#Muslin square

[soupysword]

tbh maybe I need sewing advice from like

violet chachki

how could such a perfectionist nitpicky polish-obsessed detail-oriented person bring herself to take the plunge and fuck up some fabric

[sheliesshattered]

pattern matching on curved seams because I’m just wacky like that 🤪

[intergalacticfop]

Minoan Heanos

The distinctive open-front dresses worn by Minoan women are probably even more iconic than the multi-layered kilts. Over time, there's dispute whether the garment is one piece or a separate bodice and skirt, but currently the one-piece theory is in ascendance.

The word heanos is derived from the Linear B logogram *146, wehanos. The wes- prefix, which is the squiggle in the middle, indicates a garment. Bernice Jones believes that this logogram represents the garment worn by Minoan men and women.

Marie-Louise B. Nosch, The Textile Logograms in the Linear B Tablets, pp 133-138

More research and construction below the cut:

The theory that the garment is a full-length tunic is further supported from imagery from the time, like these figures from the c. 1400 BCE Hagia Triada Sarcophagus. This detail from the sarcophagus shows three figures in some kind of procession, 2 women and 1 man. The woman at left wears a tunic with some kind of pelt as a skirt, and the other 2 figures wear tunics without anything over them, showing that they are one continuous, ankle-length garment.

Some of the most important resources for interpreting how the heanos was constructed comes from the two women depicted in the House of the Ladies in Akrotiri, wherein the side seams of the tunic are clearly visible running along the side of the body and under the arm.

details of figures from the House of the Ladies, Akrotiri, via Wikimedia Commons

advadbsvasb

Diagrams from Bernice Jones' book Ariadne's Threads, p. 82, via Gorgeous Tangents

The heanos itself is made of 3 pieces of fabric: 1 back and 2 fronts. These diagrams show a concave hem like on the labrys-shaped kilt but I went with a straight hem, which is an equally valid option. The end of the sleeves are level with the edge of the hem at the widest point. This would probably be the width selvage-to-selvage on the fabric, being narrower than fabric widths commonly are today. There are 4 seams: the shoulder seam, the two side seams, and a front seam (optional, but recommended if you would prefer not being arrested.) It may be tempting to fold the fabric across the shoulder, so the only sewing is side seams and a neck hole, but this makes a weaker garment overall. I used this as a shortcut in my fitting muslin and it caused tears and weak points at the three points of the front opening.

my fabric was a lightweight, moderately loose-woven cotton with a supplementary weave pattern in squares and diamonds. Linen or wool would have been more accurate but also? much harder to find from online quilting stores selling fabric for affordable prices. The main fabric is dark orange and the pattern is made out of pink/lilac threads. This weaving technique resulted in a LOT of long floats (unsecured expenses of thread) on the back--you can see how the wrong side of the fabric is much pinker than the right side. These floats could snag easily if I wasn't careful, so while it made a very effective visual for this tunic, I do not think that this fabric type would be viable for everyday wear. I'll leave it to people who actually know about weaving to ponder what more accurate weaving techniques would be.

Construction

The overall pattern is basically a T-shaped tunic, and the most important measurements are shoulder circumference, shoulder width, bust circumference, and the shoulder-waist length. In addition, you need measurements for the bicep, waist, shoulder-navel length, and hip circumference. After working out the fit with a muslin, I ended up with this pattern, 1 of 4 identical quarters.

Your first impulse may be to make the tunic very close-fitting, since the depictions in frescoes are skin-tight, but since the pattern has no added gusset this is a recipe for Cannot Move Arm. So I gave a very generous curve under the arm, which also made the dress look better when my arms were down, avoiding armpit wrinkles. I continued that ease into about an extra 2 inches added on to my waist measurement and plenty of extra space around my hips so that I could do exciting things like Sit Down.

I sewed the shoulder and side seams using the machine, and felled the raw edges on each side of the seam by hand with a whipstitch. I foided back the front edges of the v-neck instead of cutting them, which was a tip I got from the Gorgeous Tangents blog. This strengthens the neckline and keeps it from stretching, and also means that everything can be readjusted if you have size fluctuations or just want to modify the tunic into something more or less modest.

I whipstitched the front edges together by hand--the contrasting selvage didn't matter because it would be covered up by trim. I ended up cutting the tunic a liiiittle shorter than I wanted, so I finished it with some leftover bias binding instead of hemming it to conserve as much length as possible.

