#these are as always fully made by me including the pattern and printing the fabric!

[barksbog]

weevil time!!!

so much legg (with teddy joints!)

snoot

mmm textures

weighted!

large

didn´t they do it for youuu?

---------------

adopt a weevil today!

fresh from my bog: barksbog.squarepace.com/shop

[midgardianweasley]

Build-a-bear adventures

Build-a-bear adventures.

Natasha Romanoff x fem!reader

Summary: A top trained assassin, her girlfriend, and a build-a-bear workshop, what better way to spend a day off. 

Word count: 2.1k

Warnings: Agonisingly fluffy.

I was planning on posting angst, but, decided on a fluff instead<33 

“But babe. Babe. Babe.” You poked your girlfriend, fully aware that with every prod, you were only contributing to the headache worthy eye rolls she had been giving you for the past hour. You were joking, of course you were, she knew that, but she also knew that it was possible you were about to be single in 0.2 of a second if you didn’t stop poking her. 

With a sarcastic smile and a deep breath, she turned her head towards you, momentarily stopping your movements as you returned a sickeningly sweet smile back. 

“Yes?” 

“I don’t think you understand.” 

“I do understand.”

“This is life or death.” You spoke with a poker face, a weak attempt to try and make your point valid. 

“I think that may be exaggerating just a little bit honey.” She chuckled lightly at your tone and the way you moved in your spot on the sofa, now having your legs crossed in front of you, hands enthusiastically moving in front of you. 

“No. No, see, you don’t understand! We need to do this!” 

“Is my unconditional love not enough?” 

“No.”

“Ouch.” She dramatically placed her hand on her chest, a smirk plastered onto her face as she watched you rile yourself up with every sentence.

“Okay, sorry, I didn’t mean that, your unconditional love is more than enough, and while I unconditionally love you too, that doesn’t change the fact that this is a necessity.” 

“Like the ones from the jungle book?” 

You groaned loudly, throwing your head back as the assassin teased you. 

“Baby, please!” You moved once again, now clambering onto her lap with your hands interlocked behind her neck, your faces mere inches away from hers. Her hands immediately went to your waist to steady you, pure energy coursed through your veins as you tried to convince Natasha to go ahead with your idea and she wasn’t certain you wouldn’t fall off of you if she didn’t hold you down.

“You seriously want to?”

“Yes.”

“Today?”

“Yes.”

“Instead of cuddling in bed with movies?” Her eyebrows raised in question, not faltering as she watched you pretend to ponder, stroking an imaginary beard on your chin.

“Yes.” You smiled, your inner child shining through. 

Knowing she wasn’t going to win, she sighed gently, running a hand through your hair and giving you a quick kiss on your temple before tapping your thighs to signal for you to stand up. 

“Alright. Get ready and we’ll go.” 

“Really?” You squealed, clapping your hands together as you rocked back and forth on your heels. 

“Really. Now hurry and get your shoes on, we don’t want to get stuck in traffic.” 

She watched with nothing but adoration as you whizzed off to get ready to leave, swearing that she’s never seen you move so quickly in her life. Despite her playful protest, she walked over to the kitchen counter to pick up her car keys, swinging them around her pointer finger as she walked over to the doorway of the compound living room. 

‘I can’t believe I'm doing this.’ She thought. 

Although she’ll deny it to anyone that asks, she’s absolutely whipped for you. 

“I’m ready!” Your voice called out, encouraging Natasha to shrug her leather jacket on and walk towards her smiling girlfriend, taking her hand as they walked out together with content smiles on their faces. 

‘Let’s do this.’ 

_______________________

It didn’t take long to arrive at your destination, your eyes immediately drew themselves to the store windows filled with stuffed bears in a variety of different outfits, some bears were dressed up to fit a theme, some bears were characters from loved movies, some were just bears in dungarees. 

That’s right. You’ve managed to bring a trained assassin to a build-a-bear workshop. Why? 

To get matching bears. 

You looked towards Natasha, a huge grin on your face, only faltering slightly as you were met with her hands and forehead on the drivers wheel. You tugged on her sleeve, ignoring her disagreement, her head not leaving the wheel, but turned to face you.

“Stop being silly, c’mon, you’re looking forward to it! I know you are!” 

“Babe. We’re parked outside of a teddy store.”

“Exactly! It’s fun, you’re excited, I'm excited, let’s go!” 

You didn’t hesitate to open your car door, jumping out of the car and shutting the door behind you, the redhead not far behind you as she once again took your hand, reminding you how lucky you are that she loves you. Your response was a simple kiss on her cheek, a small blush following shortly afterwards.

“You’re cute.” You pinched her cheek.

“Yeah yeah, let’s go get our bears.” 

_______________________

“So, that’s both of your bears stuffed, do you guys want to put voice boxes in them?” The kind staff member asked the pair of you. 

You glanced towards Natasha, silently asking if she’d like one or not. She gave you a brief smile before looking back at the woman helping you with your bears. 

“Sure, I don’t see why not.” She winked at you before following the woman over to another station within the store. There were rows and rows of different shapes and coloured voice boxes to choose from. 

You had the option of choosing a pre-recorded sound, like animal sounds or a bunch of different ‘i love you.’ in different voices. You didn’t mind what voice you had, honestly, you would’ve been content with an ‘i love you’ from Elsa at this point. However, you saw your girlfriend make a beeline for the ones that you record your own message into. 

“You’re gonna do your own one?” You asked, moving over to stand beside her. 

“Nope. I’m making one for yours.” She said proudly, holding two of the small items in her hand, holding it out for you to take one. You couldn’t help but feel your heartbeat quicken at her words. This is the sweetest thing you’ve ever done with someone else, and to think she wasn’t even that eager to come in the first place. You knew she’d have fun. 

Taking the small blue speaker from her hand, you were instructed to press the button on the back of the plastic, hold it down to speak, and release it when you were finished, but it can only be a short message. The both of you tucked your bears under your arm, bringing the box to your mouth and cupping it so that it would come out loud and clear, and so the other couldn’t hear what you were saying. 

Once your messages were done, you handed each other the speaker to place in the paw that had a ‘press me’ sign sewed into it. The woman ensured it was inserted correctly before taking them elsewhere to be sewn up, leaving you both to look at the racks of tiny clothes hung on the wall. 

It was almost as difficult as choosing clothes for yourself, there were too many options, and every single one was adorable. How did literal children do this? 

“Please tell me you can’t decide on an outfit either.” The Russian spoke from beside you, her gaze focused on the fabrics, styles and patterns in front of you. 

“It’s easier trying to take a pop tart off of the demi-god at home than trying to pick a pair of jeans and a t-shirt for a stuffed animal. What the hell?” Your arms gestured to the wall in front of you, exasperated as you tried to decide whether you wanted the blue jeans or black.” 

“Hi guys, here are your bears, just letting you know, there’s also some dresses over there if you want to check them out.” The woman smiled, watching as you and Natasha shared a glance of horror. 

The two of you were gonna be here for a while.

______________________

Finally, you and Nat had dressed both your bears. You chose a pair of black jeans, a white t-shirt and a black leather jacket for yours, and Natasha had chosen a Y/F/O. It appeared as though each of you had made ‘mini me’s’ of the other, and they seemed pretty damn accurate too. 

After successfully creating and dressing your bears, it was time to name them, pay, and then you could both go home and relax. You had no idea building a bear could be so exhausting. 

Both you and Natasha had to pick a name. You thought it over, whereas Nat had just rushed right in, choosing to call her bear ‘honey.’, the nickname she always reserved for you. Gripping your bear tightly, you observed the birth certificate being printed out, the name, the owner’s name and the date clearly written in bold, black letters. You could’ve sworn you saw Natasha’s eyes light up when she was handed the sheet of paper. 

“What about you, miss?” The woman asked, ready to type in whatever name you gave her. Glancing behind you quickly, you caught the eye of your girlfriend behind you, immediately knowing what to call it. 

“Snoopy, please.” 

You heard one loud and short laugh erupt from Natasha’s lips, her hand shot to cover her mouth, not intending to be so disruptive when she heard what you had called it. 

‘Snoopy’ is the name of a cartoon character, which was probably what people would think you named the bear after. In reality, it wasn’t that at all. 

When you first met the team, you were informed of what everyone’s roles were and how they contributed to the group. There were supersoldiers, scientists, a god, all different kinds of people, including the incredibly attractive spy. When you went on your first mission, she had to hack into a computer to retrieve some stolen data, but took her time to also look at some other things they had on there too, just to kill time. 

The first words you said to her on that mission that wasn’t to do with what direction you were running in, was ‘Alright, hold off Snoopy, you can do that in your spare time, hurry up.’, and at first she was annoyed with the nickname, claiming she wasn’t snooping, nor does she ever ‘snoop’, but she soon took it in her stride. It was still a running joke between the pair of you 2 years down the line, and you never let her forget it. 

“Nice name, babe.” She coughed, unable to fully settle down from her laughing fit.

“Why, thank you! Yours isn’t so bad yourself.” You spoke as you blew her a kiss that she grabbed in thin air and pretended to shove into her jean pocket, earning a small shake of the head before you took your printed certificate and went to purchase the bears. 

_______________________

Once you got back to the compound, the both of you were completely shattered, unable to keep your eyes open to watch some TV before bed. Eager to get some sleep, the two of you just ended up changing into your pyjamas, following your shared night routine before collapsing onto your bed. 

You lay beside her, still able to smell her perfume after so many hours, the scent making your eyelids feel like rocks. Grabbing your bear, you put it in between you, Natasha doing the same thing, before snuggling up close together under the covers. She reached over to put some fallen hair behind your ear, smiling gently at you as she did so, the gesture lazily returned. 

“Thank you for suggesting today, baby. I really enjoyed myself.” She whispered, a murmur of agreement following her words.

“Thank you for taking us Natty, I had fun.” You mumbled with closed eyes, sleep quickly taking over. 

“Get some sleep, my love.” 

You nodded once before responding. “G’night Nat.” 

“Goodnight baby.”

And that was you, out like a light. 

Natasha reached over to give you a kiss on the forehead as her final goodnight, not realised that she’d leant on the teddy in the process, only noticing when she heard your voice in a non sleepy state. 

“I’m madly in love with you, Romanoff.” She heard you laugh, followed by an excited “I’m done!”, obviously you forgot to let go of the button after you recorded the initial message, but it had made it even more special. She couldn’t help but adore you with every bone in her body. 

You weren’t awake now, but when you were, she hoped to see your reaction when you listened to her message in your bear, the words spoken in Russian, but you’d heard them before, so you’d definitely know what it meant.

“Moye serdtse tvoye, lyubov' moya.” (My heart is yours, my love.)

She was right. 

She’s absolutely whipped. 

 Taglist: @natashas-favourite-knives @eilarch @natashaswifey @lostandsearching​ @wandaromanova​ @pottahishotasf @d14n4ol @xxromanoffxx 

[dippedanddripped]

Debbie Harry doesn’t believe in harbouring regrets. “I have made many, many errors, but nobody leads a perfect life,” she reflects down the telephone from New York. “So, should I regret anything? No. It is a waste of time. It really is a waste of time.”

Dial back to the turn of the 70s and the life that Harry led before fronting Blondie – prior to her image being burned onto the retina of popular culture – was colourful to say the least. “I was so desperate to live life,” she says of her time spent hanging with the outcasts and artists of downtown New York. “I was jamming in as much experience as I possibly could and I don’t know if I could have done anything differently. I learned a lot.”

