#triangular shape lace scarf

[dreamerwitches]

I saw someone ranking Madoka plushies so I thought I'd rank Charlotte/Bebe ones for funsies! I'm not including pouches, bags or head plushes here

First up is the Charlotte transforming plush. Cute and pretty accurate. Also has the bonus of having a use and featuring both Charlottes. Her hair looks too light in the promotional pic but it's better irl from what I've seen. Sadly has the early Charlotte mistake of missing the dark right side of her jacket top. Sadly seems very rare and expensive nowadays. 4.5/5

The Wormlotte Ichiban Kuji prize plush. Wins points for looking dumb but in a cute, scrungly way. Works best from the front, it's a little bit of a shame she's so flat from the side so looks a bit odd. 3/5

Ichiban Kuji plush from the same set as Wormlotte. This one has already felt a little not great to me. The hair is too bright and you can see it goes under her chin which clearly isn't right. Her trousers are too red as well and she's missing the lining of her cloak. Makes sense she's less detailed because she's a prize plush but you could at least get the colours right. Also loses points cause I always see this one going for so much online and... she's not that great AND she's tiny... 2/5

The SCARF! She's great, so silly and such a good idea. Hair is too light and eyes are too teal but otherwise she's great and scrungly. 4/5

Another Banpresto prize plush. The colours are slightly better than the previous, especially the hair. 3/5

The HUUUGEE wormlotte. Who wouldn't love her?! She's amazing but very expensive, originally at around £150 and I'm sure she'd be lots more now. 4.5/5

Another Banpresto prize and another that's barely changed. It kinda feels like a step back... Green eyes??!! 2/5

The first Bebe plush, another Banpresto gig. She's very cute and silly but her hair looks wonky?? And it doesn't just seem to be the prototype. She's never shown with wonky hair so it just feels like they misunderstood the art... Her cape is missing the black inside too... Otherwise she's decent. 3/5

Banpresto prize but smaller. It has the same issues as before... 3/5

Same as the last but the unique pose and expression is very cute. You get bonus points. 4/5

An Ichiban Kuji Premium plush so she's a bit better looking now. Fixed the symmetry but I don't think she has the cape lining (it's hard to see in pictures). I like the velvet look but I know some people don't like that texture. Her fringe looks too triangular honestly, moreso than the last few. 3.5/5

WHY IS HER HAIR STILL WONKY?? Her hair ISNT wonky in official/concept art her head is just tilted, how are the designers so stupid??

See how it's tilted on the right BECAUSE her head is tilted but from her back view her hair is completely straight. Sigh. It's similar to the first few Bebe plushes. 3/5

Another Banpresto prize plush. Hair is back to being fixed, thank fuck. I really like how the lace around her collar looks like actual lace. Makes me notice the last few are mostly missing the lace... hmm... I don't like the way the fabric is cut off around the black bits of her sleeves. Makes it look bad. Also I think with the button eyes you're either gonna really like it or really not. I was scarred by Coraline when I was younger so it irks me, I wouldn't get her myself. Improved some bits but fell on others so the score hasn't improved... 3/5

Wormlotte's button version. Bonus points for making a plush of Bebe-Wormlotte cause I kinda love how unique she is. But.... this one's a bit shit... it has such a handmade quality and not in a good way. I don't get why the spots look like they're badly painted on. It's too flat as well and the circular shapes of the body are so badly defined. I like the face details but that's it. Perhaps shouldn't have relied so hard on the artwork. 1/5

Mochi Kororin Wormlotte. This is the kind of plush that I just feel I've seen far too much of... I'm so bored of it. But... she does look silly and I kinda like that. The blue wing is too teal (though it seems it took more from the art than the anime) and her left eye is red instead of pink (which is another art mistake) so it kinda throws off the colours when there's too much red in her face. 3/5

A Movic plush, this certainly feels more obscure. I love her stupid face and the unique pose. The eyes are the wrong colours in numerous places which is a shame but I'm glad the nose is 3D. (actually looking at a non-sample photo they got the eyes right! Must've just been the prototype) I like how the wings are drooped like she's bashful, it's very cute. No complaints! 5/5

I'm so surprised to see this one on My Figure Collection because she looks SO bootleg and this is what the popular bootlegs are based on. The fact they misspelled height really doesn't make me trust it. But at least I can shit on it! Eyes and cheeks are wrong (taking from the incorrect first anime screening), black hood is a weird flower shape, spots are too small, top is too light yellow, buttons are far too far across and cape goes around the front. If I could get her for like, less than £5 I would but otherwise I wouldn't bother. 1/5

How come the first Charlotte was the best and the rest were just kinda downhill? It seems like Wormlotte is harder to screw up. At least they're both pretty simple so you can always make her yourself. I was surprised my top pick was a Wormlotte since I overall just prefer Charlotte but like I said, she wasn't doing too well, even with the Bebes... a shame... let's hope they release better plushies in the future.

[passion-beauty]

How to achieve a flawless look with knotless braids and water

With contemporary hairstyles, achieving a flawless appearance can be life-changing, enhancing self-esteem and displaying individuality. Knotless braids with water wave hair are a popular option for a new, colorful style because of their convenience and natural appeal. When paired with natural looking wigs for women and hairstyles like triangle bohemian knotless braids, these options offer style and versatility that works well for a variety of settings. Here’s how you can achieve and maintain a flawless look with these stylish choices.

#1: Choose the right hair

Choosing high-quality hair is the cornerstone of any amazing braided or wig hairdo. It's crucial to choose hair that complements your natural texture for knotless braids with water wave hair, or the texture of the wig if you're mixing the two styles. This guarantees that the braids mix in perfectly with the wigs or hair extensions in addition to looking natural. High-quality human or synthetic hair that replicates natural hair patterns helps prolong the appearance and feel of your braids.

#2: Prep your natural hair

It's important to prepare your natural hair before putting on a wig or any braids. Make sure your hair is completely detangled, clean, and well-conditioned. This process promotes the general health of your scalp while shielding your hair beneath the wig or braids. When wearing your wig or braids, a clean and conditioned foundation helps avoid accumulation and itching.

#3: Installation techniques

The installation method is essential for people who choose triangular bohemian knotless braids in order to achieve a perfect appearance. Knotless braids, as opposed to conventional box braids, begin with your natural hair and progressively add braided hair, which eases stress and promotes healthy scalp function. In contrast to traditional braid styles, parting your hair into triangular portions adds a distinctive, striking pattern. To create a symmetrical and tidy appearance, make sure each section is even.

#4: Blending wigs with braids

Make sure the wig cap fits your head comfortably and securely if you plan to use natural-looking wigs for women with your braided style. It's important that the wig sits naturally along your hairline. Select a wig with a pre-plucked natural hairline and, if at all possible, a lace front for a totally seamless appearance. This kind of wig gives you versatility in style and parting, allowing you to mix the wig flawlessly with any braids or exposed natural hair.

#5: Maintenance tips

Regular upkeep is necessary to keep your wigs and knotless braids looking brand new. To lessen frizz and avoid breakage, wrap your hair in a silk or satin scarf at night. Apply oil to your scalp to hydrate and support health, and use a light mousse or spray to keep your braids looking nice. Depending on how often they are used, wigs should be cleaned and conditioned on a regular basis. To keep your wig's texture and shape, always let it air dry and store it correctly.

#6: Styling and accessorizing

Think about decorating your braids to get the most out of your appearance. Your hairstyle can be made distinctive by adding color and personality with beads, rings, or wraps. Depending on the wig's possibilities, try a variety of styles, such as updos, curls, or straightened looks. Recall that one of the biggest benefits of wearing wigs and braids is their versatility.

In conclusion, it all comes down to careful selection, correct installation, and consistent maintenance to get a perfect look with women's knotless braids with water wave hair and natural-looking wigs. Whether you choose a gorgeously groomed wig or triangle bohemian knotless braids, taking the time to properly manage your hairstyle will guarantee that you not only look fantastic but also safeguard the wellbeing of your natural hair and scalp.

Source: https://amazonseoservices.com/how-to-achieve-a-flawless-look-with-knotless-braids-and-water-wave-hair/

[kylazoran]

Crochet neck scarf in red and green, handmade triangular bandana scarf, crocheted shawl, Christmas gift for women, stocking stuffer ladies

READY TO SHIP!!! Get this lovely OOAK hand crochet shawl in bright vibrant colors to add a sparkle of celebration into your ordinary day! Made of soft half-woolen yarn of beautiful red and emerald green mesh pattern with pretty chartreuse seashell-shaped edging, this lace shawl is light as a feather and gives a luxurious feeling wrapped around your shoulders or draped around your neck. It can…

[psychosistr]

Fearsome Facets- Preview

It’s been a while since I posted anything about this story, and I don’t normally like doing previews (my anxiety screams at me if I post things that aren’t finished and haven’t been reviewed at least 5 or 6 times >~<”), but, in honor of my good friend @abbythegamergirl ‘s birthday, I am obliging her birthday request to me and giving you guys a brief preview of the first chapter. Hope you like it! ^.^

Far away, in a solar system light years away from Earth, sits a broken planet filled with a multitude of beings of different shapes, sizes, colors, and functions. One thing they all share though, is quickly obvious:

Gems. Each creature on the planet, no matter its appearance, has a gemstone somewhere on its body.