Trim

I custom-ordered the woven tape trim from Long Creek Mercantile. Both are made of wool--the "header band" and the hem trim are 1 1/4" wide and the center-front and cuff trim are 3/8" wide. I observed that most images of the Minoan heanos show trim with two colors at most, in a simple geometric or linear pattern, so I consciously restrained myself from ordering anything more elaborate. The clothing on Minoan frescoes is characterized by strongly contrasting colors, so blue trim was the most obvious, and best-looking option. Orange tunics with blue trim appear multiple time in art like the "Dancing Lady" fresco from Knossos:

Dr. Jones suggests that the band across the shoulder would historically have been a header band--a band of threads woven at the beginning of a project in order to properly space the warp bands (see her diagram at the beginning). That may be a reason why the shoulder trim often depicted under the front or sleeve trim, as shown above. Regardless, the trim almost always coordinates.

I sewed on the shoulder trim by hand, the sleeve and hem trim by machine, and the center-front trim with a combination of both.

Tassels

Many frescoes from Akrotiri and Hagia Triada show the ends of the supposed header band turned into tassels. This embellishment is not universal among heanoi, as you can see from the "Dancing Lady" above, but it does add a fun little something!

(yes, my Lounging Pants are very fashionable)

I turned the excess ends of the shoulder "header band" trim into fringes, knotting the yellow ones into a lattice and turning the blue yarns into tassels. The lattice-tassel appears on a fresco from Hagia Triada:

Reproduction of fragmentary fresco from Room 14 at Hagia Triada, Crete

The saffron gatherers from Akrotiri shown below have clearly displayed fringes at the ends of their sleeves. The one on the left has red fringes that appear knotted or ravelled/unravelled in an undulating pattern, and the one on the right has fringes that may be either beaded with papyrus-shaped leaves or cut into short tassels.

Another option is leaving the fringes loose, as seen in the Akrotiri frescoes from Xeste, room 3:

The final garment was super comfy, actually! It's much simpler to create than I thought it would be based on the frescoes, which made it all feel pretty magical when everything came together. I did think it was a little unusual how tailored this garment is, and the potential waste of fabric that comes from a shaped garment, especially compared to how later ancient greek clothing was mainly rectangles. I don't know enough about bronze-age and earlier clothing to have any idea how typical this was, since I'm extremely Not an expert on this subject, but am always open to learning more!

[chic-a-gigot]

L'Art et la mode, no. 34, vol. 17, 22 août 1896, Paris. Toilettes de saison. Dessin de J. Portalez. Bibliothèque nationale de France

Chapeau de paille verte garni de volubilis blancs et roses. Large ruban de taffetas blanc enserrant la calotte.

Green straw hat trimmed with white and pink morning glories. Wide white taffeta ribbon around the crown.

—

Chapeau Louis XVI, en paille blanche. Couronne de dentelle blanche cernée d’une couronne de roses rouges et roses; oiseau de paradis blanc.

Louis XVI hat, in white straw. Crown of white lace surrounded by a crown of red and pink roses; white bird of paradise.

—

Costume tailleur en drap vert amande avec applications de soie blanche découpée. Doublureet revers en soie blanche, chemisette de linon incrusté de dentelle, col et ceinture de velours capucine.

Tailored suit in almond green cloth with cut-out white silk applications. White silk lining and lapels, linen shirt inlaid with lace, capucine velvet collar and belt.

—

Jupe et haut de manches en soie gris-argent. Corsage de mousseline de soie blanche. Garniture de guipure, formant col carré par derrière, bordée d’un volant plissé en linon. Jupe garnie de bouillonnes.

Skirt and upper sleeves in silver-gray silk. Bodice in white silk muslin. Guipure trim, forming a square collar at the back, edged with a pleated linen flounce. Skirt trimmed with ruffles.

—

Toilette en linon brodé de liserons roses. Petite veste de velours vert foncé brodée de paillettes acier et cabochons d’émeraude avec garniture de point d'Angleterre. Col et ceinture de taffetas vert vif.

Linen dress embroidered with pink bindweed. Small dark green velvet jacket embroidered with steel sequins and emerald cabochons with English point trim. Collar and belt in bright green taffeta.

[chinesehanfu]

[Cdrama Hanfu]𝗖𝗵𝗶𝗻𝗲𝘀𝗲 𝗙𝗶𝘃𝗲 𝗗𝘆𝗻𝗮𝘀𝘁𝗶𝗲𝘀-𝗦𝗼𝗻𝗴 𝗗𝘆𝗻𝗮𝘀𝘁𝘆 (𝟵𝟬𝟳–𝟭𝟮𝟳𝟵𝗔𝗗) 𝗛𝗲𝗮𝗱𝘄𝗲𝗮𝗿 & 𝗛𝗮𝗻𝗳𝘂 𝗶𝗻 𝗖𝗱𝗿𝗮𝗺𝗮【墨雨云间/𝗧𝗵𝗲 𝗗𝗼𝘂𝗯𝗹𝗲】

