beans,” because Esther strikes me as someone who will poison, strangle, or drown someone who pushes her far enough.

Charlotte does impressions of Mrs. Griffiths and Sidney, and they’re GREAT. But of course, due to the law of imitating someone else in a show, Sidney appears behind her and is angry at her disrespect and inability to chaperone Georgiana. He commands that Georgiana be under even tighter supervision, and splits up the couple.

I didn’t notice before, but Otis’s waistcoat is reasonably close in color to Georgiana’s outfit.

We get a confrontation between Sidney and Charlotte (loud! in the middle of the street!): he’s angry that she’s "making judgments about a situation [she doesn’t] understand” because she hasn’t known G and Otis long enough, and this is all probably a deliberate parallel with Pride and Prejudice again. Both because this is reminiscent of the bit where Mr. Darcy gets annoyed with Elizabeth after his first, disastrous proposal re: Jane’s happiness and Mr. Wickham, and the whole “younger sister figure called Georgiana, romance she’s not supposed to have,” etc. Sidney thinks she “find[s] it impossible to judge between the truth and [her] own opinion,” but he doesn’t offer any of the truth himself, so it rings very hollow. Sidney is a rude man and a bad guardian, by Regency and modern standards - he has been verbally dismissive of Charlotte for very little reason from day one, he’s neglected Georgiana and not shown her a moment of real kindness ... he is not a Fitzwilliam Darcy. He actually shouts in her face when she accuses him of having money tainted by slavery, which does shock him enough to stop fighting with her. 

(Stringer, wearing a very ugly hat, sees what’s happening but doesn’t push in. Which I guess is reasonable given the issue that Sidney is the brother of his employer and a gentleman, but I’m afraid I will have to dock a point or two for not stepping in to defend Charlotte.)

Clara now suddenly tries to commiserate with Esther as though she’s suffering unwanted advances from her brother, which seems an odd tack given that she was just kind of taunting her ... Esther agrees that it’s weird, because she likes banging her (step-)brother. Clara suggests that she find herself a husband, because she’s not going to have a happy future with him, sort of echoing Lady Denham’s cross comment to her at the beginning of the episode about nothing lasting forever (applied, at the time, to Clara always being her companion).

Cuties! She complains to Stringer about how some people are just disagreeable even when you break through their outer disagreeable layers, and he smiles and says she’s not afraid to speak her mind. What a contrast to some unnamed persons! “I wouldn’t wish for you to change. Not for the world.” MARRY THE GIRL, DOCTOR.

Esther pleads with Sir Edward to go away with her to the continent and leave the money to be picked up by Clara, but he sighs and says they can’t and they’ll both have to get married. Yep, Clara was right. She keeps up the icy exterior, but after he leaves, she bursts into ugly, silent tears. :(

Sidney couldn’t get any of the London banks to give Tom more money, and points out that he should live within his means to save. Tom sort of crumples internally, which I get. He’s built his whole life on the idea that he’s going to turn Sanditon into a Destination and reap the rewards, and when you get to the point where you realize that your determination is not going to solve things, it’s a blow. Sidney does apologize, to his credit.

He then runs into Charlotte in the hall, and her hair is up? It’s very nice to see but I have to wonder why they chose this of all times to do it.

And Tom gives his wife that necklace as (a continuation of his issues with lying to his wife, and) “a promise of things to come,” a promise which will hopefully pan out. It’ll be very painful if it doesn’t.

[theparanormalperiodical]

Boris Johnson’s 5 Not-So-Alive Housemates: The Haunting of Downing Street And The Other Government Buildings You Need To Know About

It’s a new week in British politics which typically means half the cabinet has resigned, a ‘fresh’ approach to Brexit is put to the public, and the PM has pleaded with the Queen to put the ‘United’ in ‘United Kingdom’ in bold.

Oh, and with this new week comes a new Prime Minister.

Yay.

(Emphasis on the sarcasm and sheer volumes of dread in that ‘yay’.)

But anyway – if politics is making you feel dead inside, why not stick to the deceased theme?

For the past 3 years we have been consumed with concluding who is the next candidate to forward march us into our uncertain future.

