#striped brocade

[theodoreangelos]

Dress – robe à la française (late 1770s; fabric 1750-60s) The Kyoto Costume Institute (KCI), photo by Takashi Hatakeyama 公益財団法人 京都服飾文化研究財団, 撮影いただきました畠山崇 様 Kyōto Fukushoku Bunka Kenkyū Zaidan Ivory Lyons silk striped brocade with floral pattern of chenille; self-fabric trim; matching petticoat; stomacher of matching fabric with flower ornaments of chenille; sabot sleeves. Detailed description

• Dress (“robe à la française”). Date: Late 1770’s (fabric: 1750-60’s) Place of origin: France

[ghw-archive]

Ann Demeulemeester Fall 2019

[praccessoriii]

Buy Silver Pearl Earring Online in India

Indulge in the luxury of Silver Pearl Earrings that enhance your look with the timeless beauty of pearls. Shop from our exclusive collection for the perfect pair.

[david-box-art]

Forcing myself to knit a hat flat so I can practice seaming and my purl stitch

[frostedmagnolias]

Dress

1890s

“Burgundy velvet tea gown with stripes of gold silk brocade. Floral beaded embroidery on front of skirt. Dress has high neck and full-length sleeves.”

Maryland Center for History and Culture

[chinesehanfu]

[Hanfu · 漢服]Chinese Late Warring States period(475–221 BC) Traditional Clothing Hanfu Based On Based On Chu (state)Historical Artifacts

【Historical Artifact Reference】:

Late Warring States period(475–221 BC)：Two conjoined jade dancers unearthed from Jincun, Luoyang,collected by Freer Museum of Art

A similar jade dancer was also unearthed from the tomb of Haihunhou, the richest royal family member in the Han Dynasty, and was one of his treasures.

Warring States period, Eastern Zhou dynasty, 475-221 BCE,jade dancer by Freer Gallery of Art Collection.

Warring States period(475–221 BC)·Silver Head Figurine Bronze Lamp.Unearthed from the Wangcuo Tomb in Zhongshan state during the Warring States Period and collected by the Hebei Provincial Institute of Cultural Relics and Archaeology

The figurine of a man dressed as a woman holds a snake in his hand, and 3 snakes correspond to 3 lamps.

Sword of Goujian/越王勾践剑:

The Sword of Goujian (Chinese: 越王勾践剑; pinyin: Yuèwáng Gōujiàn jiàn) is a tin bronze sword, renowned for its unusual sharpness, intricate design and resistance to tarnish rarely seen in artifacts of similar age. The sword is generally attributed to Goujian, one of the last kings of Yue during the Spring and Autumn period.

In 1965, the sword was found in an ancient tomb in Hubei. It is currently in the possession of the Hubei Provincial Museum.

【Histoty Note】Late Warring States Period·Noble Women Fashion

The attire of noblewomen in the late Warring States period, as reconstructed in this collection, is based on a comprehensive examination of garments and textiles unearthed from the Chu Tomb No. 1 at Mashan, Jiangling, as well as other artifacts from the same period.

During the late Warring States period, both noble men and women favored wearing robes that were connected from top to bottom. These garments were predominantly made of gauze, silk, brocade, and satin, with silk edging. From the Chu Tomb No. 1 at Mashan, there were discoveries of robes entirely embroidered or embroidered fragments. The embroidery technique employed was known as "locked stitches," which gave the patterns a three-dimensional, lively appearance, rich in decoration.

The two reconstructed robes in this collection consist of an inner robe made of plain silk with striped silk edging, and an outer robe made of brocade, embroidered with phoenixes and floral patterns, with embroidered satin edging. Following the structural design of clothing found in the Mashan Chu Tomb, rectangular fabric pieces were inserted at the junction of the main body, sleeves, and lower garment of the robe. Additionally, an overlap was made at the front of the main body and the lower garment to enlarge the internal space for better wrapping around the body curves. Furthermore, the waistline of the lower garment was not horizontal but inclined upward at an angle, allowing the lower hem to naturally overlap, forming an "enter" shape, facilitating movement.