【Historical Reference Artifacts】

1.China Portrait of Qian Duo (10 March 852– 6 May 932), King Taizu of Wuyue (吳越太祖)<Ming Dynasty replica>

2.China Five Dynasties and Ten Kingdoms period: <White marble relief sculpture of Musician> Unearthed from the tomb of Wang Chuzhi, the governor of Yiwu Army during the Five Dynasties period

3.Chinese Five Dynasties Period and Ten Kingdoms Murals: Tomb of Feng Hui冯晖墓

【History about Chinese Traditional Headwear: Futou】

Futou (simplified Chinese: 幞头; traditional Chinese: 襆頭/幞頭; also pronounced and written as putou), also known as fu (幞) and toujin (頭巾),[1] was one of the most important forms of Chinese headwear in ancient China with a history of more than one thousand years. The futou first appeared in Northern Zhou under the reign of Emperor Wu where it became prevalent. It was also commonly worn in the Tang and Song dynasties.  The futou was typically worn by government officials.The futou was originally turban-like headwear which was tied at the back of its wearer's head, with the two corners going to opposite directions and acting as decorations. From the Sui to the Ming dynasties, the futou evolved and was developed based on the fujin.The futou eventually came to assume a variety of shapes and styles.The shape of the futou worn by the government officials in the Song and Ming dynasties, the latter known as the wushamao (烏紗帽), was based on the futou of the Tang dynasty.

The Chinese futou was also introduced in both Korea Unified Silla and continued to be worn by government officials until the late Korea Joseon: 25  The futou with a jinzi (lining) was also introduced back in the Sogdian areas in Central Asia spreading to the Western regions through the Xinjiang region. The futou with jinzi was also introduced in Japan during the Japan Nara period through Prince Shōtaku.

Sui, Tang dynasty, and Five dynasties and ten kingdoms period

Prior to the Song dynasty, the futou was mostly made of black muslin.  In the early Tang, the futou was a sijiaoruanjin (四腳軟巾; 'Four-feet soft scarf'),where all four ribbons were allowed to hang down after being tied. Later on, the early Tang dynasty minister, Ma Zhou, was the first person to use a square kerchief in order to tie a futou and was also the person who added a lining to shape his futou making it more beautiful.The lining which was added to the inside of the futou from the year 614 AD was called jinzi (巾子); the jinzi was used to make the futou look more straight and beautiful in terms of appearance. After being cut into the desired shape, the jinzi was painted black with lacquer and would then be covered by the futou. The jinzi was made with soft and light tung wood and with other materials such as bamboo strips, timbo, miscanthus, silk, and leather. It was also possible to line the futou with a mount-shaped item made out of paulownia (Chinese: 桐木为冠; pinyin: Tóngmù wéi guān; lit. 'paulownia crown') in the front. The step-by-step process to wear the futou with jinzi was to tie the hair up in a topknot, followed by covering the topknot with the jinzi as hard lining, then wrapping the head and the jinzi with a black, square-shaped piece of cloth, and finally tying the cloth in the desired style. The futou with jinzi then became the standard form of futou in the early Tang dynasty. A form of futou with jinzi was a kerchief with two corners attached with two ribbons in opposite directions of each other; the ribbons would then be tied at the back of the wearer's head, allowing the two back ribbons to hang down freely as a form of decoration.With time, the futou with jinzi was further developed, and a ribbon was attached to each corner of the turban to make it more decorative; two ribbons were tied on the top of the head while the back ribbons were tied and were allowed to hang down freely. The futou with jinzi could also have all four ribbons tied at the back of the head and allowed to hang down freely. The yingwangboyang (Chinese: 英王踣样), a futou with a big and forward top jinzi, was created by Emperor Zhongzong and became prevalent during his reign when he awarded this type of futou to his officials. During the reign of Emperor Xuanzong, the neiyang (Chinese: 内样), a futou with a small and round top jinzi became popular around the year 726 AD. Moreover, by adding wire or silk strings inside the added ribbons, the futou could take different shapes and styles depending on its wearer's liking. However, in the Tang dynasty, only the Emperors could use these hard ribbons; these hard ribbons would be bent upward.The Tang dynasties emperor wore a futou with two upturned tails until the Five dynasties period.The Tang dynasty emperors also wore the zhijiaofutou (Chinese: 直腳幞头; pinyin: zhíjiǎofútóu; lit. 'straight-feet futou').