Amongst the crowds of gems going to different locations or performing different jobs, a pair of gems walk calmly through the crowds towards a majestic blue palace. Well, one of them walks calmly- the other appears to be a bundle of nerves and emotions.

��Do you think she’s mad at us?” The nervous one asks. “I-I mean, we did a good job on that last planet, right? Camille even said we finished ahead of schedule!”

The more anxious of the duo has an interesting appearance compared to the other gems around him. His body is green and appears to be a cross between a plant and a duck- his head even has a petal-rich purple flower instead of hair like other gems around him and his arms are two vines with large leaves at the end to serve as his hands. The stone on his face is a round-cut green sapphire that matches the hue of his body and would easily blend in if not for the way it caught the light as he moved. He has one visible and vibrant blue eye that darts about anxiously as he speaks, the other hidden by a long strand of his purple petal-hair that hangs down over half of his face. The oddly long “hair” actually goes surprisingly well with his outfit: His outfit is a vibrant green dress that looks like it is made of various plants. The main body of the dress looks similar to a type of dark green foxglove flower with the way it billows outward at the bottom to cover his feet, while the puffy-sleeved over-coat on his shoulders that hangs down past his hips with an opening down the middle appears to be made of dark green moss. Accenting the dress nicely is a bouquet of light green-tinted baby’s breath creating the illusion of a frilled collar around his neck, a variety of succulents sprouting up over the middle of the dress to give the colors more depth, and, surprisingly, a cluster of vibrant blue gentians growing closely together over his chest to form a blue diamond shape that angles itself perfectly so that it lines up with the opening of his mossy overcoat.

“Are you asking yourself too many questions? Stressing yourself out for no good reason?” His companion asks with the tone of an experienced salesman about to pitch a product or service to a customer, but with a quiet chuckle to his voice that shows he’s just joking at his friend’s expense. “Then you may be experiencing signs of ‘overthinking your situation and freaking out over nothing’! But, don’t worry, there’s a simple but effective way to alleviate your paranoia and put your mind at ease: Try gem-tested, and gem-approved ‘calming down’, available for a limited time only!”

The calmer of the two gems also has an interesting appearance compared to those around him- even taking his companion into account. For starters, his entire body appears to be made of water and has more of a tall, buff canine look to it than that of a smaller duck like the sapphire. His own gem is also visible further down on his body compared to the other, a rather large royal-blue colored tear-drop shaped lapis lazuli gemstone floating in the water of his right hand. Aside from the more obvious physical differences between the two with their base-species and physical make-up, another glaring difference lies in the lapis lazuli’s outfit and how he carries himself: While the sapphire’s dress is decorative and delicate in nature, the blue gem’s outfit is far more stream-lined and adds to the imposing figure he cuts (well, aside from when he smiles at the sapphire, that is). His clothes consist mainly of a long royal blue colored robe similar to a yukata with midnight blue trim and a subtle rippling wave-pattern in sapphire blue throughout the garment that culminates around a shining blue diamond-shaped insignia on his chest that matches his partner’s, the outfit tied shut with a dark oxford blue sash at his waist. The whole outfit appears to be made of the same water as his body, constantly moving and rippling at the same rate as the rest of his form with the bottom of the robe just being part of the puddle that makes up his feet.

“Oh, ha-ha, very funny.” The sapphire laughs sarcastically while shoving the lapis lazuli’s shoulder, frowning when his leafy hand simply goes through the water before pulling it back out. “Not all of us can be as ‘cool’ as you, you know.”

The lapis lazuli grins and bends his body around so that his upper half is fully facing his friend from the front while his lower half continues walking beside him. “Then maybe you just need to be more flexible.” They share a good-hearted chuckle at the jokes after making sure no one else is within earshot. “Besides,” The liquid gem continues once their laughter subsides. “If we were in trouble, I don’t think HE would be here.”

“Huh?” Looking up to follow his companion’s line of sight, the sapphire lets out a relieved sigh. “Oh..yeah, that’s a good point.”

Sitting on the stairs at the entrance of the palace with a bored expression on his face while idly tinkering with a small light-bulb shaped yellow device is another gem- this one a citrus-colored peridot with a more rodent like appearance and beady black eyes. His triangular-cut gemstone catches the light as he tilts his head to inspect his invention, the corner of his mouth nearly touching the stone on his cheek as he gives it a pleased grin. Unlike the other two gems with their more regal appearance and cool colors, his clothing is brighter and more practical: His outfit is a sleeveless royal-yellow jumpsuit offset with a few decorative lines in goldenrod, ecru, and mellow yellow that look like circuit-lines. The sharp turns and stretches of the lines culminate in the center of his chest to form a multi-colored border around a bright, glittering-gold colored diamond. The few accessories he has are less colorful, consisting of a cyber-yellow belt shaped like an electrical cord, a Dijon colored scarf speckled with a few goldenrod colored spots, and, oddly enough, an ochre colored hat with two gold colored prongs coming out of the top that makes it resemble an electrical plug.

It takes a while for the peridot to notice the arrival of the other two gems, as he’s too preoccupied with his small device. It isn’t until the lapis lazuli poignantly clears his throat that he even bothers to look up and notice the other two, squinting briefly as he looks at them. “Oh, hey…Bushroot, hey Liquidator.” The pause in his speech was apparently him trying to verify who he was actually looking at.

Liquidator grins at the yellow gem. “And hello to you too, Megavolt. So, tell us, are you here for another joint-expedition? Operators are standing by!”

“I guess so.” Megavolt shrugs as he stands up, sticking his tools and the device in a pocket on his jumpsuit for the time being. “That zultanite said something, but I don’t really remember what it was.”

“Camille.” Liquidator reminds him while leading the other two into the palace. “Sources say she would know better than to leave any important messages with you, so let’s go get the product information in-person.”

“I hope they’re not sending us anywhere dangerous again.” Bushroot huffs and folds his vine-like arms. “That last planet was supposed to be easy, but every other creature tried to take a bite out of me!”

“They just knew quality when they saw it.” Liquidator says teasingly with a smirk cast back in the sapphire’s direction. “It must be hard being in such high-demand all the time.”

Bushroot rolls his eyes with a sarcastic tone to his voice. “I could live without the inflated consumer-demand, thanks.”

“But you’re ssssso popular around here.” A voice with a distinctive hiss to it speaks from somewhere high above the trio. A pair of yellow eyes soon appear out of nowhere on one of the nearby pillars. The rest of the body soon follows, revealing a female duck with a long neck and, surprisingly, a white reptilian tail with a marquise-cut color-changing zultanite right in the middle of the extra appendage. Her wild and messy dark blue hair is pulled back into a barely kept together ponytail, making the elegant long-sleeved Egyptian-blue ball gown with its glittering white swirls that frame a blue diamond shape in the center seem out of place with the general energy she gives off. “You sssshould be honored to get sssssso many misssssionsss.” The zultanite teases while climbing down the pillar like an actual lizard, jumping down to the floor with ease once she’s close enough.

“Honored? Sure, Camille. Happy to get chased around by gigantic plant-eating organic monsters half the size of the diamonds? Not so much.” Bushroot shudders at the memory of their recent mission.

“Well then, you’re in luck.” Camille chuckles at the sapphire’s obvious discomfort before turning towards a huge double-doored entrance to another room. “Thissss next one isssss much sssafer……probably.”

At a snap of the zultanite’s fingers, the intricately detailed doors covered in blue diamond-shaped stones open to reveal a grand throne room. At the end of a long blue carpet stretching from the doorway to the elaborate blue marble throne on the opposite end of the room, there is a large figure more than five or six times the size of the gems currently entering the room. The much larger gem is clothed in a long black hooded gown with navy blue lace trim along the sleeves, hood, and the long trail of the dress, making it look lovely but obscuring all but the gem’s blue duck-like beak from view while her head is tilted downward.

Once all four gems have crossed the distance to the throne, they cross their arms in front of their chests with their hands folded back so that their fingertips touch in a way that frames the diamond insignias on their outfits.

“My diamond.” The gems with the blue diamond insignia say in unison.

“Blue Diamond.” The single yellow gem says at the same time.

Blue Diamond lifts her head to regard the four gems properly, blue eyes lined with dark black mascara and equally dark eyeshadow peering at them from within the darkness of the hood around her face. “Oh, you’re here…thank you for arriving so quickly, I know you two just returned from your last assignment and it was a bit more trouble than we anticipated.”

“Not to worry, my diamond.” Liquidator replies with a bow of his head. “Liquidator-brand service is guaranteed arrival in thirty minutes or less, no questions asked!”

“Your promptness is always appreciated, Liquidator.” Blue Diamond’s previously calm voice takes on a slightly more serious tone as she speaks. “You three are the most efficient elites between myself and Yellow Diamond, and you work quite well together. It may be difficult, but I have a mission that I believe the three of you would be perfect for.”

At the larger gem’s words, Bushroot’s eye widens slightly. Images of a green and blue planet flash in his mind, along with a pink gemstone and scarred battlefield. “I foresee…a planet…a place with a pink gem…and..a battlefield…? No…an abandoned battlefield…a place where a lot of gems lost their lives…a place…a place we know…” The words flow from his mouth absentmindedly, as if he is unable to stop himself from voicing what his mind shows him.