The layered edging of the collars and sleeves of both inner and outer robes creates a sense of rhythm, with the two types of brocade patterns complementing each other, resulting in a harmonious effect. Apart from the robes, a wide brocade belt was worn around the waist, fastened with jade buckle hooks, and adorned with jade pendants, presenting an elegant and noble figure.

The reconstructed hairstyle draws inspiration from artifacts such as the jade dancer from the late Warring States period unearthed at the Marquis of Haihun Tomb in Nanchang, and the jade dancer from the Warring States period unearthed at Jin Village in Luoyang. It features a fan-shaped voluminous hairdo on the crown, with curled hair falling on both sides, and braided hair gathered at the back. The Book of Songs, "Xiao Ya: Duren Shi," vividly depicts the flowing curls of noblewomen during that period. Their images of curly-haired figures in long robes were also depicted in jade artifacts and other relics, becoming emblematic artistic representations.

The maturity and richness of clothing art in the late Warring States period were unparalleled in contemporary world civilizations, far beyond imagination. It witnessed the transition of Chinese civilization into the Middle Ages. The creatively styled garments and intricate fabric patterns from the Warring States period carry the unique essence, mysterious imagination, and ultimate romanticism of that era, serving as an endless source of artistic inspiration.

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Recreation Work by : @裝束复原

Weibo 🔗：https://weibo.com/1656910125/O6cUMBa1j

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[lauramkaye]

Fitzwilliam Darcy's Lucky Waistcoat, A Comprehensive Analysis

So I was re-watching the BBC Pride and Prejudice, as you do, and I made a joke that Darcy was having his valet get his lucky waistcoat to go see Lizzy- and then I was like, wait. Isn't he wearing that same one the day she comes to Netherfield to take care of Jane? Maybe it IS his lucky waistcoat!

So I had to re-watch it again to validate my theory and honestly I think I might be on to something.

First, the waistcoat in question: it looks brown in some lights and olive green in others, but I'm fairly sure it's the same garment. It has vertical stripes, a narrow double gold stripe alternated with a stripe of a woven-in diamond pattern. (Interestingly, Elizabeth's eyes look brown in many lights but when you see her in sunlight it becomes obvious that her eyes are a dark hazel. Am I saying the costume designer chose this fabric to match Elizabeth's eyes? No, but I'm also not NOT saying that...)

It appears the first time in the scene where Darcy runs into Elizabeth outside of Netherfield when she has walked across the fields to check on Jane - the scene where the stage directions for Darcy notoriously said that he had an erection - and also in the next scene at breakfast, which happens immediately afterward, and when he goes shooting with Bingley and Hurst.

(By the way the way he says "not at all, they were brightened by the exercise" and then sips his tea while maintaining dead on eye contact with Caroline like a cat pulling your drink off the side of a table is just... *chef's kiss* .... perfection.)

The next time we see it is the day that the Bennet sisters leave Netherfield. Caroline is wearing a very distinct outfit in this scene that has black, gold, and red stripes - note this for later.

At this point, my theory is that this is just one of the waistcoats Darcy brought to Hertfordshire, so it's in his rotation.

Interestingly, the next time we see it is during the scene where Jane is reading Caroline's letter and Elizabeth is imagining the scene of Bingley meeting Georgiana. I've reblogged a post before that notes that in this scene Georgiana is wearing a very fussy pink dress, styled more like the way the Bingley sisters dress and very unlike the things we see Real Georgiana wearing later on. But Caroline is wearing the very distinct stripey outfit and Darcy has on the gold striped waistcoat - it seems the Elizabeth is imagining them in the outfits they were wearing the last morning at Netherfield - possibly the last time she saw them in less formal/day clothes.

The next time we see this waistcoat is at Hunsford: Darcy wears it with his bottle green coat on the day he calls at the parsonage and sees Lizzy alone and they have the super awkward conversation about how far away is too far to live from your family. He comes alone this time, not with Colonel Fitzwilliam, and this is where I feel like the "lucky waistcoat" may come into play - it's the one he was wearing the first time he looked and her and had his "...oh" moment. It's kind of the color of her beautiful eyes. He's going to try and talk to her without his cousin there... it feels like Date Outfit vibes to me. ( I mean that scene is SO awkward because: Darcy, but still.)