For more the history of futou's evolution, please refer to:

The evolution of futou in China

—————-

Photo：Chinese Actor 曾柯琅/Zeng Kelang

CDrama name：【墨雨云间/𝗧𝗵𝗲 𝗗𝗼𝘂𝗯𝗹𝗲】

🔗Weibo：https://weibo.com/u/7823001376

—————-

[silkscreaming]

I made a volume 10 trimax vash cosplay for MAGfest and I am SO proud of how it came out :) Some process stuff below! Warning for image and text heavy.

Truthfully this cos is only about 85% complete—I’d purchased a bunch of hardware to really go in on a volume accurate version of his undersuit and belts, but simply ran out of time before the con. It was the first cosplay I’ve sewn since 2017 and the first wig styling I’ve done since 2020, so I’m not gonna beat myself up too much!

(This is all purse hardware off Etsy and some buttons from M&J trim)

This was my first time ever making a muslin mock-up, but I knew it was going to be necessary to get the coat to lay the way I wanted it to. I really wanted to try and create proportions that elongated the legs/torso and widened the shoulders by placing the coat tail splits appropriately and raising up the shoulders with some padding. And of course arm and leg details that I’ll get to someday lol.

I created two mock-ups. One of basic muslin that helped me go from an existing pre-bought pattern to something more Vash-shaped, then a second one on a slightly sturdier scrap fabric with my finalized torso proportions with padding so I could accurately pattern out the sleeves and collar.

I was tracing my pattern pieces onto newsprint and vellum as I went, so once all of those were finalized, it was time to cut my fabric! I used a heavy cotton twill from B&J fabrics and two kinds of fusible interfacing from Mood (I’m spoiled by being local to the fashion district these days). A smarter person would have bought a thinner fabric to line the inner torso with, but I did not feel like getting that complicated with my first ever muslin-drafted AND lined project, so I simply cut double of every pattern piece in order to create a lining.

Sleeves were done by interfacing and cutting into a top panel, carefully snipping at the cutout portions, ironing and fabritacking in place, and then top stitching the whole piece to the main sleeve. I later added some leather backing squares and interfacing behind the larger eyelets for aesthetic while keeping the ventilation in tact. Ideally in the future I'll also add a strip of fabric to the gun arm that creates a slight bunching effect since that sleeve is a little more ruffled over the cuff. Photos below also include three shoulder pads pinned together on each shoulder, but I ended up forgetting not using them on my final wear.

Unfortunately at this point I was approaching con time, so I started cutting some corners that I made easily replaceable for future upgrades. The coat tabs are just painted craft foam cut to the size of the buttons, tacked in place where the button pierces through the tab and where it wraps around the edge of the front panel. The straps that attach to the lapel and wrap under the arms also were just decorated with some silver trim instead of hardware, and I skipped the side button panels at his hips for pattern-making simplicity and time. They'll be added later! I'd also love to do some weathering, but don't think I can quite bring myself to riddle the coat tails with bullet holes as some people do haha.

Gun arm attachment was also a quick and dirty addition, just some vinyl trim on eva foam attached with contact cement and a decorative button. First time working with contact cement somehow, but I look forward to also being able to upgrade this at a later date to a more accurate shape with the full belt attachments!

I was also hoping to update the shoes a bit by making some boot covers for them and rub-n-buffing the soles to disguise the platform a bit, but I love my pick for the cleat-look that Vash has! Some good ol' Demonias in classic vash fashion :)

Last but not least: The Wig. My pride and joy.

I got lucky enough to nab an Arda sale, I think right before Halloween, and picked up the Morpheus lace front in black, along with some extra wefts in pale blonde. (I also bought a whole separate pale blonde Morpheus wig, boldly thinking I could swing a normal trimax vash wig lol. It made for a convenient Eriks wig in the mean time.)

Since I was aiming for the end of volume 10 post-Wolfwood death look, I started by trying on the wig, roughly tracing out my hairline, then gently unweaving that portion of black in order to re-ventilate it with blonde.

After I replaced that whole strip of plucked hair, I tried on again to finalize where I needed to ventilate to cover my own hairline, and completed my outline with both blonde and brown-black wefts (i had them on hand lol). All in all, I ventilated more than 4 square inches of blonde, and at least a solid centimeter extension of the black hairline across the whole front of the wig. Probably close to 30 hours of work in the ventilating alone, but I am a little slow since I haven't ventilated in a few years and didn't keep clear track of time.

If there's one thing I should be used to by now about Arda wigs, they are THICK. There is zero teasing in this wig. None. Just got2b, a blowdryer, and a prayer. And a good load of bobby pins. The wig was also sadly a last minute hotel room mad dash, and I do hope to restyle it under less duress, but I do think I successfully achieved the Trimax swoop and am very proud of it! It was unbelievably windy on the walk from our hotel room to MAGfest, so the photos in the start of this post show a bit more droop than my initial styling, but I think I'll be able to touch things up next wear.

