#the flower border was an embroidery design

[badassindistress]

Mum took my sister and I to a workshop tradional Delft blue painting at the Royal Delft Museum for her birthday. So of course we painted a nice traditional design. No really, we did! She drew a hippocampus and I drew a dragon that were both directly from a 17th century tile.

It was challenging, but really fun!

[missanjiarabegum]

Vibrant Embroidery: A Look at Peruvian DMC's Flower Border Design

[chic-a-gigot]

Les Modes : revue mensuelle illustrée des arts décoratifs appliqués à la femme, no. 6, vol. 1, juin 1901, Paris. Aux Courses. Bibliothèque nationale de France

No. 1. Robe en foulard bleu ciel. No. 2. Robe en voile rouge. No. 3. Robe en batiste blanche. No. 4. Robe en voile blanc. No. 5. Robe de mousseline brodée. Cliché Boyer.

Robe en mousseline de soie noire. Robe en mousseline de l'inde. Cliché Boyer.

Robe en foulard. Robe en voile gris argent. Cliché Boyer.

Robe de louisine "champagne". Robe en louisine rayée. Cliché Boyer.

(1.) ROBE EN FOULARD BLEU CIEL, à dessin blanc. Au bas du volant, petites franges blanches. Corsage blouse. Grand col de dentelles.

(1.) SKY BLUE FOULARD DRESS, with white design. At the bottom of the ruffle, small white fringes. Blouse bodice. Large lace collar.

—

(2.) ROBE EN VOILE ROUGE. Col de guipure et fichu de mousseline de soie blanche. Choux de comètes noires.

(2.) RED VOILE DRESS. Guipure collar and white silk chiffon scarf. Cabbages of black comets.

—

(3.) ROBE EN BATISTE BLANCHE. A petits pois roses. Comètes de velours noir au bas des volants. Broderie au plumetis figurant le boléro.

(3.) WHITE BATISTE DRESS. With little pink polka dots. Black velvet comets at the bottom of the ruffles. Plumetis embroidery depicting the bolero.

—

(4.) ROBE EN VOILE BLANC, avec incrustations de grosse broderie.

(4.) WHITE VOILE DRESS, with large embroidery inlays.

—

(5.) ROBE DE MOUSSELINE BRODÉE. Forme droite. Corsage blousé avec grand col.

(5.) EMBROIDERED CHIFFON DRESS. Straight shape. Bloused bodice with large collar.

—

ROBE EN MOUSSELINE DE SOIE NOIRE. Rayée de velours noir sur transparent blanc. Incrustations de chantilly noir et blanc sur le volant. Corsage avec les mêmes incrustations décolleté sur empiècement blanc.

BLACK SILK CHIFFON DRESS. Striped with black velvet on transparent white. Black and white whipped cream inlays on the steering wheel. Bodice with the same neckline inlays on white yoke.

—

ROBE EN MOUSSELINE DE L’INDE, avec fleurs brodées nuancées.

INDIAN CHIFFON DRESS, with nuanced embroidered flowers.

—

ROBE EN FOULARD. Dessin cachemire avec bandes de taffetas blanc piqué. Grand col de taffetas blanc piqué.

FOULARD DRESS. Paisley design with strips of white pique taffeta. Large white quilted taffeta collar.

—

ROBE EN VOILE GRIS ARGENT. Avec grand col de gui pure.

SILVER GRAY VOILE DRESS. With large pure mistletoe collar.

—

ROBE DE LOUISINE CHAMPAGNE (Écru rosé). Incrustée d’entre-deux de cluny. Boléro court en louisine, bordé d’une légère broderie d’or sur une chemisette de cluny. Haute ceinture en galon d’or.

LOUISINE CHAMPAGNE DRESS (Ecru pink). Inlaid with cluny insertions. Short louisine bolero, bordered with light gold embroidery on a cluny shirt. High gold braid belt.

—

ROBE EN LOUISINE RAYÉE. Incrustée de guipure, grand col Marion de Lorme en guipure.

STRIPED LOUISINE DRESS. Inlaid with guipure, large Marion de Lorme collar in guipure.

