#Flounce Pattern

[anielskaaniela]

Irregular Circle Flounces -How to Draft and Sew

In this post, you’ll discover how to draft and sew irregular circle flounces. Love what you see ? Support me by snagging some cool items from my shop! Every purchase helps me bring you more awesome content. Thank you! Shop Now Flounces add a dynamic, playful touch to garments, and an irregular circle flounce is an excellent way to introduce asymmetry and movement. Unlike traditional circle…

[baskinwoven]

By the end of the article I'd forgotten what WAYWT meant, so my brain translated the acronym with mismatching words that aligned with points of previous paragraphs, though against the moral of the story:

Good article by my friend die workwear

[whos-the-seme]

Shen Yuan is actually a cuddle bug. Had a ton of Luo Binghe body pillows back home not just for the merch reasons but because he needs something in his bed to squeeze when he's sleeping.

Since he started having weekly planning (boozing and bitching) sessions with Shang Qinghua, he sometimes accidentally sleeps over. After he's finished his paperwork and started on some of Qinghua's, sometimes the wine gets to him and he's just so sleepy. Or, sometimes, Shang Qinghua will let the other read some of the short stories he had written early on in his transmigration when fighting to not lose his mind. Shen Yuan would critique them, before harassing him to publish them anonymously.

("Oh, so you are capable of writing more than papapa trash."

"Aw, you like it?" "...it's good." 🙄)

But by the time he finished them, it would be so late, and it didn't make much sense to leave when a bed was right there. And Shang Qinghua had custom ordered goose feather pillows and blankets, which was so unlike his porcelain pillows, and Shang Qinghua himself is right there. Therefore. The man himself becomes his new object of comfort when asleep.

At first, Shang Qinghua used to just wave it off. Then he started to playfully complain and tease about how clingy Shen Yuan was in his sleep, and Shen Yuan would grumble and turn bright red and turn his back on him... only for them to wake up with Shen Yuan basically curled around the other like an octopus in the morning. And then it just became normal because, of course, they really only had each other, so like why not? It brought them both comfort and two people could totally cuddle platonically.

Before long, more than half the week, Shen Yuan was spending the night over, and some rare times, Shang Qinghua goes to the bamboo house. Shang Qinghua learns when to give up his piles of paperwork when his friend starts getting tired and to get more fucking rest himself. Otherwise, Shen Yuan will just walk in, curl up on his lap with his head resting on Shang Qinghua's shoulder, and fall asleep there.

("Really? I ordered those extra stuffed pillows for you, you know. Go to bed, I'll be done in a minute."

"Ugh, shut up, sleeping isn't the same when you're out here ordering new fighting posts for Bai Zhan Peak for the 5th time this month. I'll just wait here for you to finish."

"In my lap...? That's kinda gay--" 😏

"Qinghua."

"Shutting up and finishing the work." )

Those of An Ding Peak, being the peak that was basically the backbone of the entire sect and kept it running through sweat, blood, and some other bodily fluids, knew how to keep secrets from other peaks. You don't become a disciple there without knowing how to keep your mouth shut when outsiders are around. But between each other, whispers abound.

"I don't think Shen-shibo has left in two days," one disciple murmurs to another when they see Shen Qingqiu flouncing around yet again, ordering one of the disciples to bring some two small meals to their Shifu's rooms for a late dinner.

"Do you think they're... you know?" Another asks quietly after delivering some new contracts to their Shifu. The door to his bedroom had been slightly ajar, and through the cracks, green leaf-pattern outer robes were on the ground.

("I'm not sleeping in these, okay! You should have written in pajamas while you were busy adding in chocolate, and whatever else doesn't exist in Ancient China, to PIDW!" 😒

"Oh my god, just sleep in your inner robes, then! Better yet, borrow some of my clothes. But you're sure as fuck not sleeping naked on my silk sheets, bro!")

The disciples on Qing Jing Peak certainly notice when the bamboo hut isn't occupied for the night. At first, they just thought that their Shizun was extra silent in his house now, but once, Ming Fan had to go to Shizun for a small issue late in the evening, and he wasn't there. Nor was he there the next night, or the next. They're not sure where he is, or what he's doing, but he's always there in the morning, so they don't worry too much.

On the fourth night, Shizun was home, but Shang-shishu was also there. And... stayed there. The lights went out, and the disciples who were sent out to spy came back and reported that Shang-shishu had never left.

("He... is Shang-shishu still in there?"

"I think so. M-maybe he stayed in the extra bedroom?"

"..." 👀

"..." 👀)

The disciples eye each other and simultaneously agree to never let those outside the peak know about this. When crossing paths with A Ding disciples, there are discreet looks and nods of understanding, and they pass each other by with not a word.

(Shen Qingqiu and Shang Qinghua?)

----

One bright and sunny morning, Liu Qingge slams his way into Shang Qinghua's office. He is followed by Mu Qingfang, and Yue Qingyuan, all needing to speak with Shang Qingqua to figure out Shen Qingqiu's whereabouts. He wasn't in his bamboo hut this morning, nor was he anywhere else that he typically frequented.