And of course, shoutout to my partner for gifting me the official glasses for Christmas :) And thank you to my roommates who barely saw me for a month and a half except for when I needed help with a hem lol.

All in all, I am unbelievably proud of this cosplay, I can't wait to put some more love into it and wear it again!

[pwlanier]

NEW JERSEY "LONE STAR" PIECED QUILT, hand-stitched, various solid and print silk fabrics, center with a large eight-point star made from over 500 pieces, surrounded by eight eight-point stars, framed by on-point squares, triangles, and nine-patch blocks, three edges having solid outer border with corner blocks, featuring outline, diagonal, foliate motif, grid, and chain quilting with colored thread, applied Trenton tape binding, five-paneled muslin backing. First half 19th century.

Jeffrey Evans

[fayes-fics]

Cat-Nip [Drabble]

2k Celebration Masterpost

Pairing: Benedict Bridgerton x fem!reader

Summary: A new being joins the My Cottage household.

Warnings: none really, very minor injury. Otherwise it's all fluff.

Word Count: 863 (250 words, tsk honestly...)

Authors Note: the fourth of my 2k follower celebration drabble request fills (ask here). Unbetaed. Enjoy! <3

“What have you got there, my love?” Benedict asks warmly as he wanders in from painting in his studio for the afternoon.

“Oh, I just found this little moppet out in the garden; the poor thing was shivering,” you explain, scritching behind the tiny cat’s ear as it purrs so loudly it vibrates in your lap.

It’s all large eyes and tabby fluff—only a few months old, at a guess. Maybe abandoned by its mother. You were drawn outside by piteous cries that disturbed your reading. Now, after a quick but undignified bath in the scullery sink, some milk and leftover ham, it looks much perkier. And very happy to be with you. It has not stopped purring since.

“We have a new mouth to feed, don’t we?’ he sighs, walking over and touching your shoulder lightly, indulging you.

You look up at him through your lashes, knowing you have already won. “We have no choice; look at this little face?” you point out, your voice going high pitched and syrupy.

He rolls his eyes affectionately. “Does it have a name?”

“I believe it is a boy, so I was thinking… Anthony…,” you end with a giggle.

“Anthony? You want to name a tiny, useless ball of fluff after my elder brother? He will be mortified,” he points out, bemused.

“I know. That is why I like it, husband dearest,” you laugh louder, hugging the cat closer into your lap.

Benedict shakes his head and reaches down to pet the cat. Unfortunately, the little thing seems bewildered by a new unknown person touching it, and you watch horrified as it whips its head around and sinks its teeth into Benedict's finger, hissing at him.

“Oww!!” Benedict yelps and snatches back his hand. “That little scamp!”

“Anthony! No! Bad kitty!” you chastise, picking it up and scowling into its face. 

It at least has the to look a little contrite, and your heart melts a little at its pleading expression, even as Benedict huffs a laugh.

“Well, I must say, I will find great amusement in you admonishing anything with that name,” he states drolly. “Even if does not warm to me.”

“He will,” you assert. “He is just a little overwhelmed, that is all. Who could not love you, Benedict?” you point out, as if it is the most obvious thing in the world.

You put Anthony down into a basket you have padded with a small throw pillow, and he instantly seems to curl up, basking in the warmth of the fire nearby. Then you twist to look properly at Benedict and inhale sharply. There is a little trickle of blood running over his knuckles.

“Lords alive; I had no idea he had injured you so much! Why did you not say? We must get you fixed up right away!” you fret, jumping to your feet and dragging Benedict by the arm towards the kitchen, where you know the staff keep some medicinal supplies for knife-related injuries.

“Darling, I’m fine,” he chuckles at your concern.

“We are fixing you up!” you insist, pushing him down into a chair at the staff table with hands on his shoulders.

His face quirks into an amused expression as you open and close various cupboards in rather an agitated state until you make a tiny triumphant noise and pull back, holding a bottle of iodine, a roll of cotton bandage and some clean muslin squares.

You take a seat next to him and grab his large hand, mopping up the trickles of blood and then applying iodine to the puncture wounds from the little fangs.

“You are such a good patient, not even a hiss as I applied the tincture,” you tease lightheartedly.

He laughs and catches your chin with his good hand, tilting it so you look up from tending to his injury. Even after many months together, he can still make you flustered when he looks at you so intensely, so devotedly.

“I have the very best nurse there could ever be, that is why,” he smiles handsomely, and you know you are definitely blushing now.

“Stop it,” you demure. That just seems to encourage him, a rakish crooked grin breaking out.

“Never,” he whispers, “I live to make you blush, wife.”