[jordanianroyals]

The Saudi fashion house Honayda designs a special outfit for Saudi-born Princess Rajwa Al Hussein to celebrate the 25th Silver Jubilee of the Hashemite Kingdom of Jordan on 9 June 2024.

Heritage Artistry: The two-piece look honored Jordanian traditions, featuring intricate embroidery and traditional patterns crafted by Jordanian women artisans, who took 120 hours embellishing the collar as well as the border of the cape. The artwork shocases heritage embroidery using traditional tools and techniques where intricate cross-stitched patterns featured traditional motifs including geometric shapes and symbolic elements reflecting local customs, guided by the artistic direction of Honayda. The design, which took over 950 hours to complete, incorporated both age-old Jordanian techniques and Honayda’s 3D signature embroidery in the colors of the Jordanian flag. The ensemble celebrated the rich cultural heritage of Jordan and the enduring legacy of the Hashemite Kingdom, reflecting Princess Rajwa’s unique balance of softness and strength.

The Colour of the Design: the deep, pigmented red was chosen for the look, where red represents the Hashemite dynasty. This rich hue is traditionally associated with strength and passion, embodying royalty and translating the love to the land. The choice of this regal colour added a majestic allure and elegance to the dress, tailored in a flowing georgette fabric.

The Iris Flower: to comeplete the design, Honayda chose the iris flower as a symbol of royalty, wisdom, and hope, where the flower was intricately embroidered in a 3D silver motif. Each petal and leaf was carefully shaded to create a realistic appearance, enhancing the overall design and adding a layer of symbolic meaning that resonates with the significance of the occasion.

[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).

[creations-by-chaosfay]

Dragon Age Fans!!!

Read below the poll for details regarding this.

PLEASE REBLOG!

Especially if you choose the first option. It makes no sense to choose it if you don't reblog. Where are you gonna tell me what character you want most if you don't reblog and include that info in the tags?

Now, for details...

I create character interpretations in my work, and I'm a hard-core Dragon Age fan. The game saved my life when my mental health got really dark.

Because of a bad fall, and stuff related to it, I'm unable to draw anymore. Now I make quilts. The interpretations are colors, prints, and symbols. At least, until I learn applique.

Here are examples of interpretations. Several were commissioned pieces, and the clients are very happy about the results.

The first is Odin/The Hanged Man. This was a commissioned piece, and one of few where I applied embroidery.

This one is an altar piece representing Brigid, a goddess.

This is a personal piece, a table runner serving as an altar mat for Halloween and the goddess call Hel or Hela. The light print has metallic gold skulls all over it.

This is a tarot interpretation of the tarot card called The Sun, and was part of a trade. Like the Odin piece, it has semiprecious gems and stones handsewn onto it.

This is a transgender tarot mat, also a commission.

This is an interpretation of my grandpa, made shortly after he passed away. My grandmother wouldn't accept it because it was too accurate and made her cry too much. Instead, I made it a prize for a giveaway.

This is a memorial piece, also a commission. I have semiprecious stones and gems handsewn to it as well.

This is Lady of Guadalupe, an interpretation. I can't remember if it was a commissioned piece or trade.

This last one represents the synesthesia I experience after tonic-clonic seizures. My synesthesia is normally my brain interpreting sound as texture, but it switches to seeing sounds. This is a song, but I can no longer recall the song

This should give you an idea of what I can do. Interpretation is a challenge I love to no end. As of making this, I've made a wallhanging representing Lucanis Dellamorte (the direct translation is Wolf of Death btw). I has a purple crow made with sparkly cotton, on a field of black shiny like polished leather, framed with a purple soft floral border. He's a Crow, a romantic according to devs, and his colors are purple and black. This will be listed in my shop, and soon I'll be working on another with reversed colors.

Emmerich is my next target, and it'll be skulls, blue, green, and possibly brown or off-white. Neve will likely have serpents, Taash will have wealth and/or dragons, Lace will have a bow and flowers, and I need to figure out the rest.

Feel free to include suggestions!l in the tags for the character you're most interested in!!!