He does not, however, wear it to propose - he's dressed for dinner, I think, and has a pale brocade waistcoat on during that scene.

Anyway we don't see the Lucky Waistcoat again until we get to Pemberley, and it features really heavily in several key scenes there.

First off, after Darcy jumps in the pond and runs into Elizabeth in his backyard, he rushes inside to get dressed and comes out, still buttoning his coat, his hair damp, wearing HIS LUCKY WAISTCOAT:

And then the next day when he brings Georgiana to meet Elizabeth he's wearing it AGAIN:

And then after the dinner where Elizabeth and Georgiana make friends and Darcy sits in the music room watching them with his whole entire damn heart in his eyes like he has never been happier in his life, the next day we see him getting dressed and primping and asking his valet to give him his green coat which is paired once again with the Lucky Waistcoat because apparently it's working for him so far? She doesn't hate him anymore and she and Georgiana are making FRIENDS and Elizabeth SMILED at him and everything's coming up Darcy.

So he goes to Lambton to see Lizzy at the inn again - side note, I am SO CURIOUS what he was planning on talking to her about, especially since apparently she was already confirmed to go to Pemberley again later that day - but OH NOES Lizzy has just gotten the letter about Lydia:

(the way he holds her hand and then realizes he doesn't have the right to and SO RELUCTANTLY moves back)

The next time we see it is in the short scene where he is looking for Lydia and Wickham and stops at what looks to be a coaching inn to ask after them. At first I took this as a sign that he left straight from the inn to look for them but it can't be, because there's a short scene at Pemberley where he is with the Bingleys fretting about it and storms off which I think is the dinner that Elizabeth and the Gardiners had to miss. So maybe he wore it because it made him feel close to Elizabeth, or because he was hoping for luck in his search? I couldn't find a screenshot of this scene but trust me. :) (He's wearing a different waistcoat in the scene where he confronts Mrs. Younge in London and another one still in the flashback where he's talking to the Gardiners, so obviously it took him a while to track them down.)

The final Lucky Waistcoat appearance is during the scene where he apologizes to Bingley for interfering, gives him his blessing to propose to Jane, and leaves to go back to London. I couldn't find a gif but here it is with a (perfect) Onion headline:

I think it's interesting that this is the last time we see it, because this is actually when he is LEAVING - when he thinks that he doesn't have a chance with her anymore but at least he's done his best to fix what he broke by bringing Bingley back to Jane and bribing Wickham to marry Lydia. It's so important to his character arc that he does this! He changes his behavior and does his best to fix what he did wrong, because of Elizabeth - because he listened to her criticism and realized she was right about him - but not in order to get another chance with her. He does it because his own sense of morality demands that when he knows he's done wrong, he should do his very best to make it right again. My theory for why he wears the Lucky Waistcoat - or perhaps it would be better called the Lizzy Waistcoat - in this scene is that when he sends Bingley off to propose and leaves town, it's kind of the bittersweet endpoint for him of this relationship that has made him a better man. I think in this scene he is thankful that he met Elizabeth, and while he will never forget her he feels that he can at least go forward knowing that he did his best to make it up to her. I think he probably feels that the second chance he was hoping for at Pemberley being derailed by Wickham and Lydia's elopement - which we see he blames himself for since he didn't do anything to warn Meryton about Wickham's true character - is a fair punishment. It hurts but he's done what he can and at least he's managed to save the Bennet's reputation, and Elizabeth will be so happy for Jane to be happy with Bingley. I picture him staring wistfully out the window of his carriage all the way to London, giving himself one last day to just wallow in his might-have-beens before he has to steel himself to live without Elizabeth. Maybe he's telling himself that they can meet at Bingley's wedding as common and indifferent acquaintances.

And then Lady Catherine comes to see him and is super indignant that Elizabeth refused to promise her never to get engaged to him and he books it back to Longbourn because he cannot live in suspense. He has to know if he has a chance at happiness after all.