Mu Qingfang because it was time for his bimonthly check-up to ensure that his treatments with Liu Qingge were progressing as they should. Yue Qingyuan due to peak matters (though, technically, he could do it on his own, but if he got to see Xiao Jiu--). Liu Qingge because the beast that he had dropped on his doorstep yesterday afternoon had yet to be removed, which was odd. And also, he had ordered new fighting posts a week ago, and usually they would have been delivered by now, which was also odd.

Wei Qingwei and Qi Qingqi also follow along because they could smell drama. And also they were a tiny bit worried about their shixiong. Whenever he disappeared for too long, it was likely that he had gotten kidnapped or poisoned. Again.

Shang Qinghua scrambles out of his bed chambers with hastily thrown-on outer robes, blurry-eyed, screaming "Whoosit!?" He barely has time to open his mouth before he is instantly bombarded with several requests, most of them pertaining to the apparent missing peak lord. Liu Qingge also asks about his fighting posts, which Shang Qinghua pretends not to hear.

"We've not seen him in a few days," Mu Qingfang says to him over the noise, with an apologetic smile for waking up his overworked shixiong. "I know you two are somewhat friends, so if you see him soon, please tell him he really needs to come to Qian Cao for his next physical."

"Wait, who's missing? Ah, please don't touch that." The last part is directed at Qi Qingqi, who is combing through his shelves. "Shen Qingqiu is apparently missing, according to this bunch," Qi Qingqi says, smirking at him. She pokes the figurine he told her not to touch. Oh well, she'll realize why he told her not to touch it soon enough.

"Shen Qingqiu? What do you mean, he's--" Shang Qinghua instantly closes his mouth, hoping that no one heard that. "I-I mean, yeah, I'll let you guys know if he stops by! No problem, will absolutely send him your way--" "What was that?" Liu Qingge narrows his eyes at him. "You were about to say something. You know where he is. Tell me."

Shang Qinghua begins to sweat immediately. "Whaaat? No, you must have heard wrong. Seriously, I'll let you guys know if I catch him. Now, if you guys can be on your way--" He starts trying to herd people out.

Unbeknownst to him, his bedroom door cracks open and a figure, eyes barely open, shuffles out and heads towards him. Wei Qingwei, idling in the office, is the first to notice the person wearing another set of An Ding Blue outer robes over soft Qing Jing Green inner ones. His jaw drops.

"Qinghua?" A soft, sleepy voice murmurs in his ear, arms circling around his waist and a head laying on his shoulder from behind. "It's too early, come back to bed." A small yawn.

Shang Qinghua can feel himself freeze with a nervous smile on his face.

Shit.

[the1920sinpictures]

1927 Callot Soeurs silk lame evening gown, gold and silver pattern lame with long sleeves in gold metallic lace and a wide flounce at the hem, back panels floating in rectangular symmetrical floor-length cascades, glass paste brooch in center, bodice lined in silk chiffon. From Augusta Auctions.

[wildwood-faun]

Patternmaking, both basic and creative: The Shapes of Fabric

Once upon a time I used to follow the blog of someone who worked in the fashion industry who would write irate posts on fitting and quality issues, teaching me in the process why ready to wear trousers never fit properly, exactly how to set a sleeve, and why T-shirts sometimes start to turn themselves into corkscrews once you've washed them. I'm pretty sure this is not that blog, but I think I found it when I was trying to find the aforementioned one again.

The Shapes of Fabric is a really cool blog with a mix of basic guides like drafting pattern blocks (a base pattern you can use to create more complex garments) and really fun patternmaking experiments that are basically practical geometry.

If you're going to use older sewing sources, it's often really helpful to have at least a basic grasp of what pattern drafting is and how it works, so I'll be linking to some tutorials on how to draft some basic pattern blocks (bearing in mind that I've probably not used this source in particular, but the idea is more or less the same however you explain it):

pattern making basics

how to use basic pattern blocks

bodice block

dartless bodice block

pants block

The site also has a bunch of helpful guides, like these ones:

welt pockets

fitting bodices

fitting pants and skirts

sewing plackets and collars

more on collars

jacket sewing

sewing sleeves

sewing pants

There's also some really cool posts on dart manipulation, flounces, ruffles, "patterns that create patterns" (if you want to go off in a retro futurist way this kind of thing would be neat to incorporate), funky things you can do with sleeves, tucks (v useful if you're into Victorian stuff), detachable collars. Basically, go have a look around and get inspired!

[urdreamgirlangel]

aesthetics .ೃ࿐

My fav aesthetics described in just a few pics [and words]

coastal granddaughter 𝜗𝜚⋆₊˚

featuring the outdoors as well as navy blue, seafoam green, sandy taupe and off-white, loose-fitting clothing, relaxed but refined looks.

pilates pink princess 𝜗𝜚⋆₊˚

categorized by soft pastel hues, well-put together athleisure, wellness, pilates, self-care and sometimes even yoga. features elements of coquette, clean girl and dollette.

igari 𝜗𝜚⋆₊˚

a japanese makeup style known as 'hangover makeup,' featuring a youthful, glowy, flushed look, blush applied under the eyes and across the cheeks to give the 'drunk' appearance, rosy eyeshadow, and shiny lips.

coquette 𝜗𝜚⋆₊˚

often described as sweet, romantic, flirty and playful. featuring vintage charm, lace, bounce and flounces.