Prices will vary by a lot. Size, design, materials, time, all of these will contribute to the final price. The work is worth the money though, that I can guarantee. There's a reason I gave repeat buyers and clients.

[cressida-jayoungr]

One Dress a Day Challenge

August: Fantasy & Sci-Fi

Prince of Persia: The Sands of Time / Gemma Arterton as Princess Tamina

What really makes this costume for me is the filmy cloak. It looks simple at first glance, but on closer inspection, you can see that it's covered with delicate embroidery in pale gold. There are floral-looking roundels all around the border, and the hood has small flower and vine designs as well, in addition to a scalloped edge. The dress underneath is fairly basic, but it reinforces the cream and gold color scheme.

I also think they way they've done her hair is very pretty, with the pearls and silver ribbon braided into it.

[bismuthburnsblue]

finally finished tracing out the skirt embroidery!

there was a lot of adjusting i had to do to this to make it symmetrical and also just... make sense (seriously look at the original skirt for a few seconds and you'll start seeing all the places where its.... weird) but im super happy with my results! im planning on using this (or at least elements of it) on the rest of the costume to tie the thing together!

in the end, i couldnt get the lower flower to come out in a way i liked that also felt cohesive with the rest of the design, so i left it off, but i think its just as good without! you can see my first attempt at it in one of the templates below the cut though, if youre interested!

this was fun! idk if anyone other than me will find use in this, but it was worth it anyway,i learnt a lot about using the path tool in the process of making this & already have some future plans for the things i picked up on.

↓ versions with thicker lines and each element separated out into its own template ↓

thicker lines!

The border- this repeats perfectly, just match it center to center

The main flower

The upper flower

The Tulips! i included both directions here

[dragon-communion]

Compiling St. Trina iconography here for my own reasons:

Sword of St. Trina: visually based on a real world sword, El Cid's Tizona. The inscription on the blade is likely related to the inscription on Tizona, though the in-game script is frustratingly untranslatable. Omnipresent lily imagery. I wish I could get a better look at the crossguard, but the forte has a cute little flower on it. The grip is a depiction of St. Trina on her side, possibly asleep. Might be made of ivory? The pommel looks like a bud of some sort.

St. Trina's Crystal Ball: the two prominent images are her lily and another image of Trina herself. The commitment to full-body imagery here is interesting, especially since it's so vague in both instances. Potentially ivory again. The bottom of the frame has what might be the same bud, but more open, and directly opposite Trina is another depiction of the cute flower from the sword's forte. What is it? It doesn't look like a lily, more like a daisy at best. The crystal ball is dark and cloudy, possibly some sort of mineral other than glass. While colored glass does exist in the Lands Between, I haven't seen a great quantity of purple. I have seen purple gems though. The crystal ball doesn't seem designed to sit on a surface the way most are, nor is it apparently built to fit into a frame. I'd theorize it's meant to be hung from the stem of the lily at the top, possibly from a belt for easy transport.

St. Trina's Arrows: Considering the extreme intricacy of their design, I'm surprised they don't have a matching bow the way the Serpent Arrows do. The "fletching" is two entwined lilies, which are debatably functional as fletching, but I'm more interested in the fact that they are entwined. Most depictions of the lilies are a single curled-over stem- even the crystal ball, with a pair of them engraved beneath the handle, has two separate lilies. I'll have to do more research into arrowheads to draw any conclusions about the shape of these, but the engraving on them seems to match engravings on the sword. The little daisy pattern from the forte of the sword is present at the base of the arrowheads.

Fevor's Cookbook(s): Obviously research notes as compared to other papers in the Lands Between, examining the properties and anatomy of the lily, although the script itself is illegible. The paper itself interests me more. Paper is expensive, and the paper in these cookbooks is outright elaborate, tied with a ribbon that matches the borders. There's some sort of triple-circle motif in the background beneath the text that is defying my best efforts at identification, but something about it reminds me of the circular embroidery on the clothes of the Oracle Envoys.