He doesn't wear the Lizzy Waistcoat when he makes his second, successful proposal; it's a pale brocade one, visually similar to the one from the Hunsford proposal though I haven't verified whether it's the same one or not. But then, he doesn't need the Lizzy Waistcoat anymore, because in all the rest of the scenes he has LIZZY.

Anyway that's me probably thinking way too hard about a single clothing item from the 1995 BBC Pride and Prejudice, thanks for indulging me. (Seriously though the costumes in that are so good. I am also obsessed with Maria Lucas' adorable green coat with the pink lining and pink bow fasteners and the rosebud-adorned pink and green dress Harriet Forster wears in her first scene, I think it's at Lucas Lodge?)

[southasiansource]

REKHA for VOGUE: ARABIA

my person is my own, but my cinematic persona is in the eyes of the beholder. therefore i choose where i want to be and where i don’t want to be. i am so blessed to have earned the right to choose what i love. and to have the luxury to simply say no. (x)

[Image ID: ten photos of Rekha in various outfits from a photoshoot by Vogue Arabia. The outfits are provided by Manish Malhotra and the photos are taken by Tarun Khiwal:

IMAGE 1: A shot of Rekha looking off-camera through a mirror. Her reflection is in focus, her real image slightly blurred. She is wearing a dress inspired by a peacock's feathers.

IMAGE 2: Rekha standing wearing a long silk kurta with a zardozi dupatta draped around her like a sari. She is wearing heavy jewelry.

IMAGE 3: A close-up of Rekha's expression, wearing a dupatta on her head as she gives the camera an intense look.

IMAGE 4: Rekha caught mid-spin as she dances in her anarkali dress, dupatta flaring out behind her.

IMAGE 5: Rekha wearing a long brocade jacket with heavy embroidery. She's wearing a tall Mughal-inspired headgear, and her hands are propped on her waist.

IMAGE 6: Rekha watching the camera with her hands flat on her hips, wearing a long red-velvet dress. She is wearing a red velvet peshwa turban to match.

IMAGE 7: Rekha leaning back on a stool to stare above camera, wearing a black jacket and a Farsi skirt. A small veil covers her face. Her hands are adorned with gold embellishments.

IMAGE 8: Same outfit as the previous image, but Rekha is standing, looking towards her shoes.

IMAGE 9: Rekha wearing a striped jacket and pants. The jacket has huge puffy forearm sleeves. She's wearing a hat with a slight veil, peering through the lace at the camera.

IMAGE 10: The peacock dress, but this time shown in full. She is wearing a gold kaftan with blue "scales" on the shoulders and arms. She's also clad in heavy jewelry.

/end ID]

[bijoumikhawal]

Planning a Mallory Grace cosplay: The Ironwood Tree Dress, but more medivaler

This came about for two reasons: one, recently I've been making fabric flower corsages, mostly to wear on my head, and two, I was reminded of the imagery of green clad young women from medieval times.

If you know Mallory, you probably know this image. We have a few more useful images as well, but we won't be sticking to them; they'll just be inspiration.

From there four images we get the details that

the dress is mostly white with deep green accents

it has the princess cuffs over the back of the hands on the under sleeves

the over sleeves are angel sleeves

Mallory's hair is in a little ribbon cage with two silver flower pins

there may be a subtle flower brocade on the skirt

The skirt has two tiers of bottom ruffles and a border above them with three stripes

There appears to be a white underdress peaking out of the sleeves and skirt

I loved this dress design as a kid, but I think the bodice is actually rather unflattering. It reminds me of some armor breast plates, which is cool, but doing what's basically a paned sleeve as a bodice... makes me think of a pumpkin. This artistic difference led to me sketching a new design

This design is a houppelande underneath a boat necked cotehardie/kirtle with a shortened hem. I did another pass on the cotehardie design (see the left). I'm going to do the embroidery with silver clon cord and beetlewings I already have from another project. The neck is going to be cut even lower, and I'll make a lattice pattern out of ribbons or fabric strips over a sheer fabric to stabilize it. The embroidery isn't period, but it covering the bodice is inspired by some miniatures depicting that composition.