And it got me thinking: are there any ghost prime ministers?

In fact, is Downing Street haunted?

Yet it turns out someone has already beaten me to that level of imagery. When I began my research into the ghosts and spirits roaming our governmental arenas, I came across a problem.

British politics is indeed haunted, but only in a metaphorical sense, well, according to the papers, anyway.

British politics is haunted by the Euroscepticism that gave rise to the EU referendum, by the age-old beliefs breaking our parties into factions, and the candidates? Well, a quick flick through the tabloids will tell you they are to be haunted by their personal lives, let alone their past professional missteps.

But you can keep your metaphors for your papers, politics and podcasts; today we are going to be discussing the actual ghosts haunting 10 Downing Street, and the international hauntings that include the White House and Japan’s official Presidential residence.

First up is the UK’s very own Downing Street

Boris Johnson will have barely unpacked his stuff before he starts to encounter the hauntings that Downing Street is surprisingly not famous for.

British history has been cloaked with a dark veil considering its bloody past, and this assumes a gaggle of ghosts mirroring its many tragedies will be lurking in the nooks of crannies of most notable places. And its probably this which has made way for the 6 ghosts haunting its hallowed halls.

7 prime ministers have died in office, and only one PM has ever died in Downing Street – Campbell-Bannerman. But it turns out that one assassinated PM (the only PM to ever has been assassinated) frequently returns during times of national crisis:

Spencer Perceval died in 1832 having been shot in the House of Commons, and following his tragic death, his body was returned to his residence where he lay for 5 days.

It is often claimed that the ghost of Perceval wearing Regency Dress wanders inside and outside the residence, and he was frequently sighted by workmen in the 50s and 60s, verifying him as the main spirit staking claim to this government building.

Next up we have a female phantom who has even found her way into the papers given her common haunting.

The facilities manager of No.10 was new to the team when he saw lights in a nearby room were left on. Walking across one room to reach the other, he felt and saw a person pass beside him, only to disappear mere moments after.

He recalls the ‘swishing’ sound like that of a dress made of taffeta, and upon asking a colleague, he was told that he had seen the ghost.

Reportedly, a woman in a white gown goes between the state dining room and the pillared room - with some even adding a rather luxurious set of pearls to that description. These 2 rooms often hold key political figures as both state functions and international agreements are held here, so perhaps the sightings of the Lady in White go much further than the tales tell…

Our final two ghosts have rather vague descriptions attached to their presences, but their creepiness doesn’t end with their limited back stories.

From a little girl haunting a basement and grabbing hands of those passing by, to a male in a top hat wandering through the entrance hall and into a closed door, there is no shortage of spooky here in the UK.

Yet even beyond these apparitions are the arguably more disjointed hauntings that BoJo will soon encounter: a cigar smell perhaps from Churchill himself, and footsteps followed by suspecting Policemen are common occurrences, and will continue even after Brexit.

No, I take that back, Brexit will never end.

The White House: The Most Haunted House in America

No seriously, I mean that subtitle; keep your Amityvilles, and forget your Occult Museums, this is where shit gets real.

And sure, whilst the most terrifying presence in the White House is actually living, the dead have always made their residency known.

“I jumped up and put on my bathrobe, opened the door, and no one there. Went out and looked up and down the hall, looked in your room and Margie’s. Still no one…The damned place is haunted sure as shootin’”

This is from a letter President Harry Truman wrote to his wife and daughter, and is one of many claims from those that have either lived or visited this prestigious home.

1600 Pennsylvania Avenue is believed to be home to many less-than-living occupants, and famous ones at that.

Abraham Lincoln is one such President to make claims to the haunting of the White House, often witnessing his son, Willie, who died at the age 11 following typhoid fever. But Lincoln’s relationship with those that still walk its halls doesn’t stop there.

In fact, he is one of the most well known ghosts to make your acquaintance should you visit.

Grace Coolidge – one of the first ladies – often claimed she saw him looking out of the window that once belonged in his office, and the Queen of the Netherlands claimed she saw him whilst sleeping in his bedroom.