St. Trina's Torch: I think I finally have confirmation that the Spirit Calling Bell and Rebirth Monuments could have something to do directly with St. Trina. It bears further investigation, but the heartlike symbol on the pommel of the torch is surprisingly useful. The helix on the handle less so, but there are enough similar motifs in-game that I'm getting excited about the possibilities. I am fairly certain I've seen that heart either in the Divine Towers or somewhere around the Giantsforge. Other people have said plenty about the potential butterfly motif and the singular eye, but I'm more interested in the floral design directly above her head. Could it be that daisy design I saw earlier? Could it be a stylistic floral design of the giants' meteor sigil? Hard to say. I wish I could get a better angle on the torch to see if it's burning anything notable, the way the Ghostflame torch is. Given the way it seems carved from stone, and the handle is wrapped with rope at the bottom rather than carved for comfort, I'm almost inclined to think the torch was meant to be installed in some sort of physical sconce rather than carried. There's something distinctly architectural about it that doesn't match the other torches. I wonder if it was inspired by something.

[phrynefishersfrocks]

The eighth and final costume of "Unnatural Habits" (Season 2, Episode 12) is the triumphant return of Phryne's remarkable rooster kimono.

While it's impossible to tell which of her pajama sets Miss Fisher is wearing underneath, her rooster kimono serves as an elegant yet minimal outfit for her vulnerable talk with Jack late at night. The dressing gown itself is made of a black satin that serves as a backdrop to the intricate embroidery that adorn the shoulders and cover the back. A wide variety of threads paint a picture of a flowering tree branch going up from the hem of the kimono and reaching up to her shoulders, while two roosters battle it out in the air.

Essie Davis mentions the dressing gown specifically as her favorite item of clothing in both a video interview with Acorn TV as well as a written interview with NPR:

"I do have a favorite," she acknowledges. "Because I love the simplicity and the extraordinary detail of this beautiful black satin dressing gown that is in chinois embroidery, and on the back of it, are these two embroidered fighting cocks. And I think it is the most perfectly tongue-in-cheek piece of costume, and I love putting it on, 'cause I love the idea that there are fighting cocks." And then she cackles.

This is another item from costume designer Marion Boyce’s personal collection, and according to the Costume Exhibition Catalogue was “one of the last pieces that came out of China before they closed their trading borders in the 1920s”.

“I bought this years and years ago from a retro store, Gollyester in Los Angeles when I was doing Crocodile Dundee 3… it was the most beautiful thing I had seen. I’ve got a passion for Chinoiserie.” - Marion Boyce in the Series One Costume Exhibition Catalogue.

One of several robes designed for nightwear, this is certainly one of her most memorable ones, appearing in the very first episode, 1x01, and then showing up in 1x04, 1x06, 1x10, 2x08, before being bookended at the end of season two here.

Season 2, Episode 12 - "Unnatural Habits"

Screencaps from here, promotional photos from various sources (x, x, x, x), costume exhibition photos from Dayna's Blog and Bobbin & Baste.

[tinyshe]

The second Filet Ancient book, printed in 1913. Charted designs for darned net (filet), also useful for filet crochet, cross-stitch, and voided embroidery (Assisi). More strips, insertions, borders, corners, swags, and large motifs. The life of Joan of Arc, heraldic beasts, cherubs; folk tale scenes; cherubs and nymphs; Aesops fables; devotional motifs; Greek and Roman mythic figures; lords and ladies and court life; birds, beasts, flowers, and geometric/scrolling ornament; Night and Day; hunting scenes; procession of the Saints; and more.

Scans donated by Tamara Wijnsma, edited by Sytske Wijnsma, charted by Franciska Ruessink.

[therese-lokidottir]

Jotunheim worldbuilding headcanons

Jotunheim, the land of giants, is home to various kinds of giants, each with its unique abilities and characteristics. The Frost Giants, dwell in the Arctic regions of Jotunheim and possess mastery over the ice and snow. The Forest Giants, on the other hand, have a profound connection with nature and possess the ability to communicate with plants and animals. The Land Giants, known for their gentle nature, have an inherent sense of direction and possess vast knowledge of their surroundings. They reside in the expansive plains of Jotunheim. The Mountain Giants, the physically strongest of the Jotun kind, make their homes in the mountains, inhabit the mountains, and often share borders with the Forest and Land Giants. Lastly, the Storm Giants, the most nomadic of the giants, can control the winds and change their size. As they grow larger, their bodies become more ethereal. While some Storm giants have settled in the mountains, most of them wander the lands of Jotunheim.