y2k 𝜗𝜚⋆₊˚

based around products, styles, and fashion of the late 1990s and early 2000s. featuring cyber-futurism, bright bold colors, shiny and metallic textures, low-rise and flared jeans, crop tops, visible g-strings, pumps and ballet flat, etc.

cottagecore 𝜗𝜚⋆₊˚

romanticizes rural life. features lots of nature, slow living, country houses and cottages, soft colors, traditional crafts and skills. filled with lace or embroidered detailing, flowing skirts, bodice tops

dollette 𝜗𝜚⋆₊˚

appreciating hyperfemininity, featuring florals, ruffles, lace pink and ballet and often contains vintage elements with a modern twist.

island/coconut/beach girl 𝜗𝜚⋆₊˚

associated with youth, vacation and summertime. key points are bright colors, loose/casual tees, beachy vibes, flowy tops, floral patterns, bead-and-shell jewelry, bucket hats, crochet bags and colorful bikinis

[city-of-ladies]

"The prominence of female divinity in Minoan culture might well have reflected the prominence of Minoan women in daily life. In Shang dynasty China, the authority of goddesses such as the Eastern and Western Mothers was echoed to some degree by the authority of women in elite society and even the army. Fu Jing and Fu Hao, wives of King Wu Ding, led men into battle before being honoured in death with monumental tombs containing the victims of human sacrifice, battle axes, knives and arrowheads. In Egypt, many of the images of Hatshepsut were destroyed or defaced after her death when her name was removed from the official list of rulers by her male successors, who sought to claim direct descent from her husband. It is possible that images of powerful Minoan women were subject to similar mistreatment.

While there is no evidence that Minoan women ruled in the same manner as Hatshepsut, or joined battle like the women of Shang China, the sheer number of artworks depicting them centrally placed and on a larger scale than men has prompted some historians to speculate that Minoan society was matriarchal or matrilineal. ‘Neopalatial Crete,’ writes one scholar, ‘presents the best candidate for a matriarchy – if one ever existed.’ There is nothing to say that the position of Minoan women was in any way secondary to that of men. 

Minoan women were certainly not confined to the weaving room. Sculptures show them playing lyres, flutes and zithers, sashaying in flounced chevron-patterned skirts and raising their arms in the air in ecstasy. In the ‘Grandstand Fresco’ from Knossos the women are more carefully delineated in paint than the men. Each woman has her own identity, her own style. The women appear to occupy the main rooms of the palace while the men congregate as an anonymous mass beyond. Women depicted seated – a sign of divinity or authority – are often being approached by men or animals. A highly enigmatic fresco at Thera (Santorini), for example, features a woman wearing large hoop earrings, a snake in her hair, and a neck-chain of ducks, sitting on a dais with a griffin beside her while a blue monkey pays her court.

 On a gold ring, a female deity, we may presume, is seated beneath a tree, where she receives flowers from two women. A smaller figure of a man with a double-headed axe over his head hovers between them.  By depicting the man beneath the axe, and on a smaller scale than the women, the engraver of the ring perhaps hoped to convey that he was a divine vision, almost a thought-bubble, originating in one of the female worshipper’s heads. Trees, as Arthur Evans recognised, were sacred in Minoan culture, and were perhaps believed to be capable of inspiring divine visions in those who honoured them. Such artworks contribute to the picture of Minoan women exerting considerable religious authority in the palace complexes and society more widely. 

Minoan women also played a crucial role in ritual. The early Minoans sometimes interred their dead twice by exhuming the bones of their family members and resettling them later in jars. The more usual custom, however, was to bury the dead in chamber tombs or stone beehive-shaped ‘tholos’ tombs, clay sarcophagi or, in the case of infants, under the floorboards of the home. The colourful paintings on a rare limestone sarcophagus from Hagia Triada, circa 1400 bc, show three men carrying young animals and a model boat to the deceased, who stands in front of his tomb, ready to receive his provisions for the afterlife. There are also three women present, the first of whom pours a libation into a cauldron placed between two upright axes mounted by birds; the second carries further vessels; the third – darker skinned like the men and thus possibly of lower social status – has a lyre. On the other side of the sarcophagus the women assist in the sacrifice of a bull on an altar. Other wall paintings show women involved in rituals of their own involving blood.  A fresco from Akrotiri features a group of women, one of whom sits beside a sunken room or ‘lustral basin’ with a bleeding foot. A tree also bleeds. It is possible that lustral basins were used for purification by women during or after menstruation."

The Missing Thread: A Women's History of the Ancient World, Daisy Dunn

[intergalacticfop]

Minoan Kilt

The large, structural skirt worn by Minoan women in art is instantly recognizable, and when I made my own I combined current best guesses with my own personal tastes.

My kilt shape follows the hypothesis laid out by Bernice Jones in her book Ariadne's Threads: The Construction and Significance of Clothes in the Aegean Bronze Age. She describes the shape of that of a labrys, a double-headed axe with apparent ceremonial significance in Ancient Minoan culture. This garment may be depicted in Linear-B logogram *166 + we, we-being the backwards-s-shaped squiggle in the center which identifies the piece as a garment.