“You’re foreseeing is correct as usual, Bushroot.” Blue Diamond’s beak turns down in a heavy frown. “It has been many years since the three of you last set foot on that planet…but there were certain treasures and a very valuable ship left behind in that chaos when…when Pink…” The large gem’s voice breaks off into a choked sob and she covers her face with one hand as large tears fall from her eyes.

“!!” Before the other gems have time to brace themselves, a wave of blue energy leaves Blue Diamond’s body and tints the entire throne room blue. Instantly, each of the smaller gems end up crying as well, trying to stay standing despite the heavy feeling of depression weighing down on them, with only Liquidator succeeding in his attempts.

“My…My diamond..” The lapis lazuli manages to get the larger gem’s attention, though just barely before a wave of tears leave his dark eyes.

“……” Blue Diamond takes a deep breath and calms herself, the blue energy receding and relieving the others of the depressing feeling so that they can stand properly once more. “My apologies.” She takes another deep breath, picking up where she left off. “There were many things left behind after the war ended. I need you three to recover what treasures and weapons you can from that place. From the Earth.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Notes: And there you have it, the first scene of the first chapter. I know it’s not much, only about 2200 words, but that part was the easiest to show without breaking off in the middle of a scene ^^” Hope you guys like what I have so far and, I promise, I do have the first chapter in production among everything else that I’m working on ^^”

[temperdanger2-blog]

8 Easy Crafts for summertime.

Custom Patches For Clothes What much better method to spend the summer than making crafts with your good friends or family members? Our customized stitched spots making firm found some excellent DIY summertime crafts on Net that only need a couple of products and also some creativity. Beaded Arm band All you need for this bracelet is safety and security pins, flexible string, as well as grains (ideally tiny). Open a safety pin and also string the grains onto the needle (leaving room to shut it). Do this to as lots of as you would certainly such as, after that string flexible with both the closure holes as well as the rounded openings of the pins. Link both pieces of elastic with each other to form a round bracelet. Overhauled Flip-Flops If you have a set of old flip flops you wish to revamp, cut the tabs beneath that attach the bands and remove the bands. Then, order some fabric (a couple of inches thick) in any color and cut two long strips. String both strips via the top hole and also knot them on the bottom so that they do not come through. Tie both in one big knot regarding an inch from the flip flop. (This is the component that will certainly enter between your toes.) Then, tie an additional knot regarding half an inch from the initial. Split both item of fabric and string each one through each hole on the sides of the flip flop, then knot under. T-shirt Scarf Get a huge, simple colored tee and some scissors to make this headscarf. Initially, lay the tee flat as well as cut off the bottom hem. Then reduced straight throughout from armpit to armpit (you'll just need the bottom of the t-shirt). Cut the bottom of the t-shirt right into 1-inch vast strips and also stretch each loophole out numerous times to make them a lot more like slim strings. Place 3 loopholes off sideways, after that reduced the rest to make long strips. Gather every one of the strings together and link a loop around all of them with one of the strips you reserve. Then, separate the strips into three parts and also pigtail. As soon as you get midway done, connect a loop around all-time low of the braid making use of one more strip you reserve. Use your 3rd strip to connect the free ends to the braided end (to make the headscarf shape) as well as cut off any type of excess fabric. Teacup Candles This craft just calls for an old teacup, a wick, and also some candle wax. Just position a wick in the middle of a vacant teacup, melt the wax until it's a liquid, and after that pour it right into the mug (just ensure you don't knock the wick over). These are great to provide as presents. Thread Art If you have actually got a piece of timber (preferably at the very least an inch thick), colored string, and some nails, after that you've obtained the materials for a piece of thread art. Pick an easy shape like a heart or your residence state as well as lay out the shape with nails (hammer them about 1.5 inches apart). After that, take your string as well as cover it from one nail to one more, moving across the photo. Toiletries Holder This owner will be available in really useful on your summer getaway. All you need is a hand towel, some thread, as well as some ribbon. Lay the hand towel down flat and also fold the bottom concerning midway. After that, utilizing either a stitching equipment or by hand, stitch along the edges to make a large pocket. Distribute a few pockets (about 4 or 5) big enough for points like toothpaste, a tooth brush, a comb, etc. and also sew up from all-time low of the towel to the top of the folded up side. Sew 2 pieces of ribbon (one 18 ″, one 12 ″) on the underside of the towel in the center so that when you roll the towel up, you can safeguard it with a bow. Below's just how it ought to look. Summer Shoelace Shorts Transform an old pair of jean shorts into ones with a feminine flair. Just reduce a huge triangular from each side of the shorts (from the joint to the hem). Then, select an item of lacey fabric (the less delicate, the far better) and also place it behind the triangle, making it the same length as the shorts. Pin it down, then transform the shorts from top to bottom and stitch along the cut mark you made (to both protected the lace and avoid the cuts from fraying). Homemade Mugs If you know any tea or coffee drinkers, these cups make excellent presents. Simply attract a special layout on a ceramic mug with a Con artist pen and afterwards bake the cup in the oven for 30 minutes at 350 degrees to seal the style. (Just do not put them in the dish washer or the style will certainly begin fading.).

[majorshatterandhare]

[ID: Three digital drawings of the Mechanisms. The first two are black on white sketches and the last is colored with black line art on white. The style is cartoon-y.

Image One: From left to right, Nastya Rasputina, Raphaella la Cognizi, and Marius von Raum are all pictured with cat ears and tails.

Nastya is thin, her hair is pulled back into a low ponytail, she has half-frame glasses and wears earrings. She is wearing a long black coat that reaches about knee height, vertically striped leggings, and black boots. Her tail is visible curling behind her legs. Her hands are in her coat pockets.

Raphaella is standing with arms raised and hands limp, like cat paws, and one leg raised, body open to the viewer but also facing Nastya. The pose is similar to the dance move from the Thriller music video. She has long curly hair and her mouth is in a sideways Arabic numeral three shape, like a cat’s mouth. She is wearing a cropped blouse with a Peter Pan collar with a vertically striped, cropped sweater vest over. On her legs she wears a pair of shorts over leggings which have been scribbled in, she also wears knee high boots. Her tail reaches over to Marius and is curled next to him.

Marius is a tad shorter than the other two. He has short curly hair, a beard and mustache, his eyebrows are down in the middle in a typically angry position, his eyes are closed and follow the same V shape, and his mouth is in a similar position to Raphaella’s. Marius is standing with wide legs and his hands raised above his head, triumphantly. He is wearing a shirt with curved horizontal lines of some sort, stripes or chains perhaps, under a waistcoat and a jacket with fancy buttons on the lapels. He has black pants and boots.

Image Two: Nastya is pictured on the left side of the image with her elbow rested on Jonny d'Ville's shoulder; he is on the right side of the picture.

Nastya has her arm up a bit high to rest on Jonny's shoulder; her other hand is holding a wrench; her body is facing the camera with a wide stance. She wears half-frame, oval glasses and has hair that is past her shoulders and pulled into a low ponytail; her nose is triangular; she is looking down at Jonny. Nastya wears a black, long sleeve, turtle neck shirt under a horizontally striped short sleeve shirt, which is in turn under a pair of overalls. Around her waist a string of some kind holds two more wrenches of smaller sizes. Her overalls cutoff at the calf and show laced white boots.

Jonny has his head pulled really low, with his shoulders raised high, although still facing forward, and has his arms crossed over his chest. He has dark receding hair that sticks up in many places, as well as a mustache and chinstrap beard. His nose is shaped like a V and he is looking up at Nastya. He is wearing a puffy winter coat with a fur lined hood, and a vertically striped scarf. His shirt and pants are nondescript except for the knees of the pants which have a small scribble on them indicating they are worn or stained, they suddenly either cut off at the calf or become much tighter. This then shows his boots which are also white and laced have fur coming out of the top.

Image Three: A colored drawing of Raphaella.

She is standing facing toward the camera with one hand on her thigh and the other closer to her hip, her weight mostly on one leg and the other knee is bent a bit. Raphaella is a light skinned woman with long curly blonde hair, green eyes, and a small nose. She wears yellow collapsing wings on her back. She has on a cropped, long sleeve, white, Peter Pan collar blouse with a cropped yellow sweater vest on top. Her midriff is showing. She wears red shorts with navy tights, the waist band of which can be seen above that of the shorts. Her boots are almost knee high, black, and have a scalloped top edge.

End ID.]

art this week has been mostly doodling during classes and when im not napping so. heres some beans

[polyesterdp]

There are a lot of types of valances

To top their utility aspect, they can also be used a decorating tool to enhance the color and design aspect of your windows (boring drapery rods stay invisible) or any other window coverings! As well known as they are for their additional decorative value when it comes to enhancing and to complete the overall look of a drapery or curtain set up, Valances can also be deployed alone in order to add an even more ornate touch to your windows and the bigger the window frames of your house. The better the valances can make them appear! However, you need to make sure that the ones which you finally decide to use are well-matched to the ambiance of your house. How to make sure a valance is well-matched to the ambiance of your room/house? Read on! The most important factors which one needs to keep in mind while purchasing window valances for the windows are the type of fabric, window size, the theme and style of your home decor and the ambiance of the particular room for a particular valance. Out of all these, needless to say the most important one is the size of the valance and the ambiance of your room.