Jotunheim largely is a wintery world but is nevertheless home to a diverse range of flora and fauna. The inhabitants of Jotunheim, the giants, are skilled in working with a variety of fabrics and materials. They make abundant use of leather and fur, but they also possess knowledge of silk, cotton, and flax fabrics. Frost giants primarily use and produce furs and thick silks, while forest giants specialize in creating different types of linen. Land giants are known for producing leather and cotton, while mountain giants are skilled in finding and working with different types of metals and gems. Finally, storm giants are renowned for their ability to create vibrant dyes and pigments.

Jotun fabric is renowned for its exquisitely intricate embroidery. Each of their fabrics is a reflection of the natural world that surrounds them, drawing inspiration from every journey they undertake. Their designs are inspired by the delicate shapes of snowflakes and ice, the intricate patterns of leaves, flowers, and vines, and the stunning formations of rocks and crystals. Jotun's attention to detail and dedication to creating unique and captivating designs make their fabrics a true work of art.

Frost and Storm giant females are known for adorning their hair with shiny embellishments, such as gold or other sparkling accessories. On the other hand, forest giant women and girls are often seen using flowers as hair decorations. Land Giants tend to keep their hair up in fancy braids.

Among the diverse cultures inhabiting the planet Jotunheim, only the Land and Forest giants have a significant history of plant cultivation. While the Land giants have been successful in establishing large-scale farms, the Mountain giants, who share some of their territories with the Land giants, have limited agricultural practices. Forest giants have some history with farming however their agriculture has been mostly used to develop herbal and medicinal results. In contrast, the Frost Giants have a minimalistic approach to agriculture, and their cultivation is mainly limited to root vegetables. They rely more on foraging for their sustenance, though trading is also prevalent. As for the Storm Giants, who are primarily nomadic, they do not engage in agriculture, but they possess excellent skills in foraging. Their expertise in finding and collecting plants has enabled other communities to further develop their agricultural practices.

You have anything to add feel free to add

[chic-a-gigot]

The Delineator, no. 4, Vol. XLVIII. Autumn Number. October 1896. Published by the Butterick Publishing Co. London & New York. Colored Plate 22. Figures D45 & 46. Reception Dresses. Internet Archive, uploaded by Albert R. Mann Library

Figure D 45. — LADIES’ DINNER DRESS.

Figure D 45. — This illustrates a Ladies’ Princess dress. The pattern, which is No. 8621 and costs 1s. 6d. or 35 cents, is in thirteen sizes for ladies from twenty-eight to forty-six inches, bust measure, and may be seen again on page 428 of this magazine.

This is one of the handsomest and newest styles in Princess gowns and shows a charming method of combining rich materials for ceremonious wear. In this instance Nile-green brocaded silk is united with black velvet and chiffon in a most effective manner, and spangled passementerie, plaited chiffon and ribbon contribute the decoration. The adjustment is made with great precision by side-front seams reaching to the shoulders, under-arm and side-back gores and a curving center seam and the closing may be made at the center of the back or along the left shoulder and under-arm seams, as preferred. The dress flares broadly at the foot in front and falls in deep flutes at the sides and back. The neck is square in front and in V shape at the back and a puff ornament of chiffon gathered at the ends and under a jewelled buckle at the center crosses the neck in front; a Bertha frill of plaited chiffon outlines the neck and passes under velvet revers on the front and back. The short puff sleeves flare handsomely and are completed with a band of spangled passementerie. A band of similar trimming covers each side-front seam of the dress to the top of a flounce of plaited chiffon that is arranged in festoon style with ribbon bows above bands of spangled passementerie at the foot.