See pages 336 and 341 in Marie-Louise B. Nosch, The Textile Logograms in the Linear B Tablets

Actual details on construction and materials below the cut:

Construction:

The top and bottom edges of the kilt are concave, so the sides are longer than the middle. This gives the chevron-shape seen on layered kilts in art. In addition, the curved top half makes the skirt flare out, accommodating the hips and giving more freedom of movement to the legs. My kilt measured from my waist to my anklebone at the longest point, and about 1.5 times around my waist.

I chose to make a flounced kilt, with smaller strips of fabric and trim applied to a large base piece, rather than a tiered kilt, in which multiple kilt shapes of varying length are layered one on top of the other, so you end up wrangling 3 layers of fabric around the waist. The flounced kilt saves fabric and gives you a lot more freedom with whatever trim you might want. Jones' diagram for a flounced kilt is seen below:

Unlike the version in the diagram above, I chose not to attach ties to the garment itself both because the linen I used was very heavy and I was concerned about weight, and also because folding the skirt and securing it with a separate tie worked just fine for my tastes. In total I had four flounces: 2 alternating rows each of fabric and fringe.

The vertical edges of most kilts are left plain, probably representing either the selvage or an edge otherwise finished off to prevent fraying. For my kilt, however, I ended up with a couple inches of self-fringe on either side as I adjusted the fabric to the correct width. At least three examples of kilts with fringed vertical edges are known, all three from the so-called "House of the Ladies" in Akrotiri

Photos from Wikimedia Commons. Image 1. Image 2.

The vertical edges of these kilts are reinforced with a colored band or tape, probably to keep the garment from unintentional further fraying. Accordingly, I did the same on my kilt. I also like that it gave a nice vertical diagonal to counterbalance the horizontal ones.

Materials

I tried to use mainly linen and wool, the fibers most available on Ancient Crete, but some of my trim was cotton because sometimes you just have to use what's cheap and available in the today times.

The base of my kilt is a heavy, patterned linen in what's called a diaper weave, meaning that a repeating diamond pattern is woven into the pattern itself. A lot of the Minoan textiles depicted in frescoes are characterized by repeating geometric patterns, likely woven into the fabric itself, and that was something I wanted to capture in my own piece. My linen is woven with both cream and natural colored threads. The heavy weight is important to give structure to the garment--otherwise it would be kind of limp. My linen was from Burnley & Trowbridge (shameless plug), as was the plain cotton twill tape I used to bind the top and bottom edges of the kilt, and the dark red wool twill tape I used along the vertical edges.

I bought my cotton fringe from a rug supply store. I had to search a while to find a fringe that would work for me, and I ultimately chose fringes with a woven header rather than the more common knotted one, so that it would lay flat against the kilt. I hid the woven header under a layer of cotton fringed trim from Michaels (yes, Michaels) with this really great diamond and dots pattern woven in black.

The blue layers are from a bolt of vintage wool Kimono fabric. Blue appears frequently in frescoes, likely achieved with indigo or woad dye, or even murex/mollusk dye. The fabric is printed with an imitation ikat pattern of diamonds and squares that made me think "the vibes seem right!" because quite frankly, you aren't going to get "historically accurate" Minoan textiles (which there probably isn't enough archaeological evidence to definitively describe) without, like, hand-weaving it yourself or paying someone hundreds of dollars to do it for you (and that price is if the weaver really likes you). Neither of which appealed to my desire to just make a fun, low stress project. Good enough is good enough.

The narrow trim on the bottom of the blue flounces is vintage cotton/poly woven trim. This trim, while narrow, was quite thick and stiff, which was great because it added more weight and structure to the end of my flounces since the wool fabric itself was quite thin.

The top layer is a custom tablet-woven wool trim that I commissioned from MAHTAVAhandicraft on Etsy. I imagined this as the "centerpiece" of my kilt, and I'd arrange everything to complement it.

It's a kivrim pattern, which has itself only been traced to 19th-century Anatolia, but I didn't care. The way it looks like waves reminded me of how central the sea was to life in the Ancient Aegean and Mediterranean and it captured the idea and aesthetic I was pursuing. I mean, doesn't it remind you of these dolphins?

(I like the dolphins)

The whole thing was machine sewn with the exception of hemming and adding trim to the blue flounces. If you were to look at it from the back, you'd see lots of zigzag stitches, because i wanted to be fast! and have fun! not chase some unreachable ideal of "accurate."

As for wearing it, I chose to wear it with the top part folded/rolled down over a belt, so I have a thick tube of fabric around my waist. Many images, like the frescoes above of women with fringed kilts, appear to just show the kilt being tied closed. Other images are so fragmented or stylized that it's unclear what kind of skirt closure was used. Sculptures and figurines definitely show some kind of SOMETHING around the waist, whether this is folded fabric or a kind of belt is unclear. Different art could show different things!

I think I see evidence of a continuous line from the skirt to the waist-roll on the figure on the left, found in Troas, which I think indicates some kind of skirt-folding situation. The woman on the right, found in Crete, looks more like she's wearing some kind of long coiled belt, or perhaps snakes. Who knows? I don't! For my own part, I found the combination of rolled waist + tie belt the most secure for doing things like kneeling, stomping around, and wading into rivers to rescue bees. I also liked that it gave me the bulk around the hips that gives Minoan figurines such a powerful silhouette, and proportionally gives more of an hourglass shape. If you wanted to do something more firmly grounded in the sources, stick just with the waist tie or belt, wrapped around a couple times and tied in back. If you want to be like me, just say "well we don't KNOW it didn't happen" and just do whatever you want. Have fun! Whatever happens, it should be fairly easy to move around in the kilt--this is not a restrictive garment, just a heavy one.