“You are such a cad!” you scold, flicking a clean muslin square lightly against his arm.

“I know,” he responds fondly, leaning in and kissing your cheek. “But I have to be an even better husband now that I have competition for your affection.” 

“Anthony?” you giggle.

“Anthony,” he confirms with a gentle lilt just as you finish wrapping his hand in a bandage.

“Well, then, I think you had better make friends with him, my love. Because Anthony has my heart as much as you now,” you add with a wink, standing up and sashaying out of the room to check on the little creature.

“You had better be talking about the cat!”

“I love you, Benedict,” you singsong and blow him a kiss from the hallway.

“That didn't answer my question….” he calls after you, in a playful tone, and you laugh so loud it echoes up the walls.

Benedict taglist: @makaylan @foreverlonginguniverse @iboopedyournose @colettebronte @aintnuthinbutahounddog @severewobblerlightdragon @margofiore @writergirl-2001 @heeyyyou @enichole445 @enchantedbytomandhenry @ambitionspassionscoffee @chaoticcalzoneranchsports @nikaprincessofkattegat @baebee35 @crowleysqueenofhell @bridgertontess @fiction-is-life @lilacbeesworld @angels17324 @broooookiecrisp @queen-of-the-misfit-toys @eleanor-bradstreet @divaanya @musicismyoxygen84 @benedictspaintbrush @miindfucked @sorryallonsy @lilithseve @cayt0123 @hottytoddyhistory @truly-dionysus @fictionalmenloversblog @zinzysstuff @malpalgalz @panhoeofmanyfandoms @kinokomoonshine

[tiredwitchplant]

How to Use Herbs: Lavender (English Lavender)

Hello. Back with another post about how to use an herb. This time the herb is lavender. We discussed the history, powers and etc in another post (That I will link in a moment) and now we are going to see how we can use it. >>>> Post about Lavender

Alchemy Formulas:

*Remember when it says one part, try a teaspoon of it first. Always experiment with less amount than too much.

Mercury

one part lavender flowers

one part gum mastic

one part cinnamon chips

one part cinnamon oil

one part lavender oil

Air

one part gum arabic

one part cinnamon

one part lavender oil

one part clove oil

Change

one-part calamus root (Uranus; change)

one part lavender (Mercury; clarity)

one-part powdered nutmeg (Uranus; change)

one part cinnamon (Uranus, Mercury; change)

two parts sandalwood oil (Mercury, Moon; communication between conscious and subconscious minds)

Fame

one part cedar chips (Jupiter; renown)

one part angelica (Sun; authority)

one part myrtle (Venus; the arts)

one part gum mastic (Uranus; innovation)

one part lavender oil (Mercury; knowledge)

one part carnation oil (Jupiter; expansion)

Peace

one-part jasmin flowers (Moon; emotions)

one part myrrh resin (Saturn; grounding)

one part rose petals (Venus; love)

one part lotus oil (Neptune; inspiration)

one part lavender oil (Mercury; communication)

Spells:

Snake-beckoning Spell

Place an image on an altar, either of a snake or of an affiliated deity— the Minoan Serpent Goddess for instance.

Surround this with fresh lavender or warm the essential oil in an aroma burner.

Call the spirit. Be prepared to explain why you have issued the invitation.

Do this spell before bedtime, to receive a visitation in your dreams.

Don’t Sabotage My Success Spell (Workplace Edition)

Prepare a separate mojo for each person who appears to sabotage you.

Write the co-worker’s name on a square of brown paper three times.

Write your own name over each of the co-worker’s names, saying: “I cross you and I cover you.”

Anoint the corners of the paper with essential oils of bergamot, clove bud, and lavender.

Fold up the paper, placing it inside a red flannel drawstring bag, together with a devil’s shoestring root and some cumin seed.

Maintain this discreetly in the workplace, feeding daily with a drop of essential oil of lavender for reinforcement.

Herbal Beauty Glamour Spell

2 ounces of beeswax

1/2 cup coconut oil

1/2 cup olive oil

Glass measuring cup

Pan filled with water

Spoon

10 to 12 drops of lavender essential oil

10 to 12 drops of yarrow essential oil

Mirror

Pretty tin or jar

Combine the beeswax, coconut oil, and olive oil into the glass measuring cup and warm it in the pan full of water. This creates a double boiler like effect.

Once the wax melts, stir everything (the oils and beeswax) until well blended and remove it from the heat.

Add the lavender and yarrow oils, stirring them in slowly. As you do so, look into the mirror and say, I am lovely, I am desirable, I am magical. Beauty is more than skin deep. See me for the magnificence of my inner self.

Before it cools, pour your salve into a pretty tin or jar. After it has firmed up, use it on your skin.