Contrast, which is so powerful an element in good dressing, may be brought into play in this handsome mode. Judicious yet unpretentious colors and materials may be chosen without a too prodigal outlay. Becoming shades of silk, chiffon over silk, or the richer faille silks with delicate foliage or floral designs are liked for the most dressy occasions, while for ordinary wear broadcloth, canvas, wool crépon and the new novelty goods are commended. Colored embroideries, jet and spangled passementeries, chiffon and lace are all available for decoration.

Figure No. D 46. — MISSES’ PARTY DRESS.

Figure D 46. — This illustrates a Misses’ dress. The pattern, which is No. 8654 and costs 1s. 3d. or 30 cents, is in seven size for misses from ten to sixteen years of age, and may be seen in three views on page 454 of this number of The Delineator.

A most attractive combination of embroidered chiffon over taffeta silk and velvet overlaid with lace net is here pictured in the dress, and flowers, lace edging and ribbon provide the dainty decoration. A well-fitted lining closed at the back renders the surplice waist trim and comfortable. A Y facing of the velvet overlaid with lace net is seen on the lining between the surplice fronts, which have pretty fulness drawn in gathers at the shoulders and lower edges and cross in regular surplice fashion, a floral spray following the front edge of the overlapping front. The back is smooth across the shoulders and has gathered fulness at the bottom, and under-arm gores separate it from the fronts. A ribbon belt surrounds the waist and terminates in a bow at the left side of the front. Bretelles of velvet overlaid with lace net and bordered with a frill of lace edging droop over the short puff sleeves and a ribbon stock bowed stylishly at the back completes the neck.

The seven-gored skirt is gathered at the back and ripples gracefully below the hips and at the back, its shaping causing it to flare prettily at the bottom in front. A ruffle of the chiffon follows the lower edge of the skirt and a pretty effect is given by the floral decoration consisting of three sprays, each of which starts from under a ribbon bow and crosses the front-gore of the skirt diagonally.

There are a host of diaphanous fabrics from which to choose when making evening dresses for young girls. Plain varieties are quite as dainty as the embroidered and printed tissues. Lovely party dresses of silk, chiffon, dotted Swiss or nainsook may also be made up in this style in such colors as are known to be becoming. Flowers, ribbon, lace edging, spangled or jewelled passementerie and velvet are available for ornamentation.

[20dollarlolita]

Going to do a lolita challenge that The Random Lolita posted 12 years ago. I'm going to be spacing these out, but it seemed like it'd be fun.

I picked this because it's not coord-heavy and so that means more people could join in if they want. I've wanted to do this for quite a while, but always kind of found other people's annoying to read. Since tumblr has a decent blacklist function now, you can just block "20dollarlolita 30daylorlolita challenge" to avoid reading this.

Day 1) 10 things about your lolita bubble.

Not going to lie, I didn't do this one for the longest time because I didn't really get what "your lolita bubble" meant, and I didn't want to start this on the wrong foot. But I read some other people's things and it's apparently just things that are about how you interact with the concept of lolita fashion.

So here goes: 1) my lolita bubble is a mess right now. In addition to being non-weight bearing on my foot, which is making all lolita difficult, there's also some interesting things happening in the local community that I'm in. 2) I'm so used to being the lone lolita that it feels very strange to me to be so wrapped up in what other people in my area are doing. I was lone lolita for the first 10+ years I was in the fashion, and have only had a local community for a year or so. I changed jobs last year, and part of the reason was that I wasn't allowed to have a flexible day off and had to use my PTO any time I wanted a day off that wasn't a tuesday or wednesday. I would have quit over the disrespect that this issue was handled with, but the reason that this was initially brought up was because my lolita meets were not happening on weekdays. 3) I'm into lolita fashion because it allows me to be creative, to craft new things, and to build new things. I love buying pieces that are missing components and then rebuilding those components.

Okay, line break, 4) I'm currently working on a bunch of projects, including resizing a JSK for a friend. I had to replace a broken zipper and add a shirring panel. I absolutely love how shirring panels make sewing lolita so much more accessible, because if the fit isn't completely right, you know the panel will compensate. I had to add a little bit on the sides, which one of the waist ties was sacrificed for. I'm trying to figure out how to turn the existing one waist tie into two so that the dress will have ties still.