Even Winston Churchill saw – and talked to – Lincoln. With cigar in one hand, and completely starkers, he greeted the phantom president.

But aside from walking in on sleeping monarchs, and being flashed by Prime Ministers, he often walks the hallways, knocks on doors, and stands by the windows, looking out at the country he once guided.

Oh, and it doesn’t stop there; Annie Surratt – the daughter of a woman convicted of being a cog in Lincoln’s death – often pleads with the residents for the release of her guilty mother.

If you’re looking for a different president, listen out for Thomas Jefferson’s violin playing, or perhaps the less sweet and subtle tones of Andrew Jackson’s swearing.

Or perhaps you’re in search of America’s first ladies, instead?

Abigail Addams is often seen wandering around the East Room with her arms outstretched, as if to carry and dry linen sheets, which was one of the pastimes she took up at the White House.

And Dolley Madison also sticks to doing chores in the afterlife, with Woodrow Wilson’s administration frequently reporting her ghost taking care of the Rose Garden which they were about to move.

In response to this silent and spirit-based protest, they kept it in the same place.

Yet despite the prevalence and sheer details regarding these sightings, there is evidently decline in the paranormal activity at the White House. 

Jerry Smith – a doorman who spent a quarter of a century at the White House – claims renovations have begun to clear the spirits from this site, suggesting these age-old presidents don’t stray too far from the good ol’ days!

Well, whenever those days supposedly are, anyway.

Shinzo Abe’s Poltergeist Problem

In 2013 the Japanese government made a statement.

And this statement clarified that were in fact no spirits haunting the official residence of the Prime Minister.

It all started when Abe failed to move into the official governmental dwelling shorting after he assumed power in December. Following his resignation in 2007, suspicions were aroused about his reluctance to get the long haul shipping vans in.

Rumours of illness and scandal typically swirled the tabloid drain, and claims he had suffered a ‘bad experience’ at the residence in his previous term began to emerge.

The rival Democratic Party even asked if ghosts were the cause of this, mocking their political opponent, but it turns out this question doesn’t necessarily go so unfounded.  

The residence – as it was built in 1929 – has seen some brutal and bloody history. From one PM’s assassination, and the murder of several officers after a military coup, the claims of haunting do have a solid basis to them.

Even a former PM in 2006 claimed he wanted to see a ghost there, although he never managed to.

Indeed, Shinzo Abe draws us back to the reality behind hauntings – whether the afterlife is real, or not; politics may be haunted by ghosts, but the real hauntings are always personal, are always professional.

Just as much as BoJo will take his first steps into his new home followed by his trail of regrets and wrongdoings, he will be greeted by the real terrors that still take up residence in Downing Street.

Is there a paranormal political figure you’ve ever wanted to meet or move in with?

Whether alive or not-so-alive, let me know down in the comments. 

[paigenotblank]

Lines Across My Heart

Paring: Eleven x Rose

Rating: Teen

Written for @doctorroseprompts 31 Days of Ficmas (Day 2 - Skating)

AO3  TS

Rose and the Doctor glided over the frozen pond among a throng of others with the same idea. He’d been aiming for the Last Great Frost Fair of 1814, but for some reason the TARDIS fought him hard over landing there. Instead they’d found themselves in 1890. Rose wasn’t fussy over whether it be Regency or Victorian ice skating, as long as there was ice skating, a reason to dress up, and the opportunity to hold tightly to her husband’s arm. She tilted her face up at the Doctor, careful to keep her little hat, a perfect miniature of his top hat, perched jauntily atop her curls.

“Thank you for this; it’s lovely.”

He looked around. “There aren’t any elephants, but I suppose it’ll do.” Rose brought them to a stop as she grabbed onto his lapels and gently lifted herself to the tip of her skates’ blades. “Bit boring--” She laughed before bringing her lips to his.

“How thoroughly modern.” A feminine voice had them springing apart.

The Doctor startled and fell to the ice, but not before latching onto Rose, dragging her down on top of him.

“Ooof.” Rose pushed her hair and millinery back into place and glared at the Doctor.

A petite, glove-encased hand appeared in front of Rose. A young brunette woman helped her back to her feet. When Rose turned to glanced at the Doctor, he was brushing off his trousers and being greeted by another woman under heavy veil.