[whencyclopedia]

Beauty in the Bronze Age - Minoan & Mycenaean Fashion

Dress and appearance in Bronze Age Greece (c. 3100 BCE - c. 1100 BCE) played a part in defining gender roles and emphasising idealized beauty that planted the seed for modern-day standards. The Minoans turned the island of Crete into a Mediterranean powerhouse and dominated Aegean culture until around 1450 BCE when the Mycenaean civilization from the Greek mainland peaked and wrested control. Frescoes and figurines uncovered from this era reveal a fabulously colourful society that expressed itself through fashion, hair, and accessories. Both Minoan and Mycenaean women sought a pinched waist to achieve the epitome of a feminine aesthetic. The fashion of Mycenaean men, however, expressed their warlike temperament, in contrast to their Minoan counterparts, who embodied display and splendour.

Minoan Women

Women are heavily represented amongst the archaeological finds from Knossos, Akrotiri, and other Minoan hubs. One of the most beautiful examples is the Snake Goddess Figurine which depicts the archetype of Minoan dress. This woman wears a flounced, layered skirt that falls to the ground. Her bodice has short sleeves and a scalloped neckline which reveals and accentuates her breasts. This is mirrored in the colourful frescoes which emphasise bright, eye-catching fabrics dyed a myriad of colours. Bold primary colours – reds, yellows, and blues − dominate the pattern scheme. To get these shades, the Minoans took advantage of the available natural resources. Saffron – now the world’s most expensive spice – was used to acquire yellow and murex sea snails created a rich purple.

One of the most interesting aspects of female dress was the use of corsets or tight thick belts to create an hour-glass figure. Artworks suggest that the wasp-waist was highly idealised in Minoan culture and body modification may have been implemented to achieve this. Corsets have, of course, gone in and out of fashion in the thousands of years since their early Cretan use. Minoan women also wore jewellery to frame their features. Hoop earrings, necklaces, and bangles were all popular forms of expression and decoration − gold and glass beads were used to give outfits that glamourous touch.

In the frescoes, women have black hair braided into long tendrils or locks. Their skin, in contrast, is typically a pale white, implying that the ideal women would have spent significant time indoors and that the archetype of feminine beauty could be obtained by focusing on domestic duties.

Continue reading...

[anielskaaniela]

Butterfly Sleeve Dress Sewing: Free Sewing Pattern PDF &Video

In this post, you will learn how to create your stunning butterfly sleeve dress with free sewing pattern PDF in 8 sizes for beginners. Love what you see ? Support me by snagging some cool items from my shop! Every purchase helps me bring you more awesome content. Thank you! Shop Now Welcome to my latest sewing tutorial! Today, I’m going to create a beautiful butterfly sleeve dress that’s…

[moonselune]

Hello. May I get an Astarion x Tav story? Tav was secretly creating a blanket for Astarion by themselves, but he sees them working on it. Instead of immediately revealing that it's for him, they have him help make it until it's finished. 💕

Awwwwwwwwwww I love this xx

─── ･ ｡ﾟ☆: .☽ . :☆ﾟ. ───

Astarion x gn!reader : Sewn

─── ･ ｡ﾟ☆: .☽ . :☆ﾟ. ───

You had been secretly working on a special gift for Astarion—a finely crafted blanket. Each night, after everyone else had fallen asleep, and you were Astarion was out on his nightly hunt, you would take out the materials you had gathered from the day and quietly work on your project. The blanket was a tapestry of your shared adventures, each patch representing a memory or a place you had visited together. You were determined to finish it without him knowing, eager to surprise him with a gift that carried so much meaning. The gods knew he deserved it.

One evening, while you were diligently sewing a particularly intricate pattern, Astarion flounced into your tent, complaining that there was nothing good out in the woods to eat, eyelashes batting and a persuasive pout on his lips, intending to ask you for a little nibble.

“It's a travesty, truly I'm going to starve - Oh darling! What are you working on?” Astarion asked, his voice smooth and curious as he walked over to you.

You quickly tried to hide the blanket under your clothes you had laid out for tomorrow, but it was too late. His beady eyes had already latched on to it.

“Oh, just a little project. Nothing special,” you replied, trying to sound nonchalant.

Astarion raised an eyebrow, a smirk playing at his lips. “A little project, you say? It looks rather intricate for something trivial.”

Caught, you sighed and decided to take a different approach. “Alright, you caught me. It’s a blanket, and I could use some help with it. Care to join?”

His curiosity piqued, Astarion sat down beside you. “A blanket? How intriguing. What’s the occasion?”

You smiled mysteriously, not ready to reveal the full truth. “Let’s just say it’s for someone very special.”

Astarion’s eyes sparkled with interest as he took a seat next to you, and you handed him some thread and fabric. "Alright then, gods knows you need by help your thread work is positively backwards- ."