5) I got into lolita in a really difficult time in my life. As is often the case with serious chronic mental illness, mine developed when I was in my very early 20's, which was right after I decided to get into lolita fashion. I really want to make a dress with the words, "Live through this and you won't look back," on it, but i've never had the right time or design to do it. 6) I love looking through old lolita blogs. I love looking at tutorials from 2007. I love how much of the more early western lolita scene is archived on livejournal. I love the privacy of lolita discord and the safety it's offered, but I always hope that people will archive tutorials somewhere public for the future generations. 7) I have a werid amount of guilt around the fact that I bought an embroidery machine a year ago and still haven't ever made a border print on it. I make a lot of patches but I've never done a border embroidery. 8) One of my favorite archived lolita things is the argument over that BTSSB flower crown and the person who kept insisting that she be given the contact info of a stranger who bought it so that they could ask it to be sold to them. 9) I think that most of the time when someone says that a dress doesn't look good without the waist ties that, if you dig into what they say, they hate fat people. Maybe this isn't true anymore, but it used to go hand in hand.

10) I spend a lot of time on this blog waiting for everyone to realize that i'm a giant asshole and to leave me alone. I'm grateful for everyone who is willing to stick around even when I say stuff like #9. I love how people are willing to come and tell me that they're glad there's a lolita tumblr that's still highly active, and that I've helped them. I went from doing this blog for me, specifically to give myself an excuse to make more lolita fashion, to being able to tailor posts to the needs of other people and a general audience. I have been going through some additional shit recently, and I didn't have enough time to do both this and my youtube channel, and we can see which one I picked.

Bonus thing: 11) I really want to figure otu how to do a stage transformation dress (cinderella dress) in lolita. The magic of somehow going from old school gothic to ott sweet or something would be so cool, even though it couldn't actually happen like it does in my mind.

Anyway, y'all let me know if you'd rather I stick to normal content and do the rest of this on my personal blog. BTW @handcraftedplumbingnightmares is my personal blog, if anyone wants it.

[racxnteur]

Completed commission for @lurkerdelima of their druid boyfriend OCs, Aneirin and Rylan! I heard ‘Order of the Sunflower’ and went h o r d into the decorative motif lol. (Fun fact, last day of working on this I realized I was wearing a t-shirt with sunflowers as a repeating print on it. Image ref: EQUIPPED.)

Micron liner pens and Copic art markers on marker paper, 9 x 12 in.

I worked my bones off on all the little details for this one so I am including some close-ups under the cut and little details! Enjoy! ☺️

The daisy flowers in their hair is for midsummer: Aneirin keeps it simple while I gave Rylan a proper daisy-chain crown.

Robes were described as more typically darker colors, hooded, with long sleeves—but I really loved the summer/midsummer theme, so I gave them lighter outfits in accordance with the season. There are actually pants under there, too, and the sleeves are pushed back and bound with ribbon banding to stay higher on the arm, as otherwise they would be quite large and hang down to the wrist. My thought is, gotta keep that fabric under control when you’re out collecting flowers!

(I used sooo much tracing paper working out outfit layering and labored over how to convey the bunched fabric to such an extent, lol.)

The bunny you see above and the pendant necklace below are treasured childhood belongings of Aneirin and Rylan, respectively—at some point, they exchange these as gifts, and I found that too cute not to include, so they’re both showing off the other’s token.

I also poked around a lot to find nice little trim/embroidery details for each garment. I toyed with like fifteen border stitch designs before choosing the interlocking geometric one you see here; the full version would have this around the skirt of the underrobe as well. The green-and-gold trim for the open-front tunic vests is simpler, just sort of a three-pip design to mimic leaf or petal shapes. But I couldn’t resist going properly in on the sunflowers motif for the hanging waist wrap, clearly… had to get full and partial stylized sunflower designs in there, plus a series of leaf appliqués up the side and an array of sunflower seeds at the bottom! 😅 This is what happens when I am commissioned for druids whose order happens to feature my favorite flower.