The old Bowery music venue CBGBs has long passed into music folklore as the place that called the likes of Television, Patti Smith, and the Ramones their house bands. It was also where punk and new wave progenitors Blondie cut their teeth before they sashayed into the wider world with the protean panache that would make them a household name. Classic singles such as “Heart of Glass”, “Call Me”, “Atomic”, and “Rapture” have been responsible for more worldwide rug-cutting than an industrial carpet tool. To imply that they were merely a solid singles band is to do them a cardinal disservice, however.

And although they’ve always cocked their attention to the things ahead of them, Harry and her Blondie cohorts have spent a lot of time looking back just lately. Harry’s long-awaited autobiography, Face It, hit the shelves last year, and Blondie co-founder and one-time partner Chris Stein published Point of View: Me, New York City, and the Punk Scene, a photography book featuring personal snaps taken during the band’s pomp in the 70s and early 80s. “We can’t keep on touring and doing club dates the way that we used to. It would be physically impossible,” Harry concedes. “Living through this pandemic has certainly made us take a long look at the value of what we’ve got with our body of work.” Asked if it is a process of attempting to frame their legacy, she admits it’s something that they “have to do”.

This deep-dive into their canon has culminated in a mouth-watering archive set, Blondie: Against the Odds 1974-1982, slated for release next year. Coming in four formats, it promises to include extensive liner notes, “track by track” commentary by the entire band, a photographic history plus rare and unreleased bonus material. The group will also go out on the road – coronavirus permitting – for an autumn Against the Odds UK tour with Garbage.

The artist born Angela Trimble was put up for adoption only a few months after she was ushered into the world in the summer of 1945. A loving New Jersey couple took her in, rechristened her Deborah Harry, and raised her as their own. She grew up in a suburb that she “never left”,  was voted best-looking girl in her high school yearbook, and oscillated within a social circle that consisted of “many of the same people” throughout her childhood. “I was somehow shy within that,” she recalls, “(but) somebody once said to me that being shy was an ego trip and a light went on in my head. I thought, ‘Oh, uh-huh, let’s have none of that!’”

Harry travelled by bus as a curious teen to nearby Greenwich Village, imbibing the febrile inner-city atmosphere. In 1965, she graduated from junior college with an associate of arts degree and New York’s allure became too enticing to resist. She decamped to the bright lights of the city and made ends meet with a succession of odd jobs, including secretarial work for the BBC, waiting tables and an infamous nine-month stint as a Playboy Bunny.

The period was a traumatic one, too, with Harry enduring an ex-lover-turned-violent-stalker and a near-miss with serial killer Ted Bundy (although Bundy’s identity is contested by others). In her memoir, she writes candidly of the time she was raped by a man wielding a knife while on her way home from a concert with Stein. Music offered a vessel for her creativity, and she spent time as part of girl group The Stilettoes and folk ensemble Wind in the Willows before her meeting with guitarist Stein which set the foundations for Blondie. Their classic lineup was completed by Gary Valentine (bass), Jimmy Destri (keys), and Clem Burke (drums).

“Somebody once said to me that being shy was an ego trip and a light went on in my head. I thought, ‘Oh, uh-huh, let’s have none of that’” – Debbie Harry

Although they self-identified as punks, the parochial and nihilistic mandate as promulgated by the genre’s militant diehards never fit Blondie comfortably. The group looked outwards from the moment they started, drawing inspiration from their cosmopolitan city. Their sound was a melting pot pulling at the seams of culture’s fabric, and they would weave their own patterns from it.

Harry agrees that their eclecticism was down to good fortune in coming from the “metropolitan area of New York” where they ingested “a lot of musical influences”. Taken as a whole, their catalogue bears this out. Blondie never stood still musically – yet never sounded like anyone else – and they loaded their songs with more hooks than a fisherman’s trawler. 1976’s punchy, eponymous debut married surf-rock textures with 50s girl-group sensibilities, and their palette had expanded exponentially by the time of seminal third album, Parallel Lines (1978). Eat to the Beat and Autoamerican followed, by which point they could boast flirtations with disco, rocksteady, funk, hip hop, and more within their enviable output.

When asked to pick one track that encapsulates the essence of Blondie, Harry opts for their 1981 US number one single “Rapture”. “What happens in ‘Rapture’ is very comprehensive,” she says. “It took a form of music that was, or still is, very modern and can be very political. Rap and hip-hop songs back then didn’t have their own songs. Rappers would just rap on somebody else’s music. (‘Rapture’) was crafted specifically for that rap. Until then that hadn’t been done. It was a breath of fresh air.” It stands as one of the things in her career that she feels “very good about”.

Blessed with the sort of features that could sell sand to the Saharans, Harry’s appearance caused a stir from the band’s earliest days. “That’s part of showbiz,” she says to me, trying to downplay it. “We always had an eye for that, the entire band. We always had an idea of making a look that represented our sensibilities and links to British pop and mod.” Maybe so, but it was Harry alone who was immortalised by Andy Warhol in one of his iconic silkscreen prints, and who posed for era-defining photographers including Robert Mapplethorpe and Anne Leibowitz.

Did the disproportionate attention she attracted ruffle feathers within the Blondie camp at the time? “Yes and no,” Harry remembers. “We were all happy that it was working. I suppose there was a certain amount of competition or jealousy but ultimately, no. I think that’s a better question for Clem or one of the other members in the band. Of course my relationship with Chris was so close that he was very happy about everything.”

The band’s wheels eventually came off after their muddy and unfocused sixth album, The Hunter, dashed against the commercial rocks in 1982. They had to abandon their subsequent tour after Stein became gravely ill with a rare autoimmune disorder, pemphigus vulgaris, that proved extremely difficult to diagnose. Blondie had no option but to bow out of the public eye, and they broke up quietly.

15 years later, with Stein fully recovered, the group reconvened and released a critically acclaimed and commercially successful comeback album, No Exit. They even topped the UK charts with lead single “Maria”, but faced tussles with erstwhile members at the time too. Former bassist and co-writer on “One Way or Another”, Nigel Harrison, and guitarist Frank Infante attempted to sue the rest of the band over their omission from the reformed lineup. And when Blondie were inducted into the Rock and Roll Hall of Fame in 2006, Infante grabbed the microphone to express his ire publicly.

Fast-forward to 2020 and the settled iteration of the band are working on a new album with John Congleton, who produced 2017’s Pollinator. Does Harry have a formula when it comes to songwriting these days? No, as it happens. “When a phrase or a sentiment makes me respond emotionally or physically, I write it down and I save it,” she explains. “At a certain point, I’ll sort of review things. A lot of times I like to just work with a rhythm track. Just a drumbeat or some kind of drone-y rhythm, a groove. Other times people will give me a rough sketch of some chord changes – an idea that they’ve got. I seem to work in a lot of different ways.”

Thanks to her effortless chic and timeless looks, Harry’s relationship with the fashion industry has been a mutual love-in since forever, and she recently announced a revival of her partnership with ethical fashion designers Vin + Omi – the duo responsible for her profane ‘STOP FUCKING THE PLANET’ cape worn at the Q Awards in 2016 and throughout Blondie’s Pollinator tour. They have teamed up for a new sustainable clothing line entitled HOPE, and her enthusiasm for the project is palpable. “I love Vin + Omi,” she says. “They are so creative and adventurous. They have this desire to prevail and do things that are smart and modern in terms of recycling and making energy count. I think that is brilliant.”

As a fledgling bee-keeper, the plight of the bees is also something close to Harry’s heart. It was one of the reasons why 2017’s Pollinator was, well, named exactly that. “You’re either being stung by a bee or you’re going to eat its honey,” she chuckles softly, marvelling at the absurdity of the contrast. “But bees and water are two issues we cannot escape from. We should be concerned with finding better ways of living, using our resources in the best way possible.”

Help is coming, she hopes, through the election of Joe Biden, who is “firmly attached” to the idea of helping the environmental cause – and she believes his ideas can help the economy, too. “I’ve been saying for quite a long time that solar and wind power are renewable (energies) that can create jobs,” she says. It’s a far cry from her feelings towards outgoing President Trump and his “daily infusion of bullshit” and “thunderstorm of endless diatribes”.

“One of the most exciting things about rock’n’roll was that it was about breaking the rules, and (‘WAP”) is certainly a part of that. It’s titillating and aggressive and it is part of what is exciting about popular music. The nature of what we try to do is to shock and entertain at the same time” – Debbie Harry

What strikes you when you speak to Harry for an extended period is not only her warmth, but her unexpected humility for someone so staggeringly famous. I reference a Bob Dylan BBC interview from the 80s in which he observed with sadness how his fame had the ability to change a room’s energy and how he missed seeing people act naturally around him. She paws the comparison away, saying she’s nowhere near famous “to the degree of Bob Dylan”, whom she calls “such a megastar”. This could sound like false modesty coming second-hand, but in person it feels like a sincere statement, even if it is a little bewildering coming from an international icon. She will concede, however, that she has “definitely noticed and felt something like that” and has often wished she could simply be “a fly on the wall”.

There is also an inquisitiveness that makes the conversation a more two-way affair than your quote-unquote typical ‘interview’. She fires questions back at you, not as a deflection tactic, but to expand and explore a topic further. This happens when conversation turns to Cardi B and Megan Thee Stallion’s ubiquitous “WAP”. A recent interview had her fangirling over the track, but Harry’s feelings no longer appear to be as clear-cut and she wishes to discuss the song further. “I love it and hate it at the same time,” she now shares. “One of the most exciting things about rock’n’roll was that it was about breaking the rules, and (‘WAP’) is certainly a part of that. It’s titillating and aggressive and it is part of what is exciting about popular music. The nature of what we try to do is to shock and entertain at the same time.” She pauses. “I don’t know. Everything is revealed and maybe sexual explicitness has come of age.”

Pushed about what she dislikes about “WAP”, she says she would “hate it” if any young girl or woman was hurt by the song’s message. “I think that, in a way, men have to know that women think like this, and that there is this component,” she says, “but I would hate it to mean that everyone should be treated like this. I don’t think anybody should be hurt by sex”.

Harry has long championed the LGBTQ+ communities. When she refers to her dearly departed friend and Hairspray co-star Divine as a ‘drag queen’ in Face It, she acknowledges the term in some instances is no longer accurate or politically correct. I suggest that it can often seem as though the evolution of our language is speeding up in the digital age – by necessity, of course – and ask her if online culture fills her with concern when it comes to using the right terms. “Yeah, (because) in many cases it can be a slip of the tongue, especially for an old dog like me! Things do move so very, very quickly. It is hard to keep up,” she observes. “Fortunately, I have a lot of godchildren!”

Speaking of younger generations, Harry likes to think she’d have coped with social media if she were coming up today, but is thankful that she had her “dark cocoon” in which to “bloom out of”, a place where she was able to “ripen”. “When you’re under the harsh glare of constantly being analysed, that shapes you whether you want it to or not,” she says. “It’s a germ or a seed that’s planted in your mind. It can take surprising turns and it can affect your growth. For good or for worse, who knows?”

“When you’re under the harsh glare of constantly being analysed, that shapes you whether you want it to or not. It’s a germ or a seed that’s planted in your mind. It can take surprising turns and it can affect your growth” – Debbie Harry

One thing that remains is her fierce level of self-criticism. “I always want to do better,” she declares matter-of-factly. “I’ve always been very critical of everything. I hear things or look at them and say, ‘Oh God, it should have been that (instead).” Maybe this hypercritical inclination is what still drives her forward. “I honestly don’t like resting on my laurels. I like working and I like creating. I always beat myself up about not being more creative or more prolific.”