"-You don't have to help, me Astarion," You playfully chided him and he huffed settling down, not wanting to get kicked out of your tent. You smiled and the two of you worked in tandem, a bit of gossip shared between you.

As the days went by, Astarion grew more invested in the 'project'. You both spent hours working side by side, sharing the trials and tribulations of the day with each other. The blanket gradually took shape, and you had to admit that perhaps Astarion was a better sewer than you.

One evening, as the fire crackled and the blanket was nearly complete, Astarion paused, looking at the almost-finished product. “You know, this blanket is quite beautiful. Whoever it’s for is very fortunate indeed.”

You smiled, feeling a mixture of excitement and nervousness. “Very fortunate indeed, in face look here, Astarion," Taking a deep breath, you laid the blanket out in front of him. “This blanket is for you, Astarion. Every patch, every stitch, it’s all to remind you of our journey together.”

Astarion’s eyes widened in surprise, then softened with an emotion you rarely saw—vulnerability. “For me?” he whispered, his voice almost trembling.

“Yes,” you said, taking his hands in yours. “I wanted to give you something that shows how much you mean to me. How much our time together has meant.”

For a moment, Astarion was silent, his eyes tracing the patterns and symbols on the blanket. Then, a slow smile spread across his face. “You crafty minx,” he murmured, pulling you into a gentle embrace. “You’ve managed to surprise me, and darling, that’s no easy feat.”

You laughed, feeling a weight lift off your shoulders. “I’m glad you like it.”

“Like it?” Astarion shook his head, his eyes shining with affection. “I love it. And I love you, my dear.”

Little short wholesome piece for y'all, hope you all enjoyed it - Seluney xox

[keylightatdawn]

I finished wheel of time and all I have to say is the ONLY post a memory of light scene I need to see is the one where Bodewhin Cauthon—little sister and tattletale to the end—flounces up to her parents and tells them “Matrim got married to the Seanchan empress” then walks away while mat feels a disturbance in the pattern suspiciously like the dice rolling in his head again

[chic-a-gigot]

La Mode nationale, no. 22, 2 juin 1894, Paris. No. 10. — Corsage de lainage Suède. No. 14. — Corsage en drap vert-Nil. No. 16. — Pèlerine-collet en moire noire. No. 18. — Corsage de mousseline de soie. Bibliothèque nationale de France

No. 10. — Corsage de lainage Suède. Corsage plat, orné dans le haut par un plastron de velours noir, encadré dans une cordelière même nuance, nouée en trèfle sur le devant; ceinture noire. Manches gigot.

No. 10. — Suede wool bodice. Flat bodice, decorated at the top with a black velvet bib, framed in a cord of the same shade, tied in a cloverleaf pattern on the front; black belt. Lamb sleeves.

—

No. 14. — Corsage en drap vert-Nil, à basques sur les hanches. Devant, grands revers directoire encadrant un plastron de guipure de Venise; choux de ruban fermant le corsage à la taille. Manches gigot, recouvertes du hat par des jockeys partant de l'encolure; col montant.

No. 14. — Bodice in Nile green cloth, with peplums on the hips. In front, large directoire reverses framing a Venetian guipure plastron; ribbon bows closing the bodice at the waist. Leg sleeves, covered with the hat by jockeys starting from the neckline; collar.

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No. 16. — Pèlerine-collet en moire noire. Le haut de la pèlerine forme empiècement garni par une bande droite gaufrée, séparée de l'empiècement par une berthe de dentelle; au bas, deux rangs en dentelle formant volant. Col montant, surmonté d'une ruche.

No. 16. — Cape collar in black moire. The top of the cape is in the form of a yoke trimmed with a straight embossed band, separated from the yoke by a berthe of lace; at the bottom, two rows of lace forming a flounce. High collar, topped with a ruffle.

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No. 18. — Corsage de mousseline de soie noire. Devant froncé à la taille et mis dans la jupe sous ceinture drapée en moire noire. Il est encadré dans un fichu de guipure blanche faisant pointes devant et rond derrière. Manches courtes, bouillonnées, recouvertes par deux volants de mousseline de soie indéplissable.

No. 18. — Black silk muslin bodice. Front gathered at the waist and tucked into the skirt under a draped belt in black moire. It is framed in a white guipure kerchief with points in front and round behind. Short, bubbled sleeves, covered by two ruffles of non-wrinkle silk chiffon.

[erinsvintageemporium]

It's Fashion Plate Friday!

This week I have a set of the fashion plates from the Ladies Cabinet of Fashion for May of 1845. They're all unsigned, and were trimmed down to be bound into a book, so most of the titles at the bottom of the images are missing. These plates may be copies from french publications.

PUBLIC PROMENADE DRESSES. No. 1. GREEN moire robe, corsage a thrice quarter height, and sleeve, à la Henri III., over a full one of muslin. Black lace mantelet, rounded, and very deep behind, with long scarf ends. Pink poult de soie chapeau, the edge of the brim trimmed with folds, and the exterior with a wreath of roses without foliage.

No. 2. Lilac taffeta robe, a tight corsage, and long tight sleeves. Black lace mantle of a large size. Rice straw chapeau, an oval brim, the interior trimmed with flat coques of white ribbon, the exterior with a bouquet of white fancy feathers.