Baths and Cleansing:

Maximum Power Spiritual Cleansing Bath

sea salt

rose and calendula blossoms

lavender oil

rose oil

rosemary oil

sandalwood oil

frankincense oil

myrrh oil

white rose hydrosol

Add copious quantities of sea salt to your bath water.

Add a drop of each essential oil into the water.

Float rose and calendula blossoms in the water, if possible.

Bath for Mercury

Herbs: lavender, white sandalwood, horehound, marjoram, thyme

Oils: lavender, white sandalwood, marjoram, anise

Self-Love Bath Bomb Bag

1 tablespoons of lavender

1 tablespoon of mandrake

1 tablespoon vervain

1 tablespoon vetivert

10-inch square of thin muslin or cotton

White ribbon

Red candle

Place the herbs in the center of the square of the cloth and gather up the corners.

Use the white ribbon to tie it, forming a pouch.

Run a warm bath and hang the pouch over the faucet, allowing the water to run through it, filling the tub with the essence of the herbs.

Light the candle and climb into the tub. Allow yourself to soak in the warm, fragrant water.

Use the herb pouch to wash your body, as you do, gaze into the candle's flame.

Visualize yourself radiating an aura of self-confidence and power. See yourself as the sort of person who attracts attention from those who are worthy.

When the water cools, extinguish the candle and get out of the tub. After you've dried yourself, dispose of the herb pouch by burying it or burning it.

Oils, Potions and Powders

Oil Blend for Patience

1 part rose

1 part lavender

1 part pine

Oil Blend for Peace

1 part violet

1 part lavender

1 part jasmine

1 part sandalwood

Masculine Oil Blend

Base note: 10 drops patchouli

Middle note: 10 drops sandalwood

Top note: 3 drops lavender

For the rest of the recipe, you will need:

1-ounce grated beeswax

Double boiler

1 ounce jojoba oil

2 metal 1-ounce containers

Flat toothpicks

Heat the grated beeswax in the double boiler until it is liquid.

Add the jojoba oil and gently mix the two ingredients together to achieve a homogenous blend.

Pour half the liquid into each container and add 3 drops of your essential oil blend.

Quickly stir the mixture with the toothpicks before the wax begins to set.

Keep one container for anointing yourself and the other as a gift to your consort so that he or she may come to appreciate you on a new level. If you are solitary and without a consort, you can use one for anointing your skin and the other for charging candles and ritual tools.

Love Potion #9

1. Choose nine love herbs. Consider these: Damiana

Ginger

Grains of Paradise

Hibiscus

Lovage

Melissa (lemon balm)

Peppermint

Red clover

Rose petals

(Other options might include adder’s tongue, cardamom pods, catnip, cubeb, lavender, red raspberry leaves or rose hips.)

2. Make a strong infusion of all the herbs, strain, and serve.

Love Powder Drawing Powder

1. Grind the following botanicals to a fine powder:

Basil

Lavender

Rose petals

Yarrow

Optional: ginger blossoms

2. Blend with rice powder.

3. Sprinkle around your home, your bedroom, on your sheets and on you.

Teas and Soothing Pillow:

Bedtime Tea

1 part lavender

1 part catnip

1 part verbena

1 part chamomile

1 cup of boiling water

Mix dry herbs into a small jar

To brew, pour 1 cup of boiling water over 1 teaspoon of the blend you made in the jar.

Steep for 5 - 7 minutes. Strain and enjoy.

Love Tea

1 part rose petals

1 part lavender

1 part jasmine

Pinch of cinnamon (optional)

1 cup of boiling water.

Mix dry herbs into a small jar

To brew, pour 1 cup of boiling water over 1 teaspoon of the blend you made in the jar.

Steep for 5 - 7 minutes. Strain and enjoy.

Dream Pillow (Hecate’s Pillow)

Hecate provides protection at night as well as psychic enhancement, so that you can journey safely during dreams. Appeal to Hecate to block nightmares too.

Dried lavender

Dried mullein

Essential oil of lavender

Optional: tuberose absolute

Blend two parts lavender to one part mullein.

Sprinkle a few drops of the essential oils over the dried botanicals.

Allow this to dry thoroughly and use it to fill a black pillow.

For optimum results, create and inaugurate the pillow during the Dark Moon or on Halloween/Samhain.

Again, sorry for such a long post. Please try to follow the instructions to the best of your abilities or mix and match and experiment. Happy witching. Bye byes~

Sources

[pisaracraft]

The first add-on to my granny square backpack is nearly finished!