I also needed to scrap the ruffle on the houppelande- the fabric I wanted to use is an old dark green Ralph Lauren flat sheet with a rose jacquard pattern, and I don't have enough of it for a houppelande already. My solution to this is that I'll be color blocking the houppelande, and making up the difference with a complementary green fabric. The houppelande will be working with the circle theory.

I planned to use silver curtains I already had for the overdress, but it has this evil rubber backing fused on so it won't behave for this. I'll be in the hunt for an appropriate silvery fabric.

The original dress has no clear and specific historical source imo, other than it does resemble a boat necked cotehardie a bit. The hair, however, is clearly a coazzone. The most well known depictions of this are from 1490s Italy. However, in Spain it was worn at least between the 1360s and the 1530s. There are multiple theories about what exactly these were, including a veil that's been wrapped around a braid or ponytail with ribbons. I'd probably make a "fixed" version, so I wouldn't have to re-wrap the ribbons every time.

However, the cotehardies and houppelandes i was looking at were moreso mid to late 1300s. While the coazzone does fit that time in Spain, it has a late "feel". So I kind of want to make a bycocket in addition to a coazzone and flower corsages, to give me options for headgear. The bycocket is also called the "Robin Hood" hat, and it was worn by people hunting, traveling, hawking, etc. It seems to me like it functioned to protect the eyes and direct rain away from the face. I think it fits because the dwarves had a sword in with Mallory, which to me indicates some respect for her running about as a fencer. Additionally, one analysis of women depicted as wearing this hat by R. L. Pisetzky (Storia del Costume in Italia, vol. II, 1964-69) referred to it as a "rude oddity", "masculine/ambiguous", and that women wearing it had a "diabolic essence". The place I found it said this was too harsh, but I find it funny and it reminds me of the reaction the Pooka had to Mallory.

I may make a foam sword for photos/if I ever wear this to a con, but it's not pressing to me right now (this project will probably take awhile). I do want to make this as wearable as possible so various elements can be worn on their own or in combination with other things, which is why I didn't plan to make a single dress that just looks like two layered on top of each other, and why the over dress with be silver and not white (also I hate sewing white fabrics).

[fashion-from-the-past]

1770s

[chic-a-gigot]

Mode-palace : album mensuel des dernières créations parisiennes. No. 12, décembre 1901, Paris. Gravure coloriée no. 1. Toilettes de visite et de ville. Bibliothèque nationale de France

Première toilette, très habillée, composée d'une jupe en gros grain vert et d’un corsage-habit en soie brochée vert deux tons. La jupe est ornée, devant, de deux grands revers en velours, brodés or et vert. Le corsage, découpé en basques carrées devant, est orné d’un fichu en dentelle de Bruges. Les manches, à parements de velours vert, brodés or et argent, ont des manchettes en dentelle de Bruges. Col et ceinture en velours vert. Chapeau en velours vert, orné de rubans do satin vert et d'une touffe de chrysanthèmes variés.

First ensemble, very formal, consisting of a skirt in green grosgrain and a bodice-dress in two-tone green brocaded silk. The skirt is decorated with two large velvet lapels in the front, embroidered in gold and green. The bodice, cut into square basques in front, is decorated with a Bruges lace fichu. The sleeves, with green velvet facings, embroidered in gold and silver, have Bruges lace cuffs. Collar and belt in green velvet. Hat in green velvet, decorated with green satin ribbons and a tuft of varied chrysanthemums.

Métrages: gros grain, 8 mètres; soie brochée, 3 mètres; velours, 1m10; soie doublure, 11 mètres.

—

Seconde toilette, en homespun marron clair. La jupe est ornée, dans le bas, d’un large biais de drap blanc appliqué de petits velours marron. Le boléro, à plastron arrondi, bordé de piqûres, est orné d’une pèlerine ondulée en drap blanc, appliquée de petits velours marron. Nœud de velours marron à ferrets d’or pour fermer le boléro; ce nœud est retenu par une boucle d'or à la haute ceinture de soie bleue. Manches droites froncées, avec poignets de drap blanc, appliquées de velours marron. Col et hausse-col en soie bleue. Chapeau en feutre marron, orné de plumes havane.