No. 3.-EVENING DRESS. Blue poult de soie robe, a low corsage, the top trimmed with tulle disposed à la vielle, and edged with lace. Long light sleeve, armlets and cuffs, en suite. Lace cap, à la Jeannette, trimmed with small roses, without foliage, and a band of green ribbon.

BRIDAL AND MORNING VISITING DRESSES. No. 1. BRIDAL DRESS. Blue and white shot pekin robe, the corsage partially high at the back, but very open en cour on the bosom, and trimmed with ribbon and lace. Long tight sleeve, decorated en suite. The skirt is trimmed with three lace flounces, mounting very high, and each with a braiding of ribbon. The hair is decorated with the bridal veil, and a wreath of intermingled roses and orange blossoms.

No. 2. MORNING VISITING DRESS. The robe is composed of one of the new shot and figured silks, a high corsage trimmed with a double lappel, and long tight sleeves. Rose coloured poult de soie chapeau trimmed with ribbon to correspond, and white feathers.

No. 3. MORNING VISITING DRESS. Pea green gros de Naples robe, corsage à curaco, decorated with fancy silk trimming, as is also the sleeve à la Henri III. Muslin under sleeve. Chapeau of paille guipure trimmed with white ribbon and roses

No. 4. MORNING DRESS. Rose coloured gros de Naples robe, half high corsage, and long tight sleeve. Round pelerine of embroidered muslin trimmed with lace. Bonnet babet of Brussels net, decorated with lace and rose ribbon.

No. 5. DINNER DRESS. Robe of peressiere poult de soie, a low corsage, and long tight sleeve. Embroidered muslin guimpe, and pelerine en cour, the latter trimmed with lace. Lace cap, a small round shape decorated with a wreath of roses intermingled with foliage and white blossoms. A band of green ribbon completes the garniture.

BALL AND EVENING DRESS. No. 1. BALL DRESS. Green taffeta robe, a low dress corsage, the lower part of the drapery bordered with lace; very short tight sleeve. The skirt is trimmed with five tucks, each finished with a tulle biais. Head dress of hair decorated with feathers.

No. 2. BALL DRESS. Pink tulle robe over satin to correspond, a low corsage draped a la Grecque, and a full bouquet of roses in the centre of the drapery; short tight sleeve. The satin is covered with tulle disposed a la Neige; the front of the skirt is decorated en tablier, with tulle similarly disposed, and knots of ribbon. A wreath of small roses without foliage ornaments the hair.

No. 3. EVENING DRESS. Oiseau Pekin robe, a low corsage, and short tight sleeves, each trimmed with beoillonné; the hair is dressed a la Pompadour, and trimmed with a wreath of roses panaches.

No. 4. EVENING DRESS. Blue ponlt de soie robe, a low corsage, trimmed with a round pelerine of point lace; short tight sleeve, finished with lace. Head dress of hair decorated with a guirlande a la Flore.

VISITING AND MORNING DRESS. No. 1, VISITING DRESS. French grey taffeta robe, high corsage, and long tight sleeve; white silk drawn bonnet, trimmed with lace, and a wreath of coques of ribbon; Cashmere long shawl, a blue ground, and a rich oriental pattern.

No. 2. MORNING DRESS. Buff coloured taffeta robe, corsage high behind, but very open on the bosom; it is trimmed en revers, with point dAngleterre. Guimpe composed of muslin, bouillonne and lace entre deux, long sleeve, nearly but not quite tight; under sleeve of muslin, finished by end falls of lace; the heir is decorated with lace, arranged in the style of a cap front, and trimmed at each side with a knot and long floating ends of green ribbon. We need hardly observe that this dress is a demi toilette.

No. 3. MORNING DRESS. Robe of rose-coloured cashemirienne, half high corsage, and long tight sleeve. Embroidered muslin canezon en cour, closed in front by knots of green ribbon; tulle cap, crowned with a wreath of knots of green ribbon.

1845-05 LCF[A, B, C, D]

[lemonade4wanda]

Anyone other than you

Minors dni!! Masterlist°•☆

Summary- You and your supposed "enemy" get stuck in a cupboard while on a duo mission

Warnings- violence, gunshots, emo Wanda, mean Wanda, forced proximity, claustrophobia, confusion, not proofread!!

A/n - I dont know whether I hate this tbhhh idk whether it's because it took me sm breaks to write it but it feels off idkk

You entered the quinjet while sighing to yourself. How did you let this happen? You thought as you buckled on your seatbelt. Getting put on a duo mission with the one woman on the team who hates your guts. Wanda Maximoff.

You never had any idea what you'd done to make her despise you so much but nothing you ever did seemed to make up for it. Everytime you spoke in a meeting you could feel her stare digging into your soul. The way she'd scowl when she entered what she'd presume to be an empty room only to find you inside. She'd always mumble something in a language you didn't understand before flouncing out the room. Things weren't any better when you were part of a group with her either. She'd barely respond if you asked her something or flat out ignore you.

It wasn't like you hadn't tried to get along with her either, trying to be as friendly with her as you were with everyone else. Offering to make her food, help her with household chores or help out with her mission reports but nothing you did ever seemed to stop her from glaring at you. She wasn't known to be the most outgoing person but you never saw her act this way with anyone else so eventually you gave up deciding it best to ignore her the way she did you.