Final sunflower details: Rylan is wearing a wicker horn-o’-plenty/cornucopia that is hung like a satchel via attached shoulder strap. In my head, he uses this to collect sunflower stems for midsummer celebrations. He’s tucked some daisies in there too because why not, and has Aneirin’s gifted bunny sitting atop the bunch as a helpful flower-gathering companion.

Aneirin is described as a little more reserved—but also a very Long and Slender boy, so for him instead I gave him a more elaborately decorated waist belt. The sunflower brooches here were a BITCH to try and detail with brush-tip markers, but I think in the end it’s a pretty good hit for the glazed enamel vibe I was going for! He’s got a beaded cord hanging over the waist wrap too (and a stitched-on stylized sun on the cinch) because I love unnecessary detail.

Anyway…

I had a lot of indulgence with this art overall, and hopefully it comes across well. Shout-out again to Lurker for commissioning me, and if you want to know more about Aneirin and Rylan as OCs, go follow @lurkerdelima ! 😄

[clementinefight]

Sorry if you haven’t heard from me, whoever’s waiting to hear from me. May was hard. May was Captain of a lot of things that didn’t feel so good. I watched a lot of Shetland & one night made brownies from the box. I think it was the same night, oh dear. It all goes flashing down the rear. May was like, “how is it possible the flowers can bloom when I feel like this, So pointless, aimless, out of wack And unretrieved or left behind, How is it all coming up as I’m going down, Shouldn’t we, as nature, be in a tandem dance.” May, I was alone a lot and felt it. Though that is nature – up and down in tandem, Good and bad in the same exquisite sandwich. I take a bite. Cloudy day. I’m just in it. Glad to be in it – I love the thorn in the rose bush as that’s what makes it rose bush.

I’m in Nova Scotia, baby, it’s my first time here. Flew in from Toronto with my sister (not twin, who is in Italy) and my cousin. It only took 1 hour and 44 minutes in the air to get somewhere I’d never been in my life. We are here for my birthday on Monday but also because BenIsHerFriend.

Cold air out here, no? Walking into the tiny shack where we’re staying my sister said about the cold, “I can feel it in my bones.” But the air is fresh and sparkly green. Green everywhere. Green landing. I brought a book – never let me go by Kazuo – but I probably won’t touch it, I just don’t have those kinds of eyes at the minute. Staying in a boat shack in LaHave, as I somewhat mentioned, which is an hour twenty-minute drive out from Halifax. The highway, if that’s what it is, is very nice, grey and bordered in tall trees, a thrumming yellow-green embroidery. We didn’t rent a Jeep Wrangler but that’s what the car rental place had for us after losing (?) our original car and having us waiting near an hour for its replacement. It was a fine wait, huddled at a high bar table in the airport with English breakfast tea and a morning glory muffin. And we got a cool Jeep at the end. I felt like this was special, because we’ve always wanted to drive in a big hulking Jeep machine in a space with nice, open skies. Hopefully the weather will warm to the point we can take the roof off and if it doesn’t, maybe we’ll do it anyway and shiver for a bit of time.

Today, though, today I’m sodamntired but coffee isn’t helping. Do you ever have something to do that you just can’t fucking do? So it just runs in your brain as something you’ve GOTTA do! It’s not all bad. I enjoyed a cheese croissant and two lemony dolmas for lunch which was great, and lemon loaf for lunch-dessert. Rain glides in the air, and on these blustery days, a note of lemon cracking through does real business.

Also – I got a Graphic Design internship! With an animation festival in Ottawa. It’s virtual, forty hours a week and starts tomorrow and runs until the first day of September. I’ll be helping design the festival book. Maybe in the fall will drive to Ottawa to meet them all in person / attend a few of the shows. But this means I’ll have to lower my hours on the island, so hopefully that’s cool. Otherwise, I’ll quit the island. That could only have been a summer job anyway.  

Tomorrow, will visit Lunenberg :•)