An ill-fitted valance of contrasting colors can end up making your arrangement look awkward as well as forced and unnecessary. So if you already have a curtained window, make sure you go for valances which match the curtains properly and help to enhance their overall appeal. Next we need to find out what shape and size of window valances would suit your needs in the best and most proper way. There are a lot of types of valances, which you need to choose based on your needs, below are the various types of valances which will help you decide on the shape and size of a valance to choose. Rod Pocket Valance - a) Simplest type of Valance, miniature version of a curtain b) Stitched like a simple drape or put on the top in the shape of a rectangle stretch of fabric c) Comes in various prints and includes many bright colorful themes for kids' rooms especially. Ascot Valance - a) Quite attractive and comes in a triangular shape, which can be hung down from the top of the windows b) Made of rich looking fabrics like net, lace, silk and velvet c) Have a soft U-shaped bottom, which gives a flared look to large windows.

Blouson Valance or Balloon Valance - Large pieces of fabric are sewn in such a way as to produce a balloon or puffed effect, can also be stuffed with soft materials between balloon pleats. 100% Polyester Shiny Sofa Fabric Festoon Valance - Semi-circular shape, used often with curtains which are of the same shape. Jabot Valance - Uses a centrally placed fabric, with two more pieces of fabric on either side of the window thus creating a frame-like effect. Swag Valance - Hung in semi-circular folds, they are draped over curtain rods and pelmets in large folds, pleats and ruffles with the ends suspended from the either side of the windows. Other than these types, one can also go for the regular valance styles such as scarf and cornice valances or for wooden valances (if looking for a formal look). But if you want to go for a bit more utility and clever design, shelf valances can suit you just fine.

[mscoyditch]

D'Artagnan.

" Nostalgia and the magic of Cristóbal Balenciaga (1895-1972)

“Haute couture is like an orchestra whose conductor is Balenciaga. We other couturiers are the musicians and we follow the direction he gives” .Christian Dior

“Balenciaga alone is a couturier in the truest sense of the word. Only he is capable of cutting material, assembling a creation and sewing it by hand, the others are simply fashion designers.” Coco Chanel.

A look at three Balenciaga gowns concentrating on the cut ,embroidery, construction, and draping. Like Dior, Balenciaga occasionally produced gowns that shared Dior's nostalgia for the grandeur of historical dress as can be seen in the cerise dress #4 which is a good example of the draped and flounced dresses of the 1950s, reminiscent of late 19th century bustle effects.

#1 A design for a draped pink taffeta evening dress with black lace scarf by Balenciaga, 1947 via wikki

#2 and #3 Cristóbal Balenciaga Paris 1960-62 with exquisite virtuoso embroidery by Lesage .

A wild silk cocktail/evening dress, with hand embroidered coloured floral motifs in the Chinese style by Lesage who was famed for his exquisite craftmanship and innovative designs.

The sleeveless close fitting shape has a wide round neck, slightly lower at the back. a side zip fastening and fully lined with white silk.

This dress is embroidered ‘to shape’. The pattern pieces arrived at the Lesage atelier already cut with the seam and hem allowances marked; enabling the embroiderer to stitch only within the designated areas. Eight curved shaped panels make up the body of the dress, ensuring the very close fit .Balenciaga designed it to be full-length, making the most of the unusual pattern. This shorter version was probably made at the client’s request.

#4 Evening dress (robe grand soir) in cerise silk taffeta by Cristóbal Balenciaga Paris ca 1954/ 1955 in a nostalgic historic style before his designs became increasingly more austere and architectural. Throughout the 1950s Balenciaga designed a series of extravagant and inventive evening dresses (mainly in fine silk taffeta) that were based on immense drapes and flounces. In this dress he confines the bouffant drapes to the back, while in contrast the front has a simple appearance with a V-neck and a straight, very narrow skirt, slit at the centre front hem to allow movement

The sleeveless bodice has a plunging 'V' neckline and the construction of the skirt back is highly involved. It consists of a swathed and drawn back skirt with a double tier of enormous triangular flounces (formed by looping and gathering) topped by a large bow. The flounces are wired to keep their bouffant shape. The dress is mounted on a boned and padded foundation which fastens at the centre back with a metal zip. The bodice doesn't have a side seam, but rather a centre front seam. The front is is simple, and smooth with a v neck and a straight, narrow skirt at the front, with a slit in the hem to ease movement. The dress fastens over this with a row of covered buttons. It has two ties which would have tied around the calf, in order to “bunch up” and show more of the flounces of the dress. Lined with chiffon.The dress is a further example of Balenciaga's ability to perfect imperfections, as the dress was designed to balance out the body of the wearer.

Bust 83cm Waist 58cm Hem circumference: 220cm

The dress was worn, and given by Caroline Colthurst, nee Combe (1935-2011). A a debutante, and model, working for Pierre Cardin and Yves Saint Laurent. She also pursued a career in fashion, working for as a fashion assistant for Ernestine Carter, writing for Harpers Bazaar and Vogue, as well as several national newspapers. She owned a fashion boutique, with her cousin, Countess Lindsey and Abingdon, called 'Buy and Large’.

This dress was the first Balenciaga design to enter the Textile and Fashion collection in the V&A in 1967.See the link below for an interesting analysis of the construction ©V&A

https://www.vam.ac.uk/.../secrets-of-balenciagas...