“Vastra? Rose! This is Madame Vastra, the Veiled Detective!” The Doctor snagged Rose around the waist and slid her closer to his side. “Vastra, m’wife, Rose.”

“Rose. Doctor. My wife, Jenny.” Vastra pulled the brunette to her side.

Rose raised an eyebrow. “How thoroughly modern.”

Jenny blushed and Rose poked her tongue through her teeth in a grin.

“Yes, er, quite.” Vastra fiddled with the buttons at her throat.

The Doctor laughed. “I know how you feel, Vas. These little apes worm their way under your skin.” The breath whooshed out of the Doctor’s lungs as Rose elbowed him. “Anyway, have to be going. Lovely running into you two. Hope to see you both again soon!” The Doctor pulled Rose away and toward an empty stretch of ice.

“Bit rude that.”

The Doctor sniffed and looked down at Rose. “I just wanted to spend the day alone with my favorite person. Is that so wrong?”

Rose fluttered her lashes at the Doctor. “Really?”

“We’re going to be spending the upcoming holidays with your mother and you know how she never gives us any privacy. I’m gonna miss you.”

Rose snorted and skated out in front him going backwards. “I’m sorry. Are you a Time Lord or a chief dramatist?”

The Doctor pouted and reached out for Rose. He placed his hands on her waist and turned them into a spin. Her joyful laughter had him bending his head and capturing her lips with his. She sucked on his lower lip and pulled back with a pop. She ran her tongue slowly over teeth and pushed away from him.

She left him standing in the middle of the frozen sheet as she spun and danced across the virgin surface. She came back to him and nuzzled into his side.

“What-?”

She canted her head at the loopy heart scraped into the ice.

“Love you, Doctor.”

He gave her a quick peck on the lips. “Wait here!”

He skated along the edges of her design, twisting and turning, arms flailing, spinning, barely managing to stay on his feet. She covered her mouth to suppress her bubble of laughter.

When he was done, he sailed back to her side and crashed into her. Rose wobbled but the Doctor’s arms came around her anchoring her to his side. She reached up and adjusted his hat. “Very subtle.”

He blushed. “I used to be excellent at this. It’s this bloody regeneration, steering’s a bit off.”

“Steering might be off, love, but there’re other things this body’s good at...very, very good at.”

“Quite.” He wrapped her closer to him. “Well?”

She looked at the scratches in the ice that he’d made and tried to puzzle it out. “Erm, what’s it again?”

“Rose Tyler! They’re my hearts alongside yours.” Rose looked at the misshapen blobs. “Anatomically correct, of course.”

She giggled. “Of course, they are.”

“What do you think?” He looked so proud of himself, Rose couldn’t stop herself from snogging himself senseless.

“It’s just as it should be.”

“My hearts are yours. Forever, Rose Tyler.

[poldarkcostumingproject]

3x01: Caroline Has A Lot of Something Blue

Caroline says “I do” to Dwight in a beautiful robin’s egg blue riding habit. This outfit is her most iconic outfit from Series 3. It was heavily featured in the UK promos, and is the same outfit on the cover of the tie-in edition of The Four Swans. it will also be seen in a few other scenes this season. 

Caroline’s wedding dress is definitely not in the typical style for an 18th Century upper class wedding dress. Looking at this outfit a second time around, I believe my initial call of considering this outfit a hybrid of the riding habit and the zone-front gown was correct. The hybrid patterning conveys the secrecy of the elopement but maintain Caroline’s sense of style. The back of the dress in this episode confirms my initial analysis. 

The back of the bodice is cut all in one similar to the jacket designs in earlier episodes. A typical zone front or round gown at this time would have boning channels or pleating lines down the center back and side back. The bodice is completely seamed to the outer petticoat. There’s no gaps, movements separating the two halves of the outfit, or visible closures.