The plan is that it could be affixed to either to the top or bottom of the pack by shoulder straps, but I haven't figured out HOW I do that yet, so brainstorming continues 😂

I was thinking of lining it with some dark colored muslin or similar fabric, so on an overnight trip I can flip the bag inside out, and use it as a pillow :D

[armory-rasa]

Project time: gambeson!

Been a while since I've liveblogged a new project, so I figured I'd take you with me on a voyage of discovery as I attempt to make a gambeson, aka arming jacket (among many other names), the quilted coat that goes underneath maille or plate armor to provide padding for comfort and protection. At its simplest, this:

I've always liked the look (when they're fitted better), but never had a use for one until the other day when I finally decided to bite the bullet and start doing SCA combat, as the local guys have been trying to get me to do for literally years. First fighter practice is next weekend, let's see what I can get done before then.

(Lolol, make no mistake though, I am not as good at sewing as I am at leather, because I only ever do it under duress. It's entirely possible that what I produce today by winging it will be underwhelming and/or unusable.)

So I looked at a BUNCH of pictures online to see all the various design choices available, and decided that I wanted:

Stylishly long, hitting right below the knee

Stylishly angled, with the hem coming to points rather than being cut square across

Detachable sleeves -- one, because sleeves are hard to make fit nicely, and two, because I'm undecided whether I want wide half-length sleeves (like the picture above) or fitted full-length sleeves. If they're detachable, I can have both.

Lacing on the sides -- because that's an easier way to get the fitted look than, y'know, actually tailoring it to fit. Also means it'll still fit even if I lose or gain inches.

Hat tip to this instructable for alerting me to the existence of pre-quilted fabric at Joanns, and also for doing it with two layers of that fabric, which was reassuring because I've never worked with it before and I was worried that just sewing single layers together would make it too bulky at the seams. I didn't need darts in the chest like hers did (lol thank god, because that looks Hard to do), and I wanted a less dramatic angle on the hem.

To that end, I used the pattern from my Anders brigandine as the jumping-off point:

Though I added some inches because I am no longer the skinny twink I used to be:

TIME TO CUT, BECAUSE I DON'T BELIEVE IN MUSLIN MOCKUPS AND I LIKE TO LIVE DANGEROUSLY.

(This, for the record, is why my sewing projects never turn out as well as they could, but I know myself and I know that if I do a mockup, I will be Fucking Done With Sewing by the time it's over, and then never get around to making the real thing. I expect this gambeson to be a learning experiment, and then wearing it for combat will further show me what I need to adjust for the next one.)

[weirdly-specific-but-ok]

pt III the wedding dress: crowley's shirt's ruffles (the brainrot is in terminal stages only palliative care is possible now)

OKAY. I'M SORRY FOR NOT POSTING FOR A WHILE BUT I AM HERE MAGGOTS (WHILE YOU'RE ALL BEING SO FUCKING LOVELY AND AMAZING ON THE COLLEGE POST WHICH TERRIFIES ME).

The last update was the shirt (everything related to aziracrow wedding brainrot is on my blog with the tag weirdly the nightingales wed) and I talked so long about the shirt and the Regency influences and the Jane Austen part that I realised I'd need a separate post for the ruffles. So. Here we are.

THE RUFFLES OVERVIEW: I spent too much time on this, but let's go. The ruffles were taken from that 1805-10 Regency evening gown that inspired the entire neckline, and they're the same material, muslin. They're overlaid with Alencon lace, the reason for which shall be stated below. I stopped the ruffles at the edge of the square neckline rather than going around the neck because given how the coat will be buttoned, it's not necessary and would just add bulk. For the same reason the ruffles would be sewn down at the edge with a French seam (it won't add lines to the silhouette or bulk, a maggot recommended that stitch) to prevent it from getting displaced.

THE LACE OVERVIEW: Oh, the fucking lace. Okay. So, this part of the dress was supposed to represent Shakespeare's time, the Edwardian era, from the Shakespeare/Hamlet scene in the season 1 episode 3 cold open. So I wanted to choose a lace that was popular in England at that time. I looked up the types of laces and their history, and found that Alencon lace best suited my purposes. It is the most popular lace for wedding dresses now. The lace would have motifs of birds (nightingales), leaves (Crowley's plants), angel wings (self-explanatory) and flowers (traditional for this lace).

THE NICE AND ACCURATE HISTORY: Ah, textile trade in the Edwardian era, exactly how I thought I'd be using my brainpower in the year of our Lord and Saviour Bildaddy 2024. Okay, the reason I chose Alencon lace was that during the end of the 16th century (which was around the time when Hamlet was written, 1599-1601, a direct reference to the episode), French lace was most popular in England. There were other popular lace imports, from Belgium, italy etc, as well as lace made in Devon (which wasn't as popular