Second ensemble, in light brown homespun. The bottom of the skirt is decorated with a wide bias of white cloth applied with small brown velvet stripes. The bolero, with a rounded plastron, edged with stitching, is decorated with a wavy cape in white cloth, applied with small brown velvet stripes. Brown velvet bow with gold studs to close the bolero; this bow is held by a gold buckle at the high blue silk belt. Straight gathered sleeves, with white cloth cuffs, applied with brown velvet stripes. Blue silk collar and gorget. Brown felt hat, decorated with Havana feathers.

Métrages: homespun, 5 mètres; soie doublure, 11 mètres.

[conchcronch]

Sword Swallower - Part 1

LA!BuggyxYou

You and Buggy have been close friends for years, never crossing an unspoken boundary, that is, until the alcohol is flowing and Buggy is feeling sorry for himself.

NSFW under cut

Spotify Playlist for the Vibes

The cool sea air guides the Big Top across the waves as the party rages on. A raid as successful as today’s deserves a real celebration. Everyone is clinking steins, merrily singing sea shanties as they drunkenly attempt to dance and not tip over. You carefully let the silver sword slide down your throat, hearing your fellow crew mates rally until the hilt is on either side of your mouth, the cold metal feeling refreshing against your chapped lips. You turn so your back is facing the audience before slowly bending backwards as you had done a thousand times. Expecting a certain Captain to be standing there waiting to pull the sword from your gullet, but to your surprise he isn’t there. Someone quickly takes the opportunity, pulling the sword from your mouth and showing it off drunkenly. You spot him, standing at the back of the ship, staring into the dark water, paying your performance no mind.

“You didn’t even see my performance,” You bound over, hopping off the makeshift stage and through the crowd of your crew mates until he looks up at you for half a second, “I was going to let you pull the sword out, you love that.” He’s very uncharacteristically staring off into the dark waters, away from everyone. He takes a long gulp of his beer, barely acknowledging you.

“Sorry Doll,” He swirls his drink, staring into the dark ale as if it had the answers to every one of his questions.

“You okay, you never miss out on our performances.” You nudge him with your hip before standing next to him, looking out at the water with him. Standing so close your shoulders are touching the brocade fabric of his worn coat.

“Still no map.”

“We’ll find it Bugs, but other than that it was a pretty successful raid.” You spin around to face him, arching your back over the railing of the ship, enjoying the breeze against your alcohol warmed cheeks.

“I don’t care about all this,” he vaguely waves his hand in the direction of the party, “I just want my fuckin’ map.” He angrily tosses his stein into the black waters before crossing his arms and huffing out a sigh.

You lean forward, pressing a hand to his forehead, then bringing your other to his cheek, feigning concern, only muttering a ‘hm’ every so often to upkeep the ruse.

“What are you doing,” he finally asks.

“Checking to see if you have a fever, because the great captain Buggy would never say he didn’t care about treasure unless he was knocking on death’s door.” You smile at him when he rolls his eyes. Your hand slips from his forehead to rest on his cheek, feeling his stubble scratch against your hand. “We’ll find it, I know it.” He can’t take his eyes off you. Enamored by the way your bouncy curls frame your face perfectly. The curls you had worked on for an hour while sitting on the ground in front of the full length mirror in his quarters.

His eyes slip down your form, taking in your black baby doll dress, your black and white striped thigh highs that he had suggested and the clunky boots that had seen better days. “Wanna’ know how I know?” He huffs a laugh before dryly saying,

“Sure.”

“Because you’re the genius jester, Buggy the Clown!” You lean in close, the alcohol causing you to forget where you are as you press a kiss to his nose. Something you had done many times in private when he needed extra reassurance. As you pull back you can see his eyes are hooded, clearly not caring about the crew celebrating behind you.

Before your alcohol fogged brain can process it, he pulls you into a kiss. He balls the back of your dress in his hands as you’re flush against him. Your hands are trapped between your chests, grabbing onto his vest. His mouth tastes like ale and you know your’s probably tastes the same.

As quickly as it started he’s pushing you back, the sound of the crew whistling and yelling at the two of you feels like someone dumped a bucket of ice water over you. “Just fuck already!” Was the only quip you caught as he wipes his mouth on the arm of his coat and plasters on his practiced grin, makeup smudged.