Many fans may be wondering why Caroline is wearing a hat similar to this museum example instead of a veil. I didn’t mention veils in the Demelza wedding or Elizabeth’s second wedding posts, but now is a good time to fix that. Even if Caroline had a public wedding, veils were rare during the 1790′s for weddings. Not even Queen Marie Antoinette of France wore a veil for her wedding. This is one instance where not even regional variations from other parts of Europe appeared in searches. Interestingly enough, I found a drawing of an 18th Century Rajput bride that had one. Veiled dresses come back into fashion later on during the Regency and especially during the Victorian era. 

If Caroline has a public celebration later on, it will be interesting to see what type of dress she chooses. 

[whennnow]

2023 Goals

January 11, 2023

Now that we've established that I didn't meet most of my 2022 goals, I am going to keep 2023's goals vague.

Vague Goal #1: SCA Garb (3rd quarter of the 14th century)

Yes, I have started getting into my local SCA community. I'm lucky to have found a large, active group that is friendly and willing to teach!

I want to start working on a medieval European/English wardrobe - specifically a decade in roughly the 3rd quarter of the 1300s. I'm still researching to figure out which decade. I'm planning on ordering a buttload of linen in January so I can make a shift, a veil and wimple, and some hose.

I won't fool myself into thinking I'll get any more sewing done this year in this era, but I would like to end the year with a solid plan for this wardrobe going forward. I'll probably do a capsule-ish wardrobe to keep things cohesive.

Vague Goal #2: Stashbusting

I know, it's everyone's forever goal. But I mean it this time.

With the exception of my SCA linens, I am not allowing myself to start any projects whose supplies don't come primarily from my stash. Obviously, if I need something to complete a project like trim or interfacing or something, that's okay, but no buying fabric just because it's pretty or because I want to start another project. Stash-based projects only.

Of course, this would be a very short blog post if I ended it here, so let's see what I have in my stash...

Stash Project Ideas (Not Goals)

Seriously, this is just an inventory of what is in my stash and what I have planned for it. These are NOT goals.

Regency Stash

5 or 6 yds of blue/pink poly dupioni, destined to become a Regency open robe and accessories, like a reticule or turban, and maybe also a pair of slippers. For the robe, I intend to use American Duchess/Simplicity 8941, which I already have.

Misc remnants, including two velvets and a dupioni that might become a bodice, and some scraps and trims that might become a turban or a dark blue bonnet.

1890s Stash

6(?) yds pinstripe poly suiting, to be used for a walking skirt and hopefully a suit jacket. If I don't have enough for a jacket, then I'll make a vest, but I'm really hoping for a jacket. Either way there will be black trim or contrasting black fabric involved.

An unknown quantity of white cotton, which has already been cut out for Edwardian (close enough) combinations, and I should still have enough for a proper 1890s corset cover.

An unknown quantity of light blue cotton, for bust and hip pads because white would be boring or something. Maybe part of a petticoat if there's enough fabric.

4.75 yds striped poly taffeta and 4yds of poly tissue taffeta, in almost coordinating shades of purple that I'm hoping can become a "dress" (aka skirt and bodice), possibly with the help of some white accents. Alternately, the striped taffeta could become a petticoat and the tissue taffeta will become some combination of a bodice, vest, belt, hat, and other accessories.

Misc Stash

Most of a yard of periwinkle burnout velvet, to make more fun lingerie to match the bralette I made in 2022, though I'll need to order more elastic.

1 yd of non-stretch burnout velvet plus elastic and findings, to make more lingerie using my purple cotton bralette and shorts patterns as a starting point.

2.25 yds brown/black flannel, which would make a cute skirt or something.

Roughly 2 yards of blue cotton canvas (left over from my 1890s corset) which would make a sturdy tote bag or two.

Various cotton pieces, which could become summery tops or shorts or both or something else entirely. I need to spice up my everyday wardrobe.

Well, that sums it up, I think. I've had some of this fabric since college or even high school, and I'd really like to use it - get it out of my stash and into my wardrobe. That way I can justify buying nice wools and maybe a little silk in 2024 for my medieval wardrobe, or some thicker wool for Regency winter-wear, or more fabric for 1890s stuff, or, or, or...

The possibilities are endless, but my budget and the space in my apartment are not.

Wishing you all a delightful new year!

Stay warm. Stay safe. Stay healthy.