#5 #6 #7 #8 #9 as #4

#10. Back of Gown as #2

~~~ooo~~~

Spanish couturier Cristóbal Balenciaga (1895-1972) was known as 'The Master' of haute couture and his work continues to influence fashion today. He knew his craft inside out and was well versed in all stages of garment construction.He opened fashion houses in Barcelona and Madrid before moving to the Avenue Georges V in Paris in 1937, where he soon became known as one of the most expensive and exclusive couturiers.

For him, the design process started with the fabric rather than with a sketch, "it's the fabric that decides" he stated, proving that he knew how to exploit materials to the very best effect.

Balenciaga was a very private person and refused to court the press, giving only one interview during his 50-year career. He led a revolution in fashion, and has consistently been revered by his contemporaries, such as Christian Dior and Coco Chanel, as well the fashion leaders of today. French designer Emanuel Ungaro, who trained with Balenciaga, said it was Balenciaga who "laid the foundations of modernity" in fashion.Both Ungaro and Andre Courrèges, another Balenciaga protégé, took forward their teacher's minimalist aesthetic into the space-age chic of the 1960s.

The closure of Balenciaga's fashion house in 1968, and his death four years later, marked the end of an era.

“Cristóbal Balenciaga, the father of Contemporary fashion, is dead, but his influence remains”. Women's Wear Daily, March 1972

In 1986 the Balenciaga label was re-launched under a series of Creative Directors. Nicolas Ghesquière – widely credited for reviving the label from 1997 to 2012 – and Demna Gvasalia, the current Creative Director who ensures the name Balenciaga lives on again.Both designers worked closely with the Balenciaga House archives, looking at the original designs by the Master for inspiration in cut, shape and materials. Gvasalia said "It is important to know the past in order to build the future”.

Love D’Artagnanxxx".

[lesmiserablesfashions]

For Halloween, I want to do a Les Mis cosplay. What types of fashion terms should I be looking for/asking for in stores? (Basically, I don't just want to go in there and ask if they have anything from 1820s France or the like!)

not gonna lie anon if you’re as nitpicky as i am it’s gonna be pretty hard to find something entirely accurate.

are you cosplaying in men’s clothes? those sorts of things would be easier to find so hopefully you are

the basic components of the outfit are shirt, drawers (you can leave these out lol your normal underwear is fine), trousers, suspenders, waistcoat, cravat, tailcoat, hat, stocking, and shoes, though it might get hot wearing all that and it’d be hard (& expensive!) to find all of these things, so it’s fine if you go without the coat and top hat & just say your character is dressing casually indoors. you can search my blog for specific examples of these things, and i also have a page dedicated to my sources if you want to go through those too

for shirts you want something white and with a high collar. costume stores would probably understand what you mean if you asked for like.....a pirate shirt? though don’t get one that opens too far down the chest, and has either no collar or a collar that you can’t pop up. it’s fine if it doesn’t stay up when you pop it up; the cravat will secure it in place. it’s also fine if your shirt isn’t all that fitted to your body, since a well-fitting waistcoat combined with the right sort of pants will make it fine, since shirts weren’t fitted back then anyway! common mistake i see in cosplay is people using button up shirts -- button up shirts just did not exist. there were shirts with buttoned collars, but they weren’t buttoned up the whole length of the shirt.

trousers you wear should be seriously high waisted. like really high waisted. you’re trying to achieve an hourglass figure here & you need the pants to do that. fashionable ones could also be pretty tight! trousers were a lot of the time cream, tan, or brown, and if they did have a pattern, it’d be a fairly simple striped or checked one. another common mistake i see is people wearing belts to hold them up! there was no such thing as a men’s belt back then since the trousers were way too high waisted for a belt to be practical. instead they used suspenders!

suspenders then were pretty similar in shape to the ones we have now? though i think generally wider and prettier. floral embroidery was super super super common, and really pretty and good!!! search for suspenders on either my blog or my sources to get an idea. if you can’t get suspenders like that, which lbr most people can’t because society ruined fashion when they stopped letting men wear florals, just wear some more normal patterned ones. they’ll be hidden underneath your waistcoat anyway, you just won’t have the same sense of Authenticity.

waistcoats were also very high waisted, being just long enough to hide the shirt tucked into the trousers. by the 1820s they were quite snugly fitted to nip in the waist! some waistcoats even had some very wide sturdy lacing in the back to pull the waist in even more. you won’t be able to find that today, but keep that ideal feminine silhouette in mind when you’re shopping. the lapels in the early 1820s for the most part were either nonexistent or pretty insubstantial. by the end of the decade, you’d see triangular lapels, notched lapels, and shawl collars. as for the fabrics themselves, don’t just go with a plain black one! vibrant colors and more complex patterns were much more common, and more fun anyway.

cravats were length strips of fabric that were tied in pretty complex ways -- google image search this stuff to see what i mean. they’d hold up the collar and give the impression of a longer neck. most often they were either white or black, though there were still colored ones. to find something cravat-y enough today, i honestly don’t really know what you could do? maybe a very small very thin scarf, or a very wide ribbon? neither of these things will be exact, sadly, and i don’t know enough about cosplay to give you an idea how to improvise. maybe cut your own fabric from something else? or there might be cravats on ebay or something, i have no idea. keep in mind the fabric should be very thin in order for you to be able to tie it properly.

tailcoats were about the same length as the waistcoat. they also wouldn’t necessarily be black! like waistcoats, they could come in all sorts of colors, but unlike waistcoats, they weren’t patterned.

top hats were, well, top hats. i very much doubt you’ll be able to find one in the Exact Specific Shape of the 1820s, so just a normal black top hat is fine, i wouldn’t worry too much about it. it’s a halloween costume, not a professional handmade reenactment costume.

don’t worry about the stockings much either, they won’t be showing up, so you can just wear your normal socks. same way with shoes tbh -- just get some black either business shoes or boots and you’ll get by.

if you’re wearing women’s clothes, then it’s going to be really really hard to find something nice, since dresses were hand-tailored and not in a style anyone would really emulate today :( maybe a costumer might have something vaguely similar? for earlier in the decade just ask for a regency dress -- it’s not exactly what you want but i think it’s the closest you’ll probably get. since skirts were wider in the 1820s than they were during the regency proper, put a few layers of petticoats underneath to bulk it up a little, i guess. later in the 1820s people were already developing the big gigot sleeves, which tragically i just don’t think you’ll be able to find, since people today are unappreciative of how fantastic they were. for shoes, just ask for slippers. the styles today won’t be exactly exact, but close enough.

so that’s my best bet? i don’t cosplay so idk exactly how people go about finding exactly what they want :/ maybe show some photos of 1820s clothes you like to some cosplayers and ask how they’d go about finding something adequate. i wish i could help more! if any cosplayers have any advice for anon here, please add it on!

[schmidtclothingcom]

When International Monetary Fund Managing Director Christine Lagarde goes to the G8 summit in June, she may well be wearing a scarf – a fashion accessory that she’s become known for, and one that’s been drawing more and more attention. In fact, the BBC recently identified scarves as a “new power symbol” for women.

True, just as some men choose amusing neckties to enliven monochrome suits, many women who work in an atmosphere that requires conservative business apparel will wear scarves to add a fillip of color and distinction.

But the trend is anything but “new.” In looking at the history of scarves in the 19th and 20th centuries, it’s clear that the allure and power of scarves has always existed – and persists.

A single piece of cloth

The scarf is the most simple form of adornment: a single piece of cloth. For this reason, it’s one of the most versatile clothing accessories, used for centuries across a variety of cultures, for a range of purposes.

Many Muslim women wear headscarves for modesty, while ladies of a certain age favor scarves with a triangular fold to protect expensive or elaborate coifs.

Votes for Women: the scarf as a political statement. © Victoria and Albert Museum, London.

A scarf can be a political statement, and can denote a wearer’s affiliation or beliefs. Early 20th-century crusaders for women’s rights used their clothing to promote their cause, wearing scarves in the movement’s colors: white, green and purple.

During World War II, scarves expressed nationalist sentiments. The British firm Jacqmar produced designs with propaganda-themed slogans. One featured the phrase “Shoulder to Shoulder” on a map of England emblazoned with British and American symbols. Another design mimicked a wall covered with posters urging citizens to “Lend to Defend” and “Save for Victory.”

An elegant fashion

But in Western culture, the scarf is most prominently known for its use as a fashion accessory, one that first gained widespread popularity in the 19th century.

The fichu was a predecessor to the scarf. Wikimedia Commons

The fichu is a typical 18th- and 19th-century style that can be seen as the forerunner of modern scarves. A piece of fabric worn lightly draped on the upper chest and usually knotted in front, it provided modest covering but was also an opportunity to add an especially fine textile – sometimes lace edged or embroidered – to an ensemble.

Lightweight, finely woven silk and cashmere shawls from India were one of the first fashionable scarf styles. Empress Joséphine – the first wife of Napoleon – had an extensive collection (thanks to her husband’s travels), and the style persisted through much of the 19th century, spawning cheaper imitations fabricated in other parts of Europe, notably France and Paisley, Scotland.

Status symbols

Like much of high fashion, scarves can signal one’s status, and limited edition scarves – often only made available to favored customers – can act as specific indicators for those in the know.