“Thanks for the practice, Sweets! You’ll get there, keep at it!” He walks backwards towards the door leading to his private quarters. He turns on his heel and you can feel the twisting burn of rejection hot in your gut.

Everyone goes back to their conversations and partying and you feel as though someone flipped the spotlight off at the end of the show and you’re left alone center stage. Heavy footsteps pull you out of your thoughts just long enough to see Cabaji, arm outstretched with a pint. You grab it, knocking it back in one go, sucking air in through your teeth. You never liked beer, but it feels like the searing feel of rejection is temporarily cooled by the amber liquid.

“Another,” You say, following Cabaji through the freaks towards the keg that had been brought aboard.

Part 2

[ghw-archive]

Dress (robe à la française) Late 1770s (fabric: 1750-60s) - France

[digitalfashionmuseum]

Beige Striped Silk Robe à la Française, ca. 1775, English.

Victoria and Albert Museum.

[isaax-sims]

ZxTa's ArisDoublet TSM De-Striped (Outfit)

I love @zx-ta's conversion of the The Sims Medieval ArisDoublet, and decided to try my hand at painting over the doublet stripes, creating a neutral base for recolors.

isaax_ZxTaArisDoubletTSM_Solids contains 24 swatches of various solid colors. isaax_ZxTaArisDoubletTSM_Patterns contains 11 swatches of hand-drawn patterns based on various early 17th century paintings. But I am the most proud to share PSDs for recolors!! Both the original plumbbob buttons and a new style of buttons are available. I hope someone out there can put it to good use!

I used Academia gradients for many of these colors.

Notably lacking damask and brocade among the patterns, as I'm not sure how best to draw those. I may offer some later!

The mesh is not included! Download: Tumblr, or direct to CurseForge.

Download recolors at SimFileShare.

[operafantomet]

Hi! I'm making Christine's wishing dress cosplay and I was wondering if you might know what kind of fabric I could use if silk is not an opinion. Could strong 100% cotton work, thinking that the bodice needs some boning

As the dress require some yardage, I would probably first and foremost keep the fabric firm, but light. But maybe not quilting-cotton light, as it doesn't always drape well. Think taffeta, silk dupioni, cotton satin, or light brocades. These last couple of years there's been several on Spoonflower etc. who's made versions of the stripy/floral fabric for sale. The option there is usually cotton, and they look gorgeous.

The benefit of using natural fibres like silke, cotton, linen, wool etc. is that they breathe. But if this is out of your budget (as it was for me!) think of lining the bodice, and keep the lining in natural fibres like cotton or linen. It is SO much more comfortable to wear, especially if you will wear the costume for hours out and about rather than "just" a photoshoot.

I think my main thing when being impressed with a replica is if the blue fabric somehow illude stripes and flower ranks, as the original fabric. The general pattern is depicted above.

It doesn't have to be an exact replica of the original fabric, but keeping in mind that the fabric has two main patterns going on, and to play with this in the construction is a cool feature. Maria Bjørnson plays around with the direction of the stripes in her design.

But there's also been stage-worn dresses in the US where they used various floral patterns without stripes, so this is also an option.

One was a type worn by Kathy Voytko in the 1990s, and also re-used by Rachel Zatcoff on Broadwa, as well as Krista Buccellato and Kaitlyn Davis in the Restaged US Tour (where @phantomphashion photographed it). The stripes you see are the velvet trims, the fabric itself is greyish pale blue in two nuances, with black (or navy) floral pattern:

There's also the super-floral one in shades of blue, green and red that was worn by Teri Bibb in the 1990s:

And also the blue-on-blue floral fabric first worn by Patti Cohenour in the original Broadway production, and later by Sara Jean Ford in the US Tour. This was photographed next to a dress made of the original stripy/floral fabric, which is very useful as a reference:

So no, you don't have to buy silk, and you don't have to do stripes and flowers. But think of the drape and weight of the fabric - it should drape well, but also not be to heavy - and think of natural fibres if you will wear it for hours.

Happy hunting and happy sewing!