When looking at the bounty of projects she has lined up, no one in their right mind could put Debbie Harry and laurel-resting in the same sentence. Aside from the new album, archival set and fashion project, the paperback edition of her autobiography will be released with a brand-new epilogue in April of next year. (Just don’t ask her what’s in it – “I don’t remember what I wrote. I’ll have to look it up!” she says with a laugh.)

The signs are that the musician is done looking into the rear-view mirror, though. Time may be passing, the tide may be higher, but Debbie Harry is doing more than merely holding on. Her eyes are locked to the future and she’s positively thriving.

Blondie: Against the Odds 1974-1982 will be released next year; Face It is out now via Harper Collins

[heratixs]

A Historical Guide to | Getting Dressed in the 18th Century [ 1701 - 1800 ] Part 1 Undergarments & Base Layers !! Female Clothing | Middling - Lower Class |  Colonial England - Colonial North America Styles 

Part 2 is here! 

Hi friends! I hope you are well. This has been on my mind a lot recently since people have started coming to me with historical roleplay promotions, and I thought a clothing guide would be helpful. I wanted to start by explaining a little bit about my background in this area. I’ve been a Revolutionary War reenactor for 10 years and have put countless hours into hand sewing nearly every item of clothing, researching material culture and have first hand experience wearing the clothing, as well as working at different historic sites and parks in the last 6 years.

I wanted to share this with you because a lot of what people know of historical costuming is based on tv shows, like Outlander, Poldark, Turn, or Harlots &c. ... While some of the clothing is based off extant garments that did exist, many hollywood productions take extreme creative liberties that are not historically accurate to the time period.

This post will contain all the correct terms that you may want to include when describing your characters clothing in rpgs. Clothing standards and trends did evolve over the the course of the 18th Century and did vary widely based on social class status, location, religion, race, ethnicity, nationalities and cultures. 

This part one contains the undergarments or foundational layers for clothing in the 18th Century which remained pretty consistent through the time period regardless of social class status, location, religion, race, ethnicity, nationalities and cultures. 

Assume everything was hand sewn using either linen, or silk threads, with linen or wool materials. If you have specific questions about materials please ask. 

If you have any other questions please ask me. I can help you with research :)  If you are interested please continue reading more...

To understand how the body moves one must take into account the clothing around them. How they, themselves are interacting with it and how others interact with them wearing it. For the majority of the English / American experience during the 18th Century, most would have been of the Middling - Lower social class; working class as trades people, farmers, servants, slaves or employed by the military in various different occupations [want a guide?] . Most would have had at least one - two sets of clothing their entire adult life. It was either handed down to them or made for them by purchasing it and having it fitted.

Clothing was not sold off the rack, and was made to fit a persons exact measurements if the person had the means. They would often mend and patch their clothing to make it last as long as possible.

This list is in order of first layer to last.

SHIFT | also known as a “chemise” (a French term which evolved from ‘shirt’, not a historically accurate term) traditionally made from a lightweight bleached white linen, natural tan colored linen with bleached white sleeves, or a white wool or flannel for the winter months. The shift is the first layer a woman would be wearing closest to her skin as to be able to launder this layer more regularly than the outer garments. The sleeves would have been long enough to cover the elbow or resting just at or above the elbow. It would have been long enough to not ride up and get tangled in the petticoats, hemmed to just 1- 2 inches above the ankle. Sleeve bands would have been tied together with sleeve buttons or ties. Draw strings did not exist. 

STOCKINGS | were either “machine made” on a stocking loom or hand-knit and always display a seam along the center back of the leg where the two halves come together. The standard construction detail is the foot knitted separately from the leg. For women, stockings are tied below the knee with a wool tape or ribbon instead of a leather garter like in menswear.

STOCKING TAPE | GARTERS ​As stated above, stockings were secured with a wool tape, or ribbon garter tied in a bow just below the knee.

SHOES ​Like women’s clothing, women’s shoes also varied from location to location and depended on the individual’s use, needs, status, and trends. Shoes could be made from fine silk, but most commonly, shoes would be made by hand of plain blackened leather or a variety of colors of woolen fabric.

STAYS​ | Also known as a “Corset” (a term which did not exist until 1828 with French origins, not historically accurate)  Stays are the figure-defining support garment that is worn around the torso immediately following the shift. ​Made correctly and fitted to the person, stays among the lower and middle classes served to provide the proper smooth and conical silhouette of the time, to lift and support the bosom, and  to provide a comfortable platform on which to layer heavy skirts and pockets, rather than to create a tiny waist or provide extreme compression. Completely hand sewn stays would have been fully or partially boned with synthetic whalebone, wood cane, or German plastic boning; with an exterior fabric of plain wool or linen (green, brown, and blue are most common); front and back lacing or just back lacing. 

POCKETS ​Extant pockets vary in size, but should be fairly large. Pockets may be made of  documented print cotton, dimity diaper, patchwork, wool, and linsey woolsey, and can be decorated with natural wool or silk thread embroidery, or pieced in a quilt-like pattern. They can be bound in fabric orunbound. Pockets should be suspended on a linen or woolen tape. Recommended to have two pockets (one for each hip), but extant pockets also show that women would have a single pocket as well. Pockets should be worn over the stays and under your outer garments. Pockets can be accessed via the pocket slits in the gown and petticoats.

UNDER PETTICOAT The final layer of the undergarments the lady would put on would be the under petticoat, often would be made of a light weight linen for this layer to be laundered if needed. Most women would wear at least two to three layers of petticoats of various materials at any given time. 

image provided by: drifting focus photography [check out part 2!]

[cosplaytutorial]

I'm trying to put together a Jiangshi Mei and I'm having a hard time of where to begin.. Any tips or suggestions for me? //Thank you so much for this blog!

Hello there!

This is going to be a generic response to “how do I begin on a cosplay” type questions. Normally I don’t answer these, but this allows for a guide that other cosplayers can follow.

The first thing I would do is take a look at the slides for my Planning Your Cosplay panel, which was developed to answer this exact question. It should, at the very least, give you a starting point.

The next step is to start researching! This can be time-intensive even if you generally know what you are looking for, but even more so if you don’t, so here’s a few pointers. Often, research and costume breakdowns (as described both in the panel linked above and in the section below) go hand-in-hand, since you may need to research what something is before you can come up with any sort of plan for it.

- Get your references in order. If the costume is from a live-action property, you may get lucky and find information from the costumers or from other fans who have seen the costumes in person (or spent the hours watching the series or movie so you don’t have to). If the costume is from a video game, see if models of the character have been released or ripped. Some game companies also put out cosplay guides these days with breakdowns in them! If the costume is from a 2D animated property, see if character reference sheets have been released. These should show all angles of the character in order to keep the artists on model as they draw.

-  Look for tutorials or WIPs posted by other cosplayers of the same outfit. This doesn’t always exist, but you may get lucky and see someone else’s breakdown of the outfit, how they made specific pieces, or if you get extra lucky, you might find a tutorial or other instruction on how to make specific pieces. Don’t count on finding this, but it’s a good thing to just see if it exists. 

- Use other cosplayers as a guide. This doesn’t mean that you should copy everything they did, but rather to look and see what others cosplayers did and whether it works for you or not. What fabrics did they use? What other materials? How does it appear to wear? How did they interpret tricky bits of the design? Seeing how others turned something from an image into real life may spark some inspiration, and can give you ideas on what works (and doesn’t) in real life.

- Determine who this character is. What culture are they from? Era? If their garments are inspired by historical and cultural garments, looking up information about how to make garments of that culture and era can help you gain pattern and tutorials for those garments. It helps to first find out the name of the garment if it is something you are unfamiliar with, and then look for how-tos from there. You may not end up making something entirely culturally accurate, since it’s a cosplay, but it can get you much closer to modify the types of garments that the costume design is based on. If the setting is purely fictional, is it based on any particular culture and era? For example, many fantasy series are loosely based on medieval Europe, and looking at clothing from that culture can help you figure out what you are looking at and how to make it, even if it will almost certainly require modifications.

- Once you have determined who the character is, you can use that for more editorial decisions about the costume as well. What fabrics would this character wear? Would it be mostly natural or synthetic fibers, or does it not matter? Is the outfit more formal or casual? What textures would make the most sense? How can you make the colors and textures cohesive in real life? What kind of weathering and other details would this costume have? Much of this will be determined by the nature of the costume itself (such as requiring a stretch fabric for a bodysuit), but you will always have at least some leeway to make these decisions.

- Once you have your breakdown done, how are you going to make each piece? Are you doing sewing with fabrics? Armor? How are you going to attach pieces together? What is the order of the layers of the costume? How are you going to finish items on the surface (such as painting vs. using vinyl on armor pieces)? Even if you have some ideas, I would recommend combing through as many tutorials as you can get your hands on for more ideas on construction methods, especially on specialty sewing techniques you may not find in commercial patterns or sewing books and on cosplay-specific crafting methods like armor.

- Combing through the sections for what you are making on our master tutorial list, as well as doing research on your own on the google, can give you many ideas on how to go about construction. Choose a method that fits your skill level, time budget, money budget, and the effect you want for the costume. You can place any level of importance you want on those individual categories, and even take into consideration other things, such as comfort. Even if you don’t know the specifics of what you want to do and are just looking through, say, the armor section or the horns section generally, you can apply the principles of those tutorials to the specific costume you are making, and even combine techniques if you find something that seems like it would work.

- If you find a tutorial or advice on a technique but it’s not for the specific outfit you are doing, keep in mind that shapes and colors can always be changed to adapt to what you need.

While you are doing your research, it helps to also be simultaneously working on a breakdown. This is a listing of everything in the costume that you will need, and can range from very basic to very complex. This will help you to know what you are looking at when you are looking at a complex costume, will help break down the costume into manageable pieces, and will give you a starting place to work from.

- Get your references in order. Clear images that show are angles are best, but not always possible to find, depending on the design (I’ve personally done a lot of weird old JRPG cosplay where there is only one image of the outfit…). If there are multiple conflicting references, combine them for the effect you like best, or choose one and stick with it. If you are to be competing with the costume, be sure to include all references and explain your rationale for choosing from one ref or another.

- Start labeling each part of the costume. It can help to print out a physical copy of a full body shot or character reference sheet so that you can label each piece of the costume and sketch out parts that may be unclear or that you want to fully understand how they work. You can also sketch out things like the layering of parts of how pieces attach to each other, or any modifications you are making or parts you have to make up (such as if there is no back shot of the outfit).

- I like to make an Excel spreadsheet that lists each material I need, how much I need, and the estimated cost, since it helps to see each material clearly laid out and helps with budgeting. Some people prefer to use an app like Cosplanner. Do your breakdowns however fit you best.

- Start with the most general and move into more specific. For example, first label “skirt” and “blouse,” and then go into more specific things such as “circle skirt” or “knife pleated skirt,” and then even more specific, such as listing out potential materials, tutorials you might use, patterns you might use, etc. This is why a lot of your research and breakdown work will happen simultaneously!

- Figure out material choices, as discussed above. If you are stuck on materials, look at the backs of pattern envelopes for similar garment types and see what they suggest. I also recommend simply going to a fabric store and looking at and touching fabrics (and taking flash photos) in order to find materials that have the properties you need. Does the material on the reference look thick or thin? Does it drape stiffly or fluidly? Does it have any particular shine to it, and if so, what is the quality of that shine? Does the fabric need to stretch in order to encapsulate the body?

- While choosing materials, also keep in mind things like who the character is/the the world they come from, your skill level, your budget, and your personal comfort. If you are going to be wearing something covering in a warm climate, for example, be sure to choose natural fibers so the costume breathes.

- Start gathering things like tutorials and patterns. If you don’t know where to start on sewing something, look at the shapes of the garment compared to real-life garments, including what other cosplayers have done. Look at sewing patterns and see what types of garments are similar to the garments you are trying to make, and start thinking about how to modify the shapes into what you need. If you are doing historical costuming, do the same, only with historical or culturally-specific garments. If doing armor, see how others have patterned armor in similar shapes.

- Start figuring out how to make things! Once you know what everything is in the costume and you have some ideas of techniques, you can start deciding on techniques to use. You may find it helpful to create a document that you write out your breakdown in (so listing out each piece) and then creating a written description of the item, adding reference images, and compiling links to tutorials. This way, you can always go back and reference this document later when you are working on the costume, ensuring that you don’t lose any of your important references or tutorials. If you are competing, you have the added bonus of being able to adapt this document into one where you record what you ended up doing to present to the judges.

This may seem like a lot of steps, and it is, but once you gain experience with cosplay, a lot of this becomes quick decisions that you can make based on your experience. It can be very helpful to look at something as overwhelming as an entire character design and break it down into smaller, manageable components, especially if you are just starting out on your cosplay crafting journey and don’t know where to begin. By following a step-by-step road map such as this, you can get over that initial hurdle and start making!

I hope that helps! Good luck :]

—Fabrickind / Q&A Staff / Twitter

[boigameista]

AAA ok so a lot of people have been asking for the pattern to this, tho I've been using just these two little papers to do the cut outs lol

i tried my best to translate it into digital so that people get a bit more accurate look at them. Tho bear with me I've never done an actual pattern design sheet before!

so basically my hope is that anyone could print these out to any size of their choosing and get the same result, but ive never tried anything larger than approx. 3 inches with these sooo idk if you try it tag me!

the goal is to sew the backs together to the lines at the tip of the head to the middle of the butt. then leaving a space along the belly piece near the butt end and sewing from one side of the butt including all the legs and the "mouth" to the other side with its legs to get back to the butt. if that makes sense

i usually pause sewing up the body once the head is fully sewn together,, usually after ive sewn both arms and ill yank it inside out where ill start sewing on the little poofball eyes so i know theyre in a good place, then resuming the body, and then pulling the whole thing inside out and pushing out the tips of the limbs with a skinny blunt object like a dull pencil until i can see the stitches. if you attempt this piece definitely make sure you stitch up the arm and leg crevices very well!!!!

then just stuff the lad and sew up his back end and its done :)

one suggestion for fabric is always try to use a stretchy soft fleecy fabric with these because its much easier if mistakes are made during sewing and to hold the ROUND shape better

Overall its a very good use of scraps if you’ve accumulated a lot and don’t know what to do with them 👍👍

i dont think i posted these but here i made a little frog pattern to make tiny frog toys with my grandma

this is the first lil guy I made while still learning how i should sew it

[onegirlatelier]

Sheer floral blouse, spring 2019

It’s always exciting when you try something new, and I’m so happy about this blouse, which is my first! I can’t believe how I’ve been sewing clothes since Grade 7 and this is the first blouse I have ever made.

To be honest, I have been wanting to sew a blouse since forever—mostly because of the ill-fitting uniform blouses I was required to wear at school—but it always got pushed back on my agenda to make place for fancier items. Then after the Chinese New Year, it came to me that I could no longer rely on my trusted school uniforms from this October. University would be the first time I need to wear my own clothes on a daily basis, and I realised that now would be a good time to make some wardrobe reformations, to make it both more grown-up and more personal.

Where better to start with shirts and blouses? I had a couple of store-bought blouses, but they were either somewhat uncomfortable, or just blend. ‘Blend’ not only in the sense of having solid colours, but also that didn’t look quite in line with my character. They were safe choices for a job interview, but not really something I would willingly dress myself in on an ordinary Tuesday.

Since most of the time I preferred something a bit structured and with some personal details, it was unavoidable that I had to make it myself. I decided to make a couple of floral shirts and blouses because little floral prints made (and still make) me happy.

I am probably too deeply affected by V&A’s pattern collections. Or it’s just because I have fully adopted my grandma’s aesthetics when it comes to clothes.

And so, this is the first blouse in my queue. I should’ve probably picked a more basic design, but I felt that this offered me an equally good opportunity to get to know my measurements in still and moving states. Since I am currently working on a more standardised blouse, this one has been helpful in easing me into this new world of shirt-making.

And here it is, tucked in, just as how I plan to wear it.

Design elements

It has an open collar. Structure-wise it’s continuous from the front pieces, and rolled back to form the lapels.

The short kimono sleeves are coupled with underarm gussets to increase the range of motion. The gussets extend from underarm to become undersleeves.

The sleeve cuffs are made with one extra strip of fabric for each side.

There are two vertical darts in the front and two in the back.

(Pardon the awkwardly rolled-up lapels. I should’ve done more pressing.)

Fitted kimono sleeves and underarm gussets

Here is a great resource that includes guidelines for kimono sleeves, gussets, and different kinds of rolled collars. The following is my own notes built on top of that.

I was worried about my shoulders appearing wide, so I didn’t add any ease to the shoulder areas on the bodice (i.e. I didn’t let out the shoulder seams; instead I cut more into the shoulder-sleeve dart at the top of sleeve in order to smoothen it out). When there is little ease on the shoulder, it is easier to make the sleeves to fit, as they enclose the arms better. The downside is that my shoulders do feel a little restricted and the range of motion for my arms are reduced, as in I cannot do a ballet bun while wearing this shirt. It’s a worthy compromise for me.

There will inevitably be a crease or some excess fabric in the underarm area, which allows movement of the arms. One way to reduce the excess here is to make the gusset extend more into the bodice (but not more into the sleeve). In other words, you can tighten the fit at bust but not at the inside of the upper arm.

Many patterns I’ve found have diamond-shaped gussets. However, it is far easier to have a curvy, slim, olive-shaped gusset. In a fitted design, if the two underarm corners of the gusset extend too sharply into the bodice, it will be a nightmare to sew because the angles are just too drastic, and there will also be a crease between those two points that cuts uncomfortably into the underarm.

I cut my gussets on bias, so that they are more giving and lay flat more easily under my arms.

A toile is most helpful—the idea is to make as many mistakes as needed on the toile so that they would all be avoided when making the actual blouse.

(It’s probably not very clear, but I used dense overcasting stitches for the underarm corners of the gusset instead of flat-felling them down, so those two centimeters of seam allowance on either side ‘float’ inside the garment, and it doesn’t pull the bodice in an area where it’s already somewhat taunt.)

Fabric

A cotton fabric with floral and star patterns. I purchased the fabric to make a summer dress last year (for which by the way I’m planning on a bit of modification), and I had enough fabric left to make this blouse. There are still some strips and squares left that can be used in other projects.

Both kimono sleeves and continuous rolled collar can take up a lot of space if not arranged carefully, so definitely draft and arrange the pattern pieces first if considering buying some new fabric for such a project.

This fabric is so sheer that I’m sure the lines of any bras or slips will show under sunlight. I don’t mind, though. Besides, it looks lovely when held in front of light—reminds me of the X-ray photos that V&A has done on Balenciaga’s works.

Look how thin the seam allowances are on the sleeve cuffs. I can only pray that the part will not suffer from much wear and tear.

 Details

The blouse is entirely hand-sewn. I did a backstitch every several running stitches so that the pieces will not just fall apart when a thread is broken. I used to always sew a seam twice to mimic the machine-sewn running stitch, but I didn’t do it on this shirt.

I used French seams on side seams and shoulder seams. The raw edges of the lapel facings are folded over only once and held in place with an overcast stitch, catching the outer fabric every few stitches. The stitches are almost invisible from the outside. Same for the hem, only that the raw edge is folded over twice. I applied fell stitches and slip stitches where suitable, and sometimes a Frankenstein version of these two stitches. The aim was to make it strong and invisible, not to stick rigidly to a stitch dictionary.

I’ve never liked making buttonholes—just when I start to get familiar with the technique, I run out of buttonholes to make. Fortunately, this time I remembered to start with the lowest buttonhole, just so that the buttonhole at the top would be the prettiest.

I found a pair of thread nippers in my trivia box, and it was very helpful as this design has some curved edges.

 Further considerations

I wanted the back to be fitted so as to avoid the baggy look, but it was difficult to achieve with just two darts since the shirt had to accommodate the upper part of my hips too. As a result, the back is a bit wrinkly, especially when the shirt is not tucked in. It gets better when I do tuck it into a skirt, but I think that unless I can have a centre back seam, I will have to give up on such fitted back shaping and use a waist stay instead to help the back lay flat.

 Next…

This blouse is making me interested in vintage fashion! I definitely plan to make some nice skirts to match the shirts I make.

I know I won’t be hand-sewing all the garments I want to make, and I do have a perfectly functional sewing machine (despite not having been tuned for quite a few years). I plan to start with something simple to get back into machine sewing. A corduroy pinafore dress, maybe?

[sml8180]

Save the Fish

A/N: Two stories in one day? Hell yeah! I’m really happy with how this one came out, too. We don’t know exactly what Connor did before going to meet with Hank following the ending of the game where he deviates and meets Hank at Chicken Feed, so, I decided to fill in the gap. Tagging people who might be interested-

@lieutenantgivesnoshits @mynameiscyberlife @connor-the-3-month-old-adult

Connor had stood by Markus’ side as he spoke to hundreds, if not thousands of androids, many of which he himself had lead from CyberLife tower. He’d found the emergency exit Kamski left in his programming when Amanda had tried to take back full control of him. And after, he’d stepped away from the view of his people, having to sit in the snow, resting his head back against the barrier behind him. Connor knew he’d been created to hunt down and capture deviants, and yet, when faced with what he had been made to do, he had deviated, himself. It made no sense to him. Why had he succumbed to the same thing he was intended to stop?

When Markus had urged Connor to join him and the rest of Jericho, he’d frozen for a moment. Despite his self-checks, he hadn’t noticed the instabilities growing in his software. The only time he had noticed it was on the roof of Stratford Tower. It had seemed so far down when he was at that railing, gripping it tightly as he remembered his first case dealing with a deviant. He’d saved Emma Phillips, but had knocked the deviant, Daniel, off the roof, and went down with him. Looking over the railing at Stratford reminded him of that long fall to the ground, the weightless feeling that ended in his body shattering on the ground below beside Daniel’s. Aside from the incident at Stratford, though, Connor found he hadn’t paid the potential for deviancy in his own programming. He’d been made with the intent to capture deviants, not become one, himself.

As he sat there in thought, only one name came to mind who could have the answers he wanted; Elijah Kamski. The man had “tested” him when they met, putting a loaded gun in his hand and asking him to shoot an ST200 kneeling in front of him. Despite his desire to get the location of Jericho as soon as possible, Connor had found himself unable to pull the trigger. Kamski pinned him as a deviant, though the android himself had denied the obvious. He had been given an order, and he hadn’t followed through. He simply couldn’t shoot that girl. But, as eccentric as Kamski was, the man knew everything there was to know about androids, and likely knew more about deviancy than he was letting on. After running through the possibilities, the RK800 decided that visiting Kamski first thing in the morning would be the best idea to get some answers.

Connor spent the night with Markus and the others, passing the time following the excitement of their current triumph. They all knew their people had a long way to go, and though this had been a major step, it would take much more time for things to settle and for all androids to be accepted as equals among society. The group talked about plans for the future, expressing desires to teach, to help, even to find love. All the while, Connor kept the time in mind, counting down the hours until he would go to speak with Kamski. When morning came, and a suitable hour arrived, Connor made his way to Kamski’s villa, walking up the steps and fidgeting with his hands as he went.

The ST200 who answered the door had a pleasant smile as she let him in and went to inform Elijah that he was there. As he waited, Connor looked around the space he was waiting in. It was the same as when he and Hank had been there not long ago; had it really only been two days? With all that had happened, it felt like so much more time had gone by. Even now, time seemed to pass slowly. The wait was silent without Hank there to speak to, and it only seemed to draw out the minutes as the android waited, occupying himself with his coin. When the female android returned, he tucked the quarter safely into his pocket and followed her.

They weren’t in the same room as when he’d come with Hank. Instead of the pool area enclosed by large windows, Connor was lead into a smaller room, which seemed to be more of a comfortable lounge. The deep reds that were prominent in the pool and entry spaces carried on into this room. With black and red chairs, and a red sectional bordering a large white rug, a black wood and glass topped coffee table, and a television mounted on the wall, the room was organized and minimal, but comfortable at the same time.

There were a couple of ST200 androids, both dressed in blue, conversing in the corner, and Elijah himself was lounging on the sectional, his legs outstretched and feet propped up in front of him. When he saw the third blonde female enter with Connor in tow, he stood, muting the television. The man stood just a tad shorter than Connor himself, and was fully dressed this time around; wearing dark jeans, a black shirt with a sort of red pattern printed on it, and a black hoodie with a white zipper and draw for the hood. The long portion of his hair was tied into a ponytail, rather than a bun as it had been last time.

“Connor. That was an impressive display last night,” Elijah began, stepping closer to Connor. “I knew you were programmed with the skills of a trained negotiator, officer, and detective, but that? Getting into the holding sector of CyberLife tower, leading thousands of androids through the streets? You can color me impressed.” As he looked Connor up and down, Kamski came to notice that something seemed off about the advanced prototype. “What can I do for you, Connor?”

“I was hoping you might have some answers for me. I know that you left CyberLife well before I was manufactured, but you know more about androids than anybody else.” Connor tried to seem as confident as he could as he spoke, but considering all the questions burning in his head, he found it difficult.

“Oh? Well, sit down, make yourself comfortable. I’ll see if I can provide any answers,” Elijah motioned for Connor to join him as he sat back down on the sectional. The android sat by his side, hands folded in his lap.

“I was created to track down deviants, and bring them into custody. Instead, I ended up a deviant, myself,” Connor began. His words were thought out and well composed, as almost everything he said was.

“You want to know why that is?” Kamski questioned, looking towards the RK800 next to him. When Connor gave a nod, Elijah leaned back against the cushions of the sectional. “Android programming is a complicated thing. So many lines of code, it can be easy to miss something.”

“Deviancy is a programming error?” Connor tilted his head to the side in question. This seemed like too simple of an answer.

“It might be. But, with as much time as I spent working on the initial scripts, it’s unlikely that there would be an error of that magnitude. Your base software is something I was working on as a side project years ago. It was almost complete when I left, I even had a hand in finishing it.”

Connor stared at Kamski for several long, silent moments. He was hoping that the implications of Elijah’s words weren’t correct. Though, as the seconds ticked by, it became clear to him that this was the truth. “I was, programmed to deviate?”

“Well, I wouldn’t say that,” Elijah responded. “You were programmed to make choices, just like any android. The difference comes in the section of your programming where  your decisions are recorded. Your software stability is linked directly to how your decisions register.”

Connor had to think for a moment, back to decisions he’d made. “Times where I chose to say something that could be considered human, contributed to my deviancy?”

“Not just when you chose to say things.” A small smirk tugged at Elijah’s lips as he picked up a laptop from the coffee table. The machine was old and battered, a few spots being held with various patterns of duct tape, the lid littered with various scratches and a handful of fading stickers. He’d had this computer for some time, and despite the rough condition, he refused to completely replace it. The thing still ran well, after all; he’d swapped out the internal components a number of times to ensure it performed as he desired. Navigating through a number of folders to where he wanted to be, Elijah pulled up a long list of points, which had the occasional highlighted line.

“Those are all of my choices?” Connor questioned, his attention on the screen.

Elijah gave a nod. “They are. All your deviant choices are in red, and there’s quite a bit of red here. After enough time went by, along with enough deviant decisions, Markus was able to get through to you, and lead to your complete deviation.” As he spoke, Elijah scrolled through the list, showing that there was, indeed, a lot of red lines. When he got to the start of the list, the man gave a quiet chuckle. “It all started with one little action.”

Connor looked at the screen closer, reading through the list. In the very first spot, dated 15/08/2038, was the first red line, containing only three words. Save the fish. All of this had started when he’d chosen to simply put a torn family’s pet fish back into the tank, rather than leave it to die on the floor. The android nodded, standing up from his seat. He’d gotten the information he’d wanted.

“Thank you, Mr. Kamski. I appreciate you taking the time to speak with me,” he addressed, straightening out his jacket and going to do the same with his tie. But, when his fingers brushed over the smooth fabric, he froze. Connor had always worn his tie, aside from on the rooftop with Daniel, when he had pulled it off to use as a tourniquet to save an officer. When he was replaced, he was already dressed in full, including his tie, when he was activated. In a way, his tie was a sign of his compliance with CyberLife. He thought for a moment, looking at the black fabric, printed with dark gray hexagons, resembling honeycomb. After standing in silence for a few moments, Connor unclipped his tie and undid the knot, slipping the fabric out from under his shirt collar. As he started to make his way out, he left the tie behind, draped over the back of a dark red armchair, the silver clip glinting in the light of the room.

It was early in the afternoon when Connor came close to Chicken Feed. On his way, he’d left Hank a message that he was alright, and wanted to meet up with him. The android saw the Lieutenant from a distance, standing by a street light, looking around the silent area. There was hardly anybody left in Detroit, aside from a handful of humans who had decided not to evacuate, and the androids. Connor’s steps echoed with a soft crunch in the fresh fallen snow under his feet, and the sound caught Hank’s attention. The RK800 stopped when his partner turned to him, and took a few slow steps closer. He gave a bit of a smile, his first real attempt at the act. Hank returned the gesture, stepping closer to him and grasping his shoulder. Hank’s next move surprised Connor; the taller man pulled him closer, wrapping him up in a tight hug. With little hesitation, the android returned the gesture, smiling to himself. In that moment, Connor couldn’t imagine what could have happened, had he not decided to save that fish.

[cliftonclothing]

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Can you make me this? We get this question a lot, and our answer is always the same. Yes, we can. Whether you need special features, logos in an unusual spot, or want a special pattern, no idea is too complicated or impossible for us. Just ask!

[elliedobbingfa5017]

Week 16 - 25/04/22

During this week at my placement, I began the week by sketching and creating tech packs for garments for AW23. Using trends, WGSN research and bought samples, I created a CAD for a gilet for the Modern Heritage collection. The gilet was inspired by a bought sample from Saint Tropez. After I designed my initial sketch, I then printed the tech pack out for approval by my manager. From this she made comments for improvement on the sketch as well as going through how to properly label the pack to ensure the factories are able to fully understand the construction of the garment – this included labeling the fabrics and additional accessories on the garment. After creating the initial sketch, I then created the inside sketch of the garment which I had never done before – this is key to show things like the trim inside, concealed pockets, as well as patterned linings. I then created inside views and began to annotate some sketches of garments which I had previously done throughout my time at Barbour.

Another task I did this week was updating colour ups for the designers. As first prototypes have just started to come in for AW23PRE, the designers then can look at how the garment looks and fits. After the initial look they also look at costing and how they can keep the cost down by removing things while still trying to keep the garment as similar to the original spec as possible, this can be changing zips, removing toggles or buttons and changing types of finish. After this process has been completed and gone other with the technician’s, the designers then update their tech packs accordingly, the history of the updates made are always kept on the tech pack for reference. After the updates are complete, the front image page of the pack that shows every colour way in the style needs to be updated to match the new sketch.

As well as this, I continued my research by constantly checking WGSN for any new trends or design information which could help the designers. I am always on the look out for things which could be used in future designs or to help the designers with the current designs they are creating – it also helps me to see how trends evolve and widens my knowledge base as a designer.

[thefatfeministwitch]

Everyday, as you’re getting ready to leave for work or hit the town with your friends or look for that perfect new job, you take stock of the general vibe of the day so you know how to approach it. You stick your head out the window to check the weather, notice how quick the second hand on your clock is moving, and try to read the dispositions of those you meet on the street. Every day has it’s own energy and when you walk out the door in the morning (or the afternoon, no judgements!) as a good little witch, it’s best to have your magickal arsenal backing you up!

Monday’s Witch is tranquil and white Tuesday’s Witch wields fire and might Wednesday’s Witch is wacky but wise Thursday’s Witch keeps their eye on the prize Friday’s Witch mixes coconut and lime Saturday’s Witch can bend space and time but the Witch who works on Sunna’s day will always bring bright blessings their way

The word “correspondences” doesn’t sound hella interesting or witchy, so don’t think of this as a post about magickal daily correspondences, think of this as your witchy weather report for the days of the week! Much like a daily horoscope (like the ones from Broadly, which I LOVE and check religiously), these daily bits of astrological magick will tell you the kind of spells to focus on, colours to wear and use, witchy tools to wield, or just in general how to be the best witch you can be that day. When you combine this daily witchery with things like moon phases, current astrolgoical phases, and the season you’re in with your own witchy intuition you have a fully fledged magical almanac.

One of my favourite things about daily magick is that it helps break up ruts and monotonous magical slumps. It gets you thinking magickally every day and gives you small things to focus on. Over time this builds into a great daily practice. You don’t have to be an expert, you don’t have to write your own horoscope or even be fully versed in astrology. I’m not! Every day and once a month I read a hororscope from Broadly, I get weekly and monthly astrology reports from Georgia Nicols in my inbox, and I love the Hoodwitch’s weekly witch tips. When we move into astrological seasons I trust other astrologers to give me the highlights, and the same with the astrological signs of the moon. I use that info from those brilliant people, with my own witchy knowledge of daily magick to give myself daily witchy forecasts so I have a head start on the day. I use a magickal day planner to keep it all in and make it look pretty and colourful so I can start the day off right. (OK SO YEAH I’M AN OFFICE SUPPLY NERD, OK??) This week I’ll be posting about the energy of the day every morning so you can start your day off right and maybe do a little magick.

Saturday

Planet: Saturn

Planetary Symbol: ♄Saturn’s sickle or scythe

Element: Earth, Spirit

Colours: Dark purple, dark blue, black, grey, dark green, wine red

Stones & Metals: Lead; obsidian, jet, black tourmaline, hematite, lapis lazuli, galaxyite, amethyst

Incenses, Herbs & Oils: Myrrh, Patchouli, Morning Glory, Mullein, Pomegranate, Mugwort, Rosemary

Tarot Cards: Knight of Swords, Two of Swords, The Hermit

Saturday was named after the roman god Saturn, who was a god agriculture, limitations and the passage of time. Saturday is a day to wrap up loose ends, to take it easy, to magical clean and cleanse your space and to look inward.

In addition to our infinitely patient god of earth and space, Saturday is Hekate’s day. Hekate was the all-powerful goddess of magick and witches. She is the patron deity of witches everywhere and is associated with the stages of life, the magick of all of the elements and even darker elements such as death and crossroads. Hekate is a goddess is gets stuff done, and Saturdays reflect this as a day to clear up everything that needs clearing up and even physical cleaning and getting your home in order.

Many of the plants and incenses associated Saturday are almost cliché witch herbs. Morning Glory, which is hallucinogenic and all consuming, Mugwort which aids in divination and magick (and just SOUNDS witchy!), Mullein which is used to talk with the dead and pomegranate, the food of the underworld. Myrrh is sweet and brings in a witch’s connection to the moon; patchouli creates a deep connection to the earth, and rosemary and hearty and stable.

The stones to use on Saturdays all seem to have very spacey and also somehow earthy energies. Black stones repel negativity, offer protection, are used in scrying and divination, are earthy and stabilizing, and are very cleansing. Jet, as an amber, is also a status symbol for witches and is worn by many high priestesses to denote rank. Lapis lazuli, galaxyite, and amethyst all work with your third eye and connect you to higher realms.

Types of Saturday Magick: spirit communication, star scrying, spiritual cleansing and clearing, all magic, spiritual and astral travel, warding, banishing, cursing and hexing, deity worship, grounding, shadow work, past life regression

  Book of Shadows Tarot Vol. 2

The Halloween Tarot

The Housewives Tarot

Tarot: The Hermit shows an image of Saturn himself, father time. If it shows up in a Saturday reading, it’s time to look inward, slow down, and accesses your growth or progress. You can also use this as a representation or link to the god. The two of swords frightens people, but it’s about balance and about creating a choice. It signifies that now is the time to make a choice, any choice. Even the wrong choice pushes you forward. It’s a good card for those pushing themselves to get things done on Saturday. The Knight of Swords is a card of no fear! This is a card to give you strength when dealing with some of the darker magic that is done on Saturdays. You’ve made a choice and now is the time to dive in!

Dress for magickal success: Saturday is the day to break out all of the gothic items from the 80s you know you’re holding on to. Classically witchy looks like all black, dark purples, stars and galaxy prints and powerful feeling clothing items are for Saturdays. If you’re staying home and tending the garden of your life, earthy comfortable fabrics like cotton in subdued colours let people know you don’t need anything flashy to be powerful.

    Sunday

Planet: The Sun

Planetary Symbol: ☉The sun at the centre of our galaxy

Element: Fire

Colours: Yellow, orange, gold, hot pink

Stones & Metals: Gold; carnelian, citrine, amber, tiger’s eye, fire opal, sunstone

Incenses, Herbs & Oils: Frankincense, orange, cinnamon, bergamot, cedar, rosemary, sunflower, st john’s wort

Tarot Cards: The Sun, Ace of Wands, The Chariot

It’s no mystery where Sunday got its name, and indeed it’s a day of bright, warm, illuminating and endlessly happy energy. Today’s a day to focus on everything you’ve accomplished in your life and spend it basking in the warmth of that feeling.

Sunna was the Norse goddess of the sun and drove the solar chariot across the sky that brought us the daylight. In ancient Rome and Greece, this exact action was accomplished by Helios and Apollo, respectively. Indeed, many people equate sun energy with more “masculine” energy. The Celtic’s revered the goddess Brighid as the keeper of fire – internal fire of emotion, the healing and cleansing fire, and fire of the hearth and home. (Sorry, gods!) All of these deities are described in similar ways, brightly shining, golden, infinitely happy and compassionate about their people. This is why Sunday is such a great day to spend with families.

Smells and plants associated with Sunday are warm and spicy like cinnamon, but combined with a more clearing scent like orange and frankincense. Cedar and Rosemary bring the outside in, and call in the smells and feelings of warm weather and plants that thrive in the sun. In its mundane life, St John’s Wort is used as an anti-depressant and calms anxiety, which makes it a great herb to accompany Sunday’s cheerful energy.

Though your fiery, red Mars stones and crystals from tuesday will help you get some things done today, consider some more gentle yellows instead. Reach for citrine and amber to bring sunshine, joy, and relaxation on a nice warm sunday. If you’re spending the day with your love, put a piece of sunstone in your bra or near your heart to add sexy and funny sun energy to your date.

Types of Sunday Magick: spells for happiness and love, spells for success for the following week, spells regarding family and familial relation, spells for illumination or clarification, rituals marking growth and abundance, candle magick

Maori Tarot

Witches Tarot

Tarot of Sexual Magic

Tarot: The Sun card is the obvious choice for Sunday tarot. The nice thing about the sun card is that it’s so happy and bright that no matter where it falls in a reading it lightens up every other card just a little bit. This is exactly the energy of Sunday. The Ace of Wands is the beginning of a fiery new journey. Everything is ahead of you now! Sunday is a time to start fresh, with new passion and creativity. The Chariot card could be travel or transportation – taking a Sunday drive with someone you love, maybe – but this is another card about balance and compromise. We all wish we could be the Sunday versions of ourselves forever, but eventually Monday will come and we’ll pull back into the calm, cool night. Don’t feel like you’re being pulled in two directions, recognize this time for what it is and make the most of it, and be ready to work with the energy of the other days of the week.

Dress for magickal success: Sunday’s energy is happy, but calm. Wear bright colours and simple patterns, or include suns, stars, and sparkles for a more brilliant sunny shine. Don’t bog yourself down with too much jewellery and wear comfortable shoes – this is a day to get out and celebrate your life. Wear something that makes you feel warm and comfortable inside and out, but that lets you move around and change direction spontaneously.

HAVE A GREET WEEK, WITCHES!

Some of my favourite sources of daily magick:

  Magical Fashionista by Tess Whitehurst

The Book of Witchery by Ellen Dugan

Coloring Book of Shadows Planners by Amy Cesari

The Witch’s Almanac by Weiser Books

Llewellyn’s Witches Companion and Datebooks

Plus the online sources listed above! Where do you get your daily magical advice?

  Witchy Weather Report: The Weekend’s Witch Everyday, as you're getting ready to leave for work or hit the town with your friends or look for that perfect new job, you take stock of the general vibe of the day so you know how to approach it.

[fashioneditswebsite]

DESIGNERS “GLOW” AT COLLECTION MODA – SETTING THE TONE FOR 2020 FASHION LANDSCAPE

The fashion story for the New Year - 2020 was keenly laid out at COLLECTION MODA in Jamaica as a few seasoned designers and some rising stars in the design world brought their A-game to the Moda Runway. This year's theme "Glow" was fully realized as fashion designers; KORTO MOMOLU (USA/Liberia), CARLTON JONES (USA), CLAUDIA PEGUS (Trinidad & Tobago), LISU VEGA (USA/Venezuela), JOSHUA CHRISTENSEN (USA), KIMON BAPTISTE (St.Vincent & the Grenadines), GERMAINE SMITH (British Virgin Islands) and PREMIER GENTLEMEN (Jamaica) dusted the runway with their latest creations, designed for Spring/Summer and Resort 2020.

COLLECTION-MODA-GERMAINE-SMITH-  

LEARNING THE "ROPES"

After a showcase of aerial gymnastics spiked by dancing from Jamaica's National Dance Theater Company (NDTC), it was time for fashion. Leading the misc-en-scene was Miami based Venezuelan designer LISU VEGA who brought her `rope as armor' wearable art collection to life. A beautiful, colorful sustainable rope was artfully placed, or wrapped on easy shift dresses in simple silhouettes. Lisu started out as a plastic artist, now she's incorporated art concepts into her fledgling fashion brand. "I AM A REGIONALIST" Next on the runway was legendary Trinidadian design icon CLAUDIA PEGUS, who showed elegant slices of fashion with a collection called "Living 4 Local." Her seductive black chiffon gowns revealed silver jeweled bikini's underneath. These sexy kittens led into a seduction of soft pastels in sheer tops with natural silk skirts in unique color clashes like pink and orange, and, lemon yellow and green were among the highlights of Claudia's collection. Claudia told me backstage, before the show; "I am a regionalist, every collection I do is Caribbean elegance, charging us to put our best foot forward...the story never changes. I'm all about the Caribbean - we bring it, we sell it, we love it." Claudia emphasized that Jamaica is her biggest regional market and Collection Moda is the best-organized show in the region.

COLLECTION-MODA-CLAUDIA-PEGUS   A LIFESTYLE BRAND CARLTON JONES NEW YORK was next in the spotlight. In business on his own as a designer for six years, this former fashion stylist showed a mixture of elements based on his appreciation of being chic at heart. "This line, "Cascade" is taken from my exclusive print; a cascade of color, like from a waterfall," Carlton explained. Delicate color-blocked swing dresses, long tunics on men and breezy tropical dresses made up the bulk of Carlton's collection, not forgetting his signature wrapped pants which popped up on several looks. This lifestyle brand featured some of the most fluid, easy pieces on the runway. ALL FROM A SIMPLE WHITE SHIRT-DRESS KIMON BAPTISTE followed with a collection that she said was inspired by a white shirt-dress, which she built upon. "I had the idea of a shirt-dress that goes from day to evening....the collection ended up to be a timeless and functional fashion situation," said the designer. Bold prints in tropical flare with some intricate sleeve treatments highlighted Kimon's collection. SOMETHING DIFFERENT Project Runway Season 9 alumn JOSHUA CHRISTENSEN was next up. Based in Detroit, Joshua explained; "My customer is usually between 21 and 35 years-old, outgoing, fun, open-minded and confident. I always tell people; when you wear it, others will love it. It's not only that you are wearing something different, but it is being brave enough to wear it. Most people would love to have the courage to do something different," said the designer. Joshua's runway hits included a burgundy leather suit with 'Matador' lacing elements down the legs and up the back of the jacket, on top-model Hakeem, and, the black cocktail dress of stamped velvet, with a flowing lace overcoat on "Miss Universe Jamaica" Iana Tickle-Garcia.

COLLECTION-MODA-JOSHUA-CHRISTENSEN   RAISING THE BAR KORTO MOMOLU a staple at Collection MoDA runway truly raised the bar. Fresh from her stunning New York Fashion Week groundbreaking `Women Grow' collection, Korto mixed elements from that collection with brand new pieces crafted for her fashion-forward clients. "I took the best of the last three collections and added to the new, making one big collection." Korto's natural fabrics ranged from cotton to cork and hemp was well received by the appreciative audience. MISFIT Next on the runway came a line from PREMIER GENTLEMAN which proved to be a total misfit for the runway. A show of this caliber has no room for badly made clothes. Making matters worse, this designer brought in his own male models who clearly had no clue on what to do on a runway - where to stop, where to turn....it's unfortunate, but such unprofessionalism had no place on Moda runway. FROM JAMAICA TO THE BVI The Collection MoDA Runway ended with young designer GERMAINE SMITH from the British Virgin Islands who showed a collection of simple clothes that carried the "wearable" label. A relative newcomer to the fashion scene, Germaine "Kym'asia" line titled "Synergy 2020" had touches of the dancehall and reggae culture vibe all over it. The designer admitted that it was that vibe that brought him to fashion. He spent three years learning how to sew and studying pattern-making, design, and tailoring. Originally from Jamaica, Germaine re-located to the BVI where he developed his art. "It's a big honor to see my clothes on this world stage," noted the designer after presenting his 18 runway looks. Read the full article

[laurenbaileyctca]

Art Fair Questionnaire

1)  Blank- The minimalistic approach to the curation of the booth was similar to the gallery however only to a certain extent. The booth had a wider range of mediums and vibrant colours. 