For example, fashion houses send scarves, often during the holidays, as thank-yous to loyal clients. Those produced by Parisian couturiers during the 1950s were especially chic, often designed with sketches of the maison; others displayed printed patterns in the whimsical, painterly style of the era.

The House of Dior would present scarves to its regular customers as a token of gratitude. © 2000–2015 The Metropolitan Museum of Art. Gift of Mrs. Michael Blankfort, in memory of her mother, Mrs. William Constable Breed, 1976

And from the 1950s into the 1970s, the famed Manhattan eating and drinking establishment 21 produced a series of annual scarves and sent them to favorite “regulars.”

The restaurant’s owners commissioned well-known designers, and each year’s scarf design referred to some aspect of the restaurant – its famous façade, the collection of jockey statues outside or the number 21.

Actress Lauren Bacall, an esteemed regular, donated her 21 scarves to the Museum at New York’s Fashion Institute of Technology, where other pieces from her wardrobe were recently exhibited.

A canvas for experimentation

As a discrete space, a scarf presents an opportunity for experimentation often not available in other realms of dress that are determined – and restricted – by the shape of the body.

In London in the 1940s, Lida and Zika Ascher initiated their “Artist Squares” project, enlisting an international roster of prominent artists to design large scarves, a group that included Henri Matisse, Jean Cocteau and Henry Moore.

The Artist Squares were sold in major department stores and also exhibited – framed, like paintings – at London’s Lefevre Gallery.

To celebrate her new couture salon in 1935, the designer Elsa Schiaparelli made a collage of her press clippings and had it printed as fabric for scarves and other accessories, turning black and white type into a striking motif.

A scarf by the American designer Vera offers another variation on lettering as ornament, presenting the titles of international newspapers, each in its distinctive typeface, on a vivid yellow background.

A scarf by Vera, featuring newspaper typeface. © 2000–2015 The Metropolitan Museum of Art. Gift of Heather B. Babb, 1996

Hermès: The crème de la crème

Certain labels are particularly associated with high style in scarves. Ferragamo, Fendi and Gucci – all originally esteemed leather goods houses – now produce desirable scarves.

But for prestige and polish, Hermès represents the pinnacle of scarf culture. Several aspects of its business have contributed to the company’s reputation. Founded in 1837 as a supplier of equestrian supplies, Hermès began offering scarves, called carrés, in 1937.

Their focus on exclusivity has encouraged an almost fetishistic loyalty among customers, many of whom could more properly be termed “collectors.” Limiting the number of designs they offer each season has maintained Hermès’ mystique. The company’s focus on craftsmanship helps justify their reputation and high prices; Hermès takes pride in the impressive number of colors in each design, the hand-printing process and the fineness of their silk, positioning their output as artisanal creations.

A man demonstrates the intricate screen printing process of a Hermès scarf.

While not at the level of Hermès, the American accessories company Echo, founded in 1923, also has a loyal following. The firm pinpointed the essence of the scarf with their memorable ad campaign “The Echo of an Interesting Woman,” introduced in the 1970s.

In contemporary fashion, scarves continue to serve the same functions as those earlier fine linen fichus and paisley shawls; they denote connoisseurship and sophistication.

It’s no surprise, then, that sociologist and image consultant Anna Akbari makes “Put on a scarf” the first entry on her current list of “5 Simple Ways To Hack Your Image,” recognizing their potential for instant uplift and an infusion of individuality.

by Beth Daley

licensed from theconversation.com

Written by Becky Heldmen for Schmidt Clothing.

[michaelgeertzen-blog]

A scarf can mean many things – but above all, prestige

When International Monetary Fund Managing Director Christine Lagarde goes to the G8 summit in June, she may well be wearing a scarf – a fashion accessory that she’s become known for, and one that’s been drawing more and more attention. In fact, the BBC recently identified scarves as a “new power symbol” for women.

True, just as some men choose amusing neckties to enliven monochrome suits, many women who work in an atmosphere that requires conservative business apparel will wear scarves to add a fillip of color and distinction.

But the trend is anything but “new.” In looking at the history of scarves in the 19th and 20th centuries, it’s clear that the allure and power of scarves has always existed – and persists.

A single piece of cloth

The scarf is the most simple form of adornment: a single piece of cloth. For this reason, it’s one of the most versatile clothing accessories, used for centuries across a variety of cultures, for a range of purposes.

Many Muslim women wear headscarves for modesty, while ladies of a certain age favor scarves with a triangular fold to protect expensive or elaborate coifs.

A scarf can be a political statement, and can denote a wearer’s affiliation or beliefs. Early 20th-century crusaders for women’s rights used their clothing to promote their cause, wearing scarves in the movement’s colors: white, green and purple.

During World War II, scarves expressed nationalist sentiments. The British firm Jacqmar produced designs with propaganda-themed slogans. One featured the phrase “Shoulder to Shoulder” on a map of England emblazoned with British and American symbols. Another design mimicked a wall covered with posters urging citizens to “Lend to Defend” and “Save for Victory.”

An elegant fashion

But in Western culture, the scarf is most prominently known for its use as a fashion accessory, one that first gained widespread popularity in the 19th century.

The fichu is a typical 18th- and 19th-century style that can be seen as the forerunner of modern scarves. A piece of fabric worn lightly draped on the upper chest and usually knotted in front, it provided modest covering but was also an opportunity to add an especially fine textile – sometimes lace edged or embroidered – to an ensemble.

Lightweight, finely woven silk and cashmere shawls from India were one of the first fashionable scarf styles. Empress Joséphine – the first wife of Napoleon – had an extensive collection (thanks to her husband’s travels), and the style persisted through much of the 19th century, spawning cheaper imitations fabricated in other parts of Europe, notably France and Paisley, Scotland.

Status symbols

Like much of high fashion, scarves can signal one’s status, and limited edition scarves – often only made available to favored customers – can act as specific indicators for those in the know.

For example, fashion houses send scarves, often during the holidays, as thank-yous to loyal clients. Those produced by Parisian couturiers during the 1950s were especially chic, often designed with sketches of the maison; others displayed printed patterns in the whimsical, painterly style of the era.

And from the 1950s into the 1970s, the famed Manhattan eating and drinking establishment 21 produced a series of annual scarves and sent them to favorite “regulars.”

The restaurant’s owners commissioned well-known designers, and each year’s scarf design referred to some aspect of the restaurant – its famous façade, the collection of jockey statues outside or the number 21.

Actress Lauren Bacall, an esteemed regular, donated her 21 scarves to the Museum at New York’s Fashion Institute of Technology, where other pieces from her wardrobe were recently exhibited.

A canvas for experimentation

As a discrete space, a scarf presents an opportunity for experimentation often not available in other realms of dress that are determined – and restricted – by the shape of the body.

In London in the 1940s, Lida and Zika Ascher initiated their “Artist Squares” project, enlisting an international roster of prominent artists to design large scarves, a group that included Henri Matisse, Jean Cocteau and Henry Moore.

The Artist Squares were sold in major department stores and also exhibited – framed, like paintings – at London’s Lefevre Gallery.

To celebrate her new couture salon in 1935, the designer Elsa Schiaparelli made a collage of her press clippings and had it printed as fabric for scarves and other accessories, turning black and white type into a striking motif.

A scarf by the American designer Vera offers another variation on lettering as ornament, presenting the titles of international newspapers, each in its distinctive typeface, on a vivid yellow background.

Hermès: The crème de la crème

Certain labels are particularly associated with high style in scarves. Ferragamo, Fendi and Gucci – all originally esteemed leather goods houses – now produce desirable scarves.

But for prestige and polish, Hermès represents the pinnacle of scarf culture. Several aspects of its business have contributed to the company’s reputation. Founded in 1837 as a supplier of equestrian supplies, Hermès began offering scarves, called carrés, in 1937.

Their focus on exclusivity has encouraged an almost fetishistic loyalty among customers, many of whom could more properly be termed “collectors.” Limiting the number of designs they offer each season has maintained Hermès’ mystique. The company’s focus on craftsmanship helps justify their reputation and high prices; Hermès takes pride in the impressive number of colors in each design, the hand-printing process and the fineness of their silk, positioning their output as artisanal creations.

While not at the level of Hermès, the American accessories company Echo, founded in 1923, also has a loyal following. The firm pinpointed the essence of the scarf with their memorable ad campaign “The Echo of an Interesting Woman,” introduced in the 1970s.

In contemporary fashion, scarves continue to serve the same functions as those earlier fine linen fichus and paisley shawls; they denote connoisseurship and sophistication.

It’s no surprise, then, that sociologist and image consultant Anna Akbari makes “Put on a scarf” the first entry on her current list of “5 Simple Ways To Hack Your Image,” recognizing their potential for instant uplift and an infusion of individuality.

source: https://theconversation.com/a-scarf-can-mean-many-things-but-above-all-prestige-39763 

[nancy-dc]

Montpellier has definitely been the most interesting city I’ve seen in south of France from a merely architectural point of view. There just so much in terms of contemporary buildings and many others are currently in the making. For sure we can say that the city of Montpellier is no stranger to urban development. Internationally acclaimed architects and engineers have been called to revitalize and reshape the city, names as Jean Nouvel, Ricardo Bofill,  Zaha Hadid, Massimiliano Fuksas, Philippe Starck. A new very interesting TGV station designed by a Paris-based architecture and engineering firm Marc Mimram  or a new housing tower designed by Sou Fujimoto just to name a few.

The modern side of Montpellier with its contemporary architecture is absolutely fascinating. Mixed with the beauty and charm of its old historic heart.