Now, unfortunately you didn't have that luxury anymore. You'd begged and begged Tony not to put you on this duo mission even contemplating getting ill to avoid it. He had insisted you had to go on this mission apparently you and Wanda had the 'specific' skills skillset for this mission, whatever that meant you knew he was just bullshitting to get you to shut up.

So now here you were getting ready to set off on your two day long stealth mission with the girl who could barely stand to look at you let alone talk and work with you.

☆

You'd arrived at the hotel room you'd be sharing with Wanda and thanked God that you'd got their first and the fact there was two beds. Quickly you threw down your bag on the bed closest to the window and began to check out the rest of the hotel room.

You were smelling the soaps in the bathroom when in clomped Wanda, her doc Martins still managing to make some kind of noise over the soft carpeted floor. She was dressed in a long baggy grey sweater and black skirt with patterned fishnets. Her hands adorned with rings and her short bitten at nails painted black.

"It smells of smoke." She thinks out loud without noticing your precense in the room.

"Yeah sorry about that it's my new signature perfume." You try to joke hoping she might happen to be over her constant anger with you. You study her face through the bathroom mirror as you speak watching out for her reaction. At first you see the possibility of a smile forming on her face and a rosy colour on her cheeks but quickly it's replaced by her signature scowl and a disgusted noise sneaking past her lips.

"Oh. You're here." She talks as if she'd expected someone else to be here despite the many debriefs you'd had together about this mission.

You for one had had enough of her attitude around you acting as if you were something below her. "Yes I'm here like it or not. Can we at least just be civil for the sake of this mission." You groan while walking over to where she's stood, raking your hands through your hair. In response she grumbled out some kind of agreement and that was it.

So far things had been going fine, you'd both kept to your own routine with minimal communication between the two of you. For the most part you'd spent your time exploring the hotel you were staying in. It was cheap and smelt damp. You for sure would be complaining at how you got booked in this dingy one star place once this mission was over. You'd been excited originally as the hotel advertised having a twenty five metre indoor swimming pool which was plenty to keep you occupied however when you inquired at the desk the receptionist, who'd been ignoring you stood there for ten minutes while she read her magazine, told it was shut indefinitely.

Eventually you had to return to the room and when you did Wanda was already fast asleep on her bed, small snores sounding occasionally. You took note of how pretty she was when she wasn't scowling before sliding into your own bed for the night.

☆

You'd done the first half of the mission with relative ease, you and Wanda putting a side your differences for the greater good. Now it seemed as if things were taking a turn for the worse. Upon arrival you'd both scouted the building for any kind of agents or security around the building but found none however now it seemed the building was filling up with them. Two men following behind who you were attempting to fire at and run away from, which is much harder than Natasha makes it look in training.

From the whimper of pain which sounded sounded out and echoed down the corridor you assumed you shot one. This was your chance to lose them and Wanda realised that too as you both picked up the pace of your running.

Out of nowhere she grabbed your arm and dragged you inside a small dark box? No it can't be a box you thought as you looked above you and saw an empty clothing rail. It was a cupboard. Your eyes scanned around the little space you had while trying to avoid eyecontact with Wanda who was leaning over top of you with one hand next to your head against the wall of the cupboard to keep her upright.

Quickly the cramped and uncomfortable space became all too much for you. The lack of oxygen in there made you take shallow breaths and sweat pooled from your forhead. It felt like the walls were closing in. You should get out. No you had to. Trying to move to force yourself out startled Wanda who gripped onto your shoulder to avoid you both tumbling out and compromising your hiding place.

"What are you doing? Just stay still." She whispered angrily. Had her voice always sounding that good up close? At that thought a frown crossed your face and you briefly forgot how badly you needed to get out of this space you were entrapped in. It didn't make you completely forget though as you came to your senses and stopped thinking about how nice Wanda's voice was and remembered how your heart was thundering in your chest and you whole body ached to get out of this cupboard.

"Have to.. to get out." You breathe out, expecting some kind of rude response from her as your breathing further quickens and vision fogs up. Her actual response is nothing you'd ever thought you'd hear her say.

"Look at me y/n." She waits to make sure your making eyecontact with her before continuing. "Its going to be okay, this is all okay and this is nothing you can't do. Just focus on me not the four walls.." her voice was soothing and not completely unlike a lullaby. You still felt unsettled but nothing like before when you were desperate to get out. "Your gonna be fine." She says again as she takes your hand in her own gently squeezing it. The cool feeling of her silver rings against your sweaty palms helping further calm you down as your breathing once again becomes steady.

After a few minutes of silence where you just focus on your breathing and the feeling of Wanda's thumb rubbing against the back of your hand you begin to speak. "Thanks.. I know you don't really like me or anything but I appreciated that a lot."

"Its nothing really... also your stood on my foot." She tells you returning to her usual cold snappy voice. Quickly you moved your foot away muttering apologies as you did, unsure how long you'd been stood on her foot. "I don't hate you either. Well not really."

Your about to question her on why she acts this way around you if she really doesn't hate you but before you can she opens the cupboard door and you both stumble out thankful for the airy space around you. "Don't bring this up y/n." She says before leading the way out leaving you trailing behind a little confused. Was she mean? Did she hate you? Was that all for the mission?