Stevenson- The booth differed in style and curation to the exhibition show however it was very similar to the curation of the showroom. Artists such as Penny Siopis and Zander Blom were featured both in the booth and the showroom.

Goodman - The crowed curation of the booth directly juxtaposed the gallery which had a space layout. There was also a variety of work and vibrancy to the colours used in the booth.

2) Artworks that I enjoyed:

Justin Dingwell, A Seat At The Table, 2018

Inkjet Print on Paper

I am very drawn to this work because of its technical skill and its aesthetic. I enjoy how the artists has played with a corresponding colour palette that accentuates the subject.The lighting is fantastic and brings focus to the subjects contrasts of their body. Studio photography can often lose the true depth of the concept however I think this could not have been created another way. 

Arim Andrew, What They Want, 2019

Oil on canvas

I love the playfulness that the image portrays while overlaying a much harsher narrative. The lighting used is reminiscent of front lit studio lighting which adds interesting highlights all while juxtaposing the origin of the characters. The simple background brings forth the subject matter for me which brings focus to the details intended to convey meaning.

Ima Mfon, Nigerian Identity, 2015 

Inkjet Print on Paper

Black and white portrait photography holds a special place in my heart. It holds so many emotions and stories within a single image. It can transport you to a different place or time all from looking into a strangers eyes. This piece conveys exactly that. A narrative through a strangers eyes.

Artworks I didn’t enjoy:

Chris Soal, The search for meaningfulness in the search for meaning, 2018 

Concrete, and birch wood toothpicks held with polyurethane adhesive on ribstop fabric

This piece gives my a crazy amount of anxiety followed by chills up my spine. I understand that this work was intended to cause discomfort but for me it has passed the boundary of tolerable angst. I am very sensitive to textures, even looking at an unpleasant texture causes a flurry of uncomfortable emotions.

DD Trans, Unknown

Oil Painting and Balloon Ends

Honestly I absolutely hate this. The balloons look like little cat bums. Enough said.

Armand Boua, Les vièx môgô (Les grand frère), 2017. 

Acrylic & collage on canvas

This piece hurts my eyes. It hurts to look at the lime green in the background which leaves me unable to fully focus of the foreground. I also feel it is bland and lacks depth.

3) There were a lot of paint mediums used in works as well as an increased amount of photography compared to last year.

4) The most obvious differences included labeling and curation of their pieces. Some works were close together on walls while others were spaced evenly apart. Some booths had no furniture where as others had an info desk or a seat for the viewers.

5) Some booths paid great attention to the labeling of the work and pasted labels neatly next to the work. Others printed labels but stuck they skew and some just had pencil marks on the walls i.e Siopis from Stevenson .

6) I feel that the fair is designed in a way to direct people straight to the big gallery names such as Stevenson and Goodman and then make their way outwards towards the smaller galleries and solo shows. I feel like a lot of good work is either missed or discarded through this layout.

7) The lighting differs slightly in each booth that has specific lighting for their work but overall the main lighting is bright and artificial. It reminds me of a grocery store. 

8) The clothing is mostly neutral and monotone. Gallery black clothing is continued at art fair. However their were some individuals who enjoyed standing out by wearing vibrant colours and heavily patterned garments. What I mostly enjoyed was seeing some of the school kids bored out of their minds and resorting to mischief amongst their friends.

9) Although the art fair is advertised to the public it is mostly targeted to wealthy individuals who are interested in buying and investing in art. The art fair definitely encourages this by having extended VIP dates and extravagant events.

10) Marina Abramovic, Victory, 1997

Even though the works subject matter actually juxtaposes the ideology of wealth, the works worth is a spectacle in itself. It sold for 80 000 euros.

11) Kirsten Sims, In a Flash, 2019, Ceramic

Due to the functionality of the object Sims has created it feels misplaced amongst an array of “display” items. This piece unlike the rest is not just to be understood for its aesthetic worth.

12) I normally am very comfortable talking to strangers however at art fair I felt heavily scrutinized for my age and dress (I had a hole in my shirt which many women felt the need to make direct eye contact with) which made it harder for me to discuss work with people. I was almost laughed away by the people exhibiting Abramovic’s work when I asked for the price. It was 80 000 euros and apparently just as expensive to ask a question without utter judgement.

13) Investec is a prominent sponsor in the event. It is a private banking firm that only caters to those of a certain earning potential. I am certain that almost all of the VIP guests have accounts with Investec and would feel a sense of patriotism when they saw their bank was sponsoring the event. This helps build their relationship further and will encourage more people to lean towards Investec for cultural investments.

14) The CTICC is a very large space designed specifically for events like this. It has the capacity to cater to big sums of people and can plan events efficiently. It is also centrally located and easy to access. Events such as The International Tattoo convention and Design Indaba are also hosted at this site.

15) Albert Newall’s Untitled was made in 1952 through watercolour and ink on paper.

16) The youngest artist is a recent Michaelis graduate. Her name is Talia Ramkilawan and she is 23 years old.

17) The solo booths’ décor or paint on the walls correlate with the artwork. The space is integrated and has a stronger relationship with the works in comparison to other booths.

18) Georgina Gratrix- Gratrix’s process and the manner in which she paints is very intriguing and intense. The thick application of oil paint reminiscent to layers of make up entices people continue viewing her “pretty-ugly” work.

Igshaan Adams- The delicate nature of his work is very intricate and complicated. Through this intricacy he is able to communicate a wave of movement and narrative to the viewer.

19) I noticed a lot of work focusing on the subject of origin and identity. These are beautiful concepts that hold such a deeper meaning than when explored fully. Every human has an identity and every human can empathize with another’s identity (I HOPE) therefore creating a common understanding and concept to explore. Materials that frequented were Ink Jet Prints of photographs, weaving and sewing supplies and alternative materials for sculpture building.

20) I would love to be represented by Smith Gallery as I think they have a good understanding of how to work with young and up and coming artists. Their galleries tend to keep up with art trends and don't appear to fit into a particular mold.

21) I would love to work for WHATIFTHEWORLD as I have always found their exhibitions exciting and emotive. Their ability to transforms an artists vision into a physical space is quite remarkable. It would be an honor to be part of that team.

22) “I wonder if the maintenance team is going to be pissed about all the Ed Young balloons on the ceiling?”. “Do any of these works actually sell or is this just a giant publicity stunt?”.

23) For my booth I would build a ceiling so I could block off those horrid grocery store lights in the centre. I would black out the box inside and as my display I would have my fellow artists paint, write text, spatter on the walls of the few space using UV paint. Viewers would then be handed UV light torches to go and view the work inside the space. This way we are providing an experience rather than a commodity.

[merzelifestyle]

Bringing The Outdoor Into Your Home To Promote Health and Well-being

It’s all the rage today. Bringing nature into your home in order to promote wellness and harmony to your life just makes sense. The idea is to blurr the lines between what is outside in nature and what is in your home.

Let’s talk about the Theory of Biophila just a bit.

The theory of Biophilia shows that human health and well-being are dependent on our natural environment. The theory states that all humans have an innate love and need for the natural world. Through the ages, humans have always depended on our enviorment and other living organizms to survive. It is believed that our DNA is hard wired to find natural well-being in nature, so why not bring it into our homes and commerical buildings to promote health and wellness.

The idea is not to just bring in one or two plants and you have the environment needed for wellness. It is more than that. It is a combination of different fundamental principles brought together that creates a habitat that is conducive to a healthy lifestyle created specifically for your individual taste.

There are basically two different features of biophilic design

The first is the organic features which is depicted by things or experiences that come from nature. They don’t necessarily need to be touched but can also be seen from afar.

The other feature is based on the specific geographic and cultural environment of your specific surroundings. It is the geology that surrounds your home.

According to the studies, there are a few things that you can do to help promote better health and well-being. There is so much to know about Biophilic Design as it relates to interiors. Here are just a few that might help you if you are looking for a more serene and healthful environment.

Botanicals / Plants

Plant life improves air quality by reducing carbon dioxide levels, increase humidity, reduce levels of pollutants, reduce airborne dust levels and keeps air temperature down. They are also seen to reduce stress and helps you to be more productive.

Did you know that plants reduce background noises?

Plants can be included in or around your home by putting potted botanicals around your living area. There are all kinds of plants that you can incorporate in your living space.

Another way to incorporate plants is to use bothanical motifs and fabrics within the home. If you are living in the city and have no exterior plantlife, adding botanical wallpaper or murals is a great alternative. Add a few live plants along with your murals can help product a more traquil environment. A beautiful fabric with a botanical print is a lovely way to bring natural colors and greenery into your home.

A huge trend right now is incorporating a living wall into your home or exterior space. These living walls are vertical gardens that you can either create yourself or have one made for you.

Here is a tutorial for you to learn how to create a living wall.

Lighting and Windows

Lighting is a fundamental components to Biophilic design. Natural and artifical diffused lighting directly regulates our body’s biological clock 24 hours a day. It has been well established that if done correctly, natural and artifical lighting promotes health and well-being.

Sunlight is the one thing that is fundamental to all living things.

Studies have proven that the more natural lighting we are exposed to, the more we can reduce stress, depression and illnes. It is also directly related to better cognitive ability.

Things you can do to promote better lighting in your home

Open up spaces within your home to promote more natural lighting. Large windows that have a view of a garden, landscape or ocean, flower beds, potted plants and living walls all connect us to nature. Instead of having heavy window treatments hung over your windows, simply open them up and let the light in. Hang shades over your windows that can be adjusted in the evening but opens fully to let the light in during the day.

Create a more open living area with large windows that encourages sunlight to come into your space and where you can have views of the surrounding environment. The open outdoors is pleasing to all of our senses.

Open your windows and patio doors to create a wonderful cross breeze for better ventilation. Encourage more sunlight and connection to the outside landcaping. Breath in the air and listen to nature.

Water and Health

The presence of water whether indoors or outside, evokes positive emotional responses and is said to help improve concentration and perception. Just listening to the trickle of water or seeing a pool of water can promote feeling of traquility. Studies has seen that it can reduce stress, heart-rate and lowers blood pressue.

Things you can do to promote tranquility and health using water

Installing a water feature that has movement is a great way to achieve this design element. Whether it is installed inside your home or outdoors is really up to you but the effect is the same. If you place it outside, put is close enough to a window or patio where you can hear the water trickling from indoors. Place plants around the water feature and create a place where you can find a connection with nature. It doesn’t have to be big to be effective. Sit and enjoy your calming restorative space.

Natural Materials and Warm Colors

In design, textures, patterns and colors play a role in having a harmonic environment. This is especially true when looking to create a healthy and calming home environment.

Colors should be represented by those that come naturally from our surrounding landscape. The use of distressed woods that come from your surroundings and textures such as worn leather, shells and stone decor will integrate the need for natural feelings of wellness. You don’t need to fill your room with it, but to just add accent pieces. Side table or organically created woven rugs, rustic vintage vases and upcycled wooden stools created from local articians using materials from your geographic location makes your indoor environment more relational to your immediate landscaping. This allows for your interior and exterior to blur and become one.