Let’s have a look at what you can find here in Montpellier!

GARE SAINT-ROCH |JEAN-MARIE DUTHILLEUL|

The interior of this train station was the very first discovery here in Montpellier. The exterior is purely neo-classical; admire it and then step inside and go to the first floor to walk in this newly renewed nave-like space.

JEAN-MARIE DUTHILLEUL

Place Auguste Gilbert, 34000 Montpellier

TOUR LE TRIANGLE |PIERRE TOURRE|

The tallest building you can find in Montpellier. Think about the awesome view you can get from its top!

PIERRE TOURRE

Allée Jules Milhau, Immeuble Le Triangle, 34000 Montpellier

ANTIGONE |RICARDO BOFILL|

  On the edge of the old city lies Antigone, a vast area with a mix of private and social housing. You will definitely notice its monumental scale and neo-classical buildings designed by Ricardo Bofill. The neo-classical style makes the whole site look grandiose and even more ancient than it actually is (the project started in 1979 and completed in 2000) reminding of a Greek or Roman ancient development. It’s an entire district that spreads around a central axis that connects the historic centre to the newly developing area along the river Lez.

RICARDO BOFILL

Place du Nombre d’Or, 34000 Montpellier

MÉDIATHÈQUE EMILE ZOLA |PAUL CHEMETOV|

MÉDIATHÈQUE EMILE ZOLA

PAUL CHEMETOV

218 Boulevard de l’Aéroport international, 34000 Montpellier

L’ARBRE BLANC |SOU FUJIMOTO|

The White Tree is called. The 17-sories housing tower that Sou Fujimoto was called to design for the city of Montpellier. Of course I can’t wait to see it finished. It will be a good excuse to come back.

L’ARBRE BLANC

Place Christophe Colomb, 34000 Montpellier

FACULTÉ D’ÉCONOMIE

Site Richter, Avenue Raymond Dugrand, 34960 Montpellier

NUAGE |PHILIPPE STARCK|

Strange to find a building designed by a product designer. Philippe Starck is very well-known for the pieces of furniture and products he designed but in Montpellier he went further stepping into the field of architecture with ‘Le Nuage’ fitness and wellness centre. He conceived a bubble-like facade made of an inflatable membrane that uses a special material called ETFE (the same used for the Aquatics Centre in Beijing and the Allianz Arena in Munich).

NUAGE

PHILIPPE STARCK

769 Avenue de la Mer-Raymond Dugrand, 34000 Montpellier

LA MANTILLA | JACQUES FERRIER |

I have to admit that I didn’t know about this enormous development but it’s pretty impossible to miss it if you walk in Port Marianne area. It’s so big and the facade so geometrical and white that you see it. The name that identifies the project says everything: mantilla is a lace or silk scarf worn by women, mainly in Spain, over the head and shoulders. That’s what this geometrical pattern recalls creating a figurative connection with Mediterranean architectural language. In this case this pattern takes the form of a lattice that wraps around the balconies and loggias.

JACQUES FERRIER

812 Avenue de la Mer-Raymond Dugrand, 34000 Montpellier

PORT MARIANNE

Port Marianne is the district in the south-east part of Montpellier in which all the newly realised buildings are. It’s an area in full expansion so just walk every street and you’ll see something eye-catchy for sure.

HÔTEL DE VILLE |JEAN NOUVEL|

On the banks of the Lez, in Port Marianne area, the City Hall won’t go unnoticed. It is a bold blue-green-goldish structure, like a three-dimensional puzzle made of numerous layers of reflective steel and glass.

JEAN NOUVEL

1 Place Georges Frêche, 34267 Montpellier

HOUSING |BERNARD BUHLER|

The use of colour is what identifies the architectural language of Bernard Buhler. He mainly realised residential projects and the common feature is a pop of colour, usually used for the balconies, as in this case.

BERNARD BUHLER

rue des Justes, Zac Rive Gauche, Port Marianne, Montpellier

SCHOOL ANDRÉ MALRAUX |DOMINIQUE COULON|

A nursery, primary school and dedicated playground housed in these dynamic and playful stacked volumes. A remarkable building for its functionality and aesthetics.

DOMINIQUE COULON

34000, Impasse Joan Miro, 34980 Montpellier

LYCÉE GEORGES FRÊCHE |MASSIMILIANO FUKSAS|

A school of hotel management designed by the Italian architect Massimiliano Fuksas with his wife Doriana Fuksas. The sculptural shape of the building is wrapped with thousands of anodised aluminium cases in triangular shapes. Each one is unique and has its specific barcode so that it can be identified for its specific situation on the façade.

MASSIMILIANO FUKSAS

401 Rue Le Titien, 34000 Montpellier

MÉDIATHÈQUE PIERRES VIVES |ZAHA HADID|

As usual Zaha Hadid’s buildings are easily recognisable for their strong lines and identity they convey. In Montpellier she designed a sculptural concrete and glass block that accommodates a multimedia library but even a public archive and sports department. The main entrance is very impressive with that massive and solid-stone-looking cantilevered canopy.

PIERRES VIVES

ZAHA HADID

907 Rue du Professeur Blayac, 34080 Montpellier

OLD MONTPELLIER

Among all this glass and steel the historic centre of Montpellier is such a jewel with La Place de la Comédieas its focal point. It’s such a beautiful area filled with charming alleys with leaning medieval buildings and around every corner seems to be another peculiar square with a fountain or an olive tree. Such a Mediterranean ambience.

LA GRANDE MOTTE

When in Montpellier don’t miss the chance to go to La Grande Motte! This is one of the rare cases in which a city is entirely planned and designed from scratch by one single architect. Jean Balladur is the architect that worked for 30 years on designing every single aspect of this seaside resort built in the 60’s, imposing what was his vision of the ideal city. Just as Le Corbusier did with Chandigarh in India. It’s an inspiring urban experiment that turned a formerly sand dunes’ desert area into a holiday resort with architecture inspired by the Inca pyramids in Mexico and the modernist architecture that Oscar Niemeyer designed in Brazil. Every single building is different and has its own features and characteristics but always linked to the same coherent aesthetic that gives architectural unity to the whole resort. Jean Balladur envisioned the “architecture of vacation” as a place far away from the commonplace, as a place in which space and time have to be different from those of everyday life so that the vacation resort has to be a place of escape. Such a wonderful place to discover! If you head to Montpellier keep one full day to explore La Grande Motte and then let me know what you think of it.

Now a couple of things I want to ask you.

First of all, have you been in Montpellier? If so let me know writing a comment down here. I want to know what you think of it.

And if you know the city maybe you even know other interesting or remarkable places that I should add?

I collected here everything regarding architecture to visit that you wouldn’t normally find in an ordinary travel guide. My intention is to make it useful for all the architecture lovers out there so if you have suggestions just write me and let me know. 

Lastly it would be very much appreciated if you can share it with anyone you think may be interested in having a look at this guide. 

MONTPELLIER |FRANCE| – ARCHITECTURE TRAVEL GUIDE Montpellier has definitely been the most interesting city I've seen in south of France from a merely architectural point of view.

[inadeepanddarkdecember]

FASHION/APPEARANCE STATS.

BOLD what applies to your muse.

TAGGED BY: @texxeract TAGGING : @hydrckinetic @chxrrycordial @coloneldahana @crownedbythenewmoon @fxrechild

BODY.

Long legs. Short legs. Average legs. Slender thighs. Thick thighs. Muscular thighs. Skinny arms. Soft arms. Muscular arms. Toned stomach. Flat stomach. Flabby Stomach. Soft stomach. Six-pack. Beer belly. Lean frame. Slender frame. Beefy/muscular frame. Voluptuous frame. Petite frame ( 5 ft 4 or shorter ). Lanky frame. Short nails. Long nails. Manicured nails. Dirty nails. Flat ass. Toned ass. Bubble butt. Thick ass. Small waist. Thick waist. Narrow hips. Average hips. Wide hips. Big feet. Average feet. Small feet. Soft feet. Slender feet. Calloused feet. Bony feet. Calloused hands. Soft hands. Bony hands. Big hands. Average hands. Small hands. Long fingers. Short fingers. Average fingers. Broad shoulder. Underweight. Average weight. Overweight.

HEIGHT.

Shorter than 140 cm. 141 cm-150 cm. 151 cm to 160 cm. 161 cm to 170 cm. 171 cm to 180cm. 181 cm to 190 cm. 191 cm to 2m (195 cm). Taller than 2 m.

SKIN.

Pale. Fair. Rosy. Olive. Dark. Tanned. Blotchy. Smooth. Acne. Dry. Greasy. Freckled. Scarred.

FACE.

Oval. Long. Narrow. Round. Angular. Square. Heart shaped. Diamond shaped. Triangular. Large forehead. Small forehead. Average forehead. Prominent chin. Double chin. Cleft chin. Round chin. Average chin. Wide jaw. Narrow jaw. Average jaw. Square jaw. Triangular jaw. Prominent cheekbones. Sunken cheeks. Dimples. Baby fat. Wrinkled. Jowls. Overbite. Underbite.

EYES.

Small. Large. Average. Grey. Brown. Blue. Red. Green. Gold. Hazel. Doe-eyed. Almond.   Close-set. Wide-set. Squinty. Monolid. Heavy eyelids. Upturned. Downturned.

NOSE.

Big. Small. Long. Average. Crooked. Straight. Linear. Bumped. Hooked. Curved. Flat. Pointy. Button. Round. Upturned. Downturned.

HAIR.

Thin. Thick. Fine. Normal. Greasy. Dry. Soft. Shiny. Curly. Frizzy. Wild. Unruly. Straight. Smooth. Wavy. Floppy. Cropped. Pixie-cut. Shoulder length. Back length. Waist length. Floor length. Buzz cut. Bald. Jaw length. Mohawk. White. Platinum blonde. Golden blonde. Dirty blonde. Ombre. Light brown. Mouse brown. Chestnut brown. Golden brown. Chocolate brown. Dark brown. Jet black. Ginger. Auburn. Dyed red. Dyed any “unnatural color”. Thin eyebrows. Average eyebrows. Thick eyebrows. Mustache. Beard. Grizzled. Clean shaven. No facial hair. Thick facial hair. Little facial hair.

TATTOOS / PIERCINGS.

Full sleeve. Thigh tattoo. Shine tattoo. Wrist tattoo. Hand/finger tattoo. Foot tattoo. Neck tattoo. Face tattoo. Chest tattoo. One tattoo. A few here and there. Multiple. No tattoos. Monroe piercing. Nose piercing. Septum. Nipple piercing(s). Genital piercing(s). Industrial piercings. Earlobe piercing. Prince Albert piercing. Eyebrow piercing(s). Tongue piercing(s). Lip piercing(s). Tragus piercing. Angel bites. Labret. Stretches out ears. Navel piercing. Inverse navel piercing. Cheek piercing(s). Smiley. Nape piercing(s). No piercings.

COSMETICS.

Eyeliner. Light eyeliner. Heavy eyeliner. Cat eyes. Mascara. Fake eyelashes. Matte lipstick. Regular lipstick. Lipgloss. Red lips. Pink lips. Dark lips. Bronzer. Highlighter. Eyeshadow. Neutral eyeshadow. Smoky eyes. Colorful eyeshadow. Blush. Lipliner. Light contouring. Heavy contouring. Powder. Matte foundation. Shiny foundation. Concealer. Wears make up regularly. Wears it from time to time. Never wears make-up.      

SCENT.

Floral. Fruity. Perfumes. Aftershave. Cocoa. Moisturizer. Shampoo. Cigarettes. Leather. Laundry. Sweat. Food. Incense. Marijuana. Cologne. Whiskey. Wine. Fried food. Blood. Fire. Metal.

CLOTHES.