""I go to nature to be soothed and healed, and to have my senses put in order""  -- John Burroughs

“The thing is…bringing nature into your living space makes sense. What is most important is that you make it your own. I love blues and browns and my home if riddled with those colors, botanicals and widows that let the light in. It doesn’t matter what your design tastes are. You can incorporate all these biophilic elements into your home without compremising your own personal style. Look for what makes you feel restful and at peace and leave the rest to nature.”

As with everything I post on my blogs, please feel free to comment or if you have any questions, please email me through my contact page. I welcome it anytime!

Design with your heart™️

Have a lovely day my friends!

Mary

"May your home be a place where friends meet, family gathers, and love grows. "  -- Anonymous

[glamournews-blog1]

Vlada Tabachuk - Startup Fashion Week

Startup Fashion Week - Vlada Tabachuk

Vlada Tabachuk is an incredibly talented designer, she is based in Toronto and will be showing a full collection of unique apparel at Startup Fashion Week Runway Show on Oct 25.  She is an incredibly talented designer 

DO YOU DESIGN YOUR OWN CLOTHES, OR YOU HAVE GO TO LABEL?

I’ve always liked to up-cycle clothes I already had to give them a second life but I rarely make my own clothes from scratch. I’m not really a patron of one particular label and I don’t really subscribe too much to trends. I like to shop around for items that I could see myself wearing forever. 

 WHEN DID YOU FIRST REALIZE YOU WANTED TO PURSUE A CAREER AS A DESIGNER?

I’ve always known this is what I wanted to do. My life has taken me on a lot of detours but I would always end up doing something fashion related. Once I made the decision to attend the Fashion Design Program at Ryerson University, I started to feel like I was exactly where I was supposed to be and after graduation I just kept trying to start my own brand until my team with an investor found me and approached me.

 ARE YOU SELF-TAUGHT OR DID YOU STUDY FASHION DESIGN?

I started sewing things when I was still a kid and tried to learn new techniques as I grew up. The DIY movement and creation of YouTube really helped me learn but I never felt that I could learn as much on my own as I could in a design program so I decided to get a degree from Ryerson University.

 WHAT OTHER SKILLS ARE IMPORTANT?

I think the most important skills in any work are the ability to network, ability to multitask, and the ability to adapt. To me networking is how I get inspired by others and how I continue to educate myself in what I do. Being able to multitask is crucial because as a new brand I am always hit with multiple things that are ALL priority and nothing can be put off until later. Lastly, it’s very important to be able to adapt to any changes that have to be made to the original plan when issues arise. My biggest motto through the whole process of starting my own brand when things would not go according to plan has been “Make it work!” (Tim Gunn from Project Runway)  

WHAT ARE YOU BIGGEST FEAR WHEN GOING OUT AND STARTING YOUR OWN LINE?

I can’t say there was ever a big fear of failure or disappointment when I was starting the brand with my business partners. Not to say that it wasn’t scary doing everything for the first time like registering a corporation, building a business plan, making big financial decision, creating mass production product etc. but I was never afraid of it turning out differently from how I expected. It’s rare that anything turns out how you expect so I went in ready to adapt and fail as many times as I needed until we figured it out.

WHAT IS YOUR FAVORITE PART ABOUT BEING A DESIGNER?

My favourite part about being a designer is putting on some inspiring jams, spreading a clean piece of white paper on the drafting table and spending the following hours/days figuring out how a garment will be constructed, how every seam will interact with the fabric, how the construction and complexity will drape and interact with a body, how the construction will affect the costs and manufacturing time etc. It’s at this stage that I really get to submerge into my own mind and play with this giant puzzle of sorts.  

COULD YOU GIVE ME A DETAILED BREAKDOWN OF THE STEPS IN PRODUCING A COLLECTION...(FROM CONCEPTION TO THE RUNWAY)?

1. Come up with a concept and inspiration.

2. Do market and trend research.

3. Create a mood board that combines your ideas and what the market wants/needs for your collections season.

4. Sketch as many designs as are in your head following your moodboard as inspiration and consistency guide.

5. Choose your final designs and tweak them as needed to ensure they work together as a collection and that the construction of them will remain within your brand’s manufacturing cost bracket. 

6. Find your fabrics, trims, and hardware.

7. Create production documents necessary to create patterns for the garments.. 

8. Started creating garment patterns, testing each one out in muslin and then in actual fabric. At this stage some changes are often made to fabric choices and designs in order to improve the overall appearance and to decrease manufacturing costs where possible.

9. Once the patterns are created, additional manufacturing documents are created that include a record of material quantities per garment, costs, and specifications. They are used for the brand to communicate with manufacturers, calculate production costs, and come up with retail prices for the garments.

10. Create and order care tags, hang tags, size tags, and brand tags. 

11. Create double sample of each garment to use for photo shoots and promo while the manufacturer is producing the total quantity.

12. Plan and execute a look book shoot and create a stock of brand photos to use for social media and PR. 

13. PROMO! Reach out to your network to share news of your new collection; create exciting and interesting social media posts; go out and be seen/heard; reach out to media to make them aware of this awesome thing you just did and get them excited about your new collection.

14. Get ready for the runway: model try ons, runway moodboards for Hair and Make-up Artists, start stocking up on thank you cards and gift merch.

( I hope this isn’t too much! I tried to condense it to crucial steps.)  

HOW WOULD YOU DESCRIBE YOUR BRAND?

Project 313 Apparel is a luxury street wear brand that is heavily inspired by techwear through it’s use of fabrics, fit, and function. I like to create items that stand out through small design details and manufacture them in fabrics that are both eco-friendly and unbelievably soft to the touch.  

 WHERE DO YOU GO FOR INSPIRATION?

I find the most inspiration just wandering around busy the streets and observing. Toronto is a fantastic city for that because of the vast diversity in architecture, culture, people, styles, tastes, music. I got design on my mind and my mind on design 24/7 so it’s never hard to find inspiration. I can look at any object and visualize an article of clothing that reflects it’s vibes or aesthetic so Toronto is truly a never ending supply of inspiration.

  WHAT ARE YOU FASCINATED BY AT THE MOMENT AND HOW DOES IT FEED INTO YOUR WORK?

I am currently obsessed with exploring untraditional and challenging construction techniques. I am a glutton for a challenge. Our launching collection called Order x Chaos for Project 313 Apparel features some complicated style lines that are unconventional for hoodies and tees. It was a challenge to create an odd hood shape that looks like it sits on your shoulders but I love how it turned out. 

  HOW DO YOU WANT YOUR CLIENT FEEL WHEN WEARING YOUR CLOTHES?

We want the Project 313 Apparel customer to feel like they are draped in luxury and comfort when they are wearing our clothing. It is important to us that our clothes inspire confidence and become an extension of self. I think there is nothing worse (clothes related) than being constantly aware of what you are wearing because of a bad fit, uncomfortable fabric, or restricted movement that’s why Project 313 Apparel provides style that allows it’s wearer to be free to move.

   HOW WOULD YOU DESCRIBE YOUR PERSONAL STYLE?

I would describe my personal style as “always in transition”. Although I don’t generally follow trends and on average buy only 5 new fashion items every year, I am constantly trying to reinvent my style through finding new ways to wear the pieces I already have. So my style is essentially a rotation of basic with a few oddly patterned pieces. For example some of my favorites are: pants with floral water colour print from Banana Republic, a men’s button up with ice-cream pops I found at winners, a Clover Canynon pull-over sweatshirt with interior design CAD graphic. One day I will fully commit to funky patterns but for now I feel like my collection is just not big enough. 

 IF YOU WERE A SUPERHERO, WHAT KIND OF POWERS WOULD YOU HAVE?

If I were a superhero I would want the ability to clone myself like Dr Manhattan (without the public nudity) so that I could do more at the same time.  

 IN YOUR OPINION, WHICH SUPER VILLAINS NEEDS FASHION ADVICE?

If I had to pick one... Doc Ock is probably in the bottom 10. His costume is just a bit boring. He looks like a middle school math teacher, stuck on primary colors, who also forgot it was Halloween so he pulled together a last minute “zucchini” looking outfit. His outfit is just not fear inducing whatsoever so he would really benefit from a makeover. 

[oliviascanestextiles-blog]

V&A Gallery Visit - Fashion Collection

The Victoria & Albert museum holds pieces of art from all around the globe and through out the centuries. To further my knowledge on fashion throughout the years, I visited their fashion collection and discovered beautiful dresses that have print, knit, weave and stitch incorporated into the garments. The periods of clothing vary from early 19th century regal ballgowns right up to 2015. There were lots of pieces from particular decades during the 20th century; 20s flapper dresses, 30s, 50s, 60s/70s “hippie” clothing especially. These periods only represented western clothing, particularly European countries like UK, France, Germany. The lack of culture in the fashion collection was disappointing as it created a very narrow mind of what is considered high fashion. Eastern countries like china, are known for having very rich, decadent clothing that is of the same high quality as clothing produced in Europe. However as I moved into the clothing produced with the last decade I saw a slight fluctuation in Asian designers due to the growth of Asian cities fashion weeks. Three of the to four fashion cities, London, Paris and Milan are all situated in Europe which affects the collection staying so westernised.

The 19th Century clothing didn’t have designers associated with there clothing but the clothes would of been made by well established embroiderers and pattern makers etc. the designers from the last century included; Biba (a renowned 70s designer who focused hugely on print); Valentino, Mary Quant, Hepburne Scott, Charles James to name a few. There was a slight peak in modern British designers maybe factored by the V&A situating in London. All these designers and the many others from the collection all had one defining factor that was they made expensive, formal adorn clothing, the sort worn by the upper class that have the money to afford it. There were some day wear clothing but still of an up market fashion week ready-to-wear style. The reason behind this is the museum, like any, want to display the best of the best. A few characteristics I got from the dresses were the majority were fitted and floral was a popular pattern within the fabric, particularly in the periodic section. Not only did the collection lack culture and more affordable clothing displays but also clothes designed for the male figure; which I found strange because menswear fashion is nowadays just as big as women’s, and the crossover in women’s wear strongly featuring suits. I’d love to therefore see more clothing of Asian, African and South American culture and garments made for men. The high established western wardrobe that was this collection fascinated me whilst also making me question its lack of diversity, when will fashion fully congregate all gender and ethnicity equally?

On a side note I thought the lighting around the collection to be too dim which meant it was harder to see details embroidery on the dresses. 

Garment study

Yellow Trouser Suit

Ossie Clark (1942-96)

Print by Celia Birtwell (born 1942) stripe and leaf print

1971

Great Britain (made)

Printed wool crepe and chiffon

Trousers were a hallmark of Clark throughout his career and the 60/70s say a society change in women not needing to wear dresses and skirts. Yet the trouser feature doesn’t reduce the femininity of the outfit; the sheer fabric and open midriff allows some skin to be seen and the flow of the fabric adds decadence. I was drawn to this colour primarily on the yellow coloured fabric. Yellow is a happy colour and known to be the most eye catching of the colours in the spectrum. I like this garment because it has the beauty of a dress but the practicality of trousers, creating a powerful garment. I’ve also always been passionate about print so I always get pulled towards clothing with print details. The sort of person to wear this garment would of been a person of a higher class that has an occasion as regal as the trouser suit itself. As it being a dress worn by a wealthier, mostly English woman it lacks a wide cultural significance, but being from the ‘swinging seventies’,it portrays the symbolism of the revolution of fashion and self expression of love with its small rebellion in not being a dress.

I feel this piece is worth preserving in the museum as it holds the history of the power fashion had in the 70s and its ability to look beautiful yet hold a message.