Jeans. Tight pants. Overknee socks. Tights. Leggings. Yoga pants. Pencil skirt. Tight skirt. Loose skirt. Tight/formfitting dress. Cardigans. Blouse. Button up shirt. Band-T-shirt. Sports-T-shirt. Sweatpants. Tanktop. Cut off t-shirt. Designer. High street. Online stores. Thrift. Lingerie. Long skirt. Miniskirt. Maxidress. Sun dress. Tie. Tuxedo. Cocktail dress. Highslit dress/skirt. T-shirt. Loose clothing. Tight clothing. Old/worn clothing. Stained clothing. Jean shorts. Sweater. Sweater vest. Khaki pants. Suit. Hoodie. Harlem pants. Basketball shorts. Boxers. Briefs. Thong. Hotpants. Hipster panties. Bra. Sports bra. Crop top. Corset. Ballerina skirt. Leotard. Scarf. Jewelry. Polka dot. Stripes. Glitter. Silk. Lace. Leather. Velvet. Cotton. Linen. Satin. Chemise. Patterns. Florals. No patterns. Neon colors. Pastels. Black. Dark colors. Fur. Faux fur.  

SHOES.

Sneakers. Slip-ons. Flats. Slippers. Sandals. High heels. Kitten heels. Ankle boots. Combat boots. Knee-high. Platforms. Stripper heels. Bare feet. Loafers.  

[rikrakyarnncrafts]

We

It’s finally here – the woolen garment high season. While our catalog is making its way to your mailbox, we thought we’d take a moment to share what’s new for us this winter. With three new pattern collections, new and returning yarns, and some fabulous new organizational tools, there’s no shortage of inspiration to be had. So cozy up, and read on!

  New Collections + 40% off ALL Books!

We’re excited to share our three new winter collections with you, which we think offer a fun variety of projects for various skill levels and interests. Plus, all books are currently 40% off!

  Accents

More than just an afterthought, accessories play a big role in our wardrobes, allowing us to make a personal statement while remaining ultra-cozy. Accents offers seventeen patterns to choose from, and you’ll delight in these colorful, modern designs and straightforward stitches.

Take, for example, the Midwinter Shawl. This generously-sized triangular garment is a simple project perfect for beginning knitters while providing a fun, easy knit for those with a bit more experience. Knit in Wool of the Andes, this shawl will keep you warm in style, even on the coldest of days.

  Crossings

Echoing the thick braids of highland shawls or the close twists of a fisherman’s pullover, the twelve sweaters and wraps in the Crossings collection reach back across years of knitting tradition with historical motifs and classic construction.

The intricate panels featured in the Plaiter Sweater are inspired by the work of corn husk plaiters. Knit in Simply Wool Worsted with traditional two stitch braids, rope cables, and single stitch lattice cables, the weaving lines of this garment mimic the interlocking fibers of the hats and baskets of that bygone craft.

  Embrace Crochet

With modish textures and sumptuous appeal, the accessories and home decor pieces in the Embrace Crochet collection are destined to add charm and allure to your everyday life. Indulge in the sophisticated stitches of these seven projects, including stylish cowls, cold weather staples, home accents, and more!

Rows of bobble stitches in a simple chevron shape are the highlight of the Willowridge Scarf. Finished with a single crochet edging and tassels at each end, this highly textured scarf knit in Wool of the Andes Superwash Bulky is perfect for your next outdoor adventure.

  New Tools for a New Year

Stash that swift, stow those needles, store those charts! Bring some order to your knitting life with our exclusive new cases, available in three colors.

  Free Patterns

We’re certainly in a cozy winter mood here, because we’ve got two blanket patterns for you – just perfect for those long winter nights!

  The Connor Throw is knit in a beautiful lace motif with a garter stitch edge.

The Love Triangles Throw consists of richly textured hexagons made with puffs, front post double crochet, and double crochet.

  Well that about wraps it up!

Oh wait.

What about those new and returning yarns, you might ask? They’re on their way, and we’ll tell you more as soon as they’re available. So stay tuned, and stay warm out there!

The post We <3 Winter! appeared first on KnitPicks Staff Knitting Blog.

from KnitPicks Staff Knitting Blog http://bit.ly/2SMwgqs via IFTTT

[talkingfashionnet]

Black Lace Scarf Wonderful Vintage Accessories Lovely scarf made of solid black lace Approx. measurements: 28 x 28 x 46 inches around its triangular shape True Vintage Accessory Very good vintage condition http://nemb.it/p/S1Qyrd_6cQ Published using Nembol

[francescissima]

There is a calm urgency about my mornings in Bali. I’m keen to arrive at the beach a little before 6 am, drawn by the dawn but also by the anticipation of catching a sighting of Mt Agung on the horizon. When Guning Agung is in hiding, I admit I’m disappointed, and move along with my day a little more quickly.

Gunung Agung

I head along the beach pathway in the direction of the cake lady’s stall on the brick wall at Pantai Sindhu. You have to be early to buy her freshly made Dadar Gulung. All her special cakes have been snapped up by 7am. She is round and sweet, just like her cakes and greets me with Selamat Datang if I’ve been away for a while. If it’s her day off or if she has ceremony, I wander down the road to the Sindhu market to buy cakes there, along with a hand of bananas or a few mangoes. Indonesian cakes are light and sweet, and incorporate three main ingredients- sticky rice, coconut and coconut palm sugar,and come in an endless array of shapes, colours and textures. They are boiled, steamed, baked or fried, often enclosing a secret ooze of bean or palm syrup and are small enough to wolf down in two bites. I’m very fond of green cakes, a colour extracted from the Pandanus leaf and striped jelly cakes made from agar-agar.

Today’s surprise package from a new lady at Pasar Sindhu. A triangular parcel, made from banana leaf, filled with a sweet mixture of black long grain sticky rice, boiled jaja, shredded fresh coconut and a generous drizzle pf coconut palm sugar syrup. I did not share this wonderful concoction with anyone.

Yesterday’s Pasar Sindhu was alive and more frantic than usual. By 6 am, motorbikes and trucks had filled the small carpark entrance. Something was going on and I had to find out. The rows were crowded with vendors of cakes, ceremonial nic nacs, chicken stalls and flowers: I could sense excitement and frenzy, that buzz that permeates markets before a big festivity, akin to the mad rush in Melbourne markets before Easter or Christmas. I sought out my friend Ketut: she runs a little kitchen ware stall at Pasar Sindhu and is a goldmine of information. Today, she informed me, was Tumpek Wayang. 

Ketut’s shop, Sindhu Market.

Ceremonial Baskets, Sindhu Market

When Ketut mentioned Wayang, or puppets, I almost ran home to my books and internet, keen to find out more about the day and the ceremonies that would follow. Along the footpath and business doorways of Jalan Danau Tamblingan, I almost tripped over the elabourate displays of Canang Sari. Today’s floral offerings were completely different, much bigger than the usual little baskets, with rectangular bedding of palm leaves and another jagged edged leaf, as well as flowers. Each business had the same leafy arrangement- another mystery to uncode.

Tumpek Wayang, occurring every six months, is a festival when puppeteers perform purification rites to purify their bodies both physically and mentally. It is also a day of the performing arts, when offerings may be made to musical instruments and dance equipment. On this day, puppeteers (Dalang) throughout the island will present offerings to their shadow puppets (wayang kulit) with the intention of honouring the Lord Iswara. The puppets are taken out from their cases to be blessed by their owners and placed as if an actual performance is being held. This ceremony is staged at the different temples, and is titled Sapuh Leger. In short, this is the day of puppeters and the puppets themselves.

I have profound memories of the puppeteers and Balinese shadow plays, Wayang Kulit, of old Bali. On our first trip to Bali in 1979, travelling then with two young children, aged 9 and 7, we set out at dusk on a horse and cart into the countryside to see this famous shadow play. The night was dark, no street lighting or electric lighting of any kind lit the streets or houses back then. The village was lit by kerosene lamps. On that occasion, we were the only Westerners in the village. Fortunately we were met by the local schoolteacher. He spoke English and kindly offered us some tea and green cakes – my love of Indonesian cakes began on that day. The Wayang Kulit stage was raised and broad, covered in a long stretched white sheet and back-lit by a flickering lamp. The exotic sounds of the gamelan orchestra tinkled through the night, as hundreds of villagers sat below the stage in the dark and watched in awe. We took our place in the audience as the puppets performed the Ramayana, a show that lasts for 6 hours or more,as we soon found out. At some point we realised that we needed to exit gracefully: carrying our sleepy children, we managed to find a horse and cart to take us back to our palm thatched losmen.

Today’s Tumpek Wayang celebrations were in full swing by mid afternoon.  As the amplified voice of the puppet master, exaggerated, theatrical, emanated loudly from nearby temple, I wondered whether the voice I heard was that of a real working Dalang or a recording: there aren’t so many working Dalangs in Bali these days, ( in 1990 there were around 2-300 Dalangs but only 30 working Dalangs ¹) not because of any demise in tradition, but because the role of Dalang is a demanding one, requiring skill in story telling, improvisation, comedy, linguistic skill, religion, singing, music, orchestra direction, puppet making as well as stamina. 

As food stalls began to line the streets, groups slowly gathered, dressed in white and gold, the colours of purity, and walked towards the temple for the ceremony, due to start at 4.30 pm.

Most days go like this Bali. After 40 years of visiting, I’m still trying to fathom the mysteries and joys of Balinese Hinduism. Sunrise to sunset and the time in between may bring an afternoon ceremony, a seaside cremation, or a purification ritual. Read the signs and keep your senses alert to gongs, bells and gamelan, then ask the locals about the the day’s events. If you wish to join in, or visit any temple or ceremony, you’ll need the right outfit- a top with sleeves, a traditional printed cotton sarong and a scarf tied around the waist. While Balinese women tend to wear a lace kabaya, it is acceptable for westerners to wear any other sleeved shirt or T-shirt. Balinese men go for the double sarong on ceremonial days and look extremely dashing. Western men need only learn to tie their sarong in the appropriate way, worn over shorts. 

¹ For further reading on Balinese ceremony and culture, see Bali, Sekala &Niskala, Essays on Religion, Ritual and Art. Fred B. Eiseman, Jr. Tuttle Publishing 1990. A remarkable book and a must for lovers of Balinese culture.

Another Day Unfolds in Bali. There is a calm urgency about my mornings in Bali. I’m keen to arrive at the beach a little before 6 am, drawn by the dawn but also by the anticipation of catching a sighting of Mt Agung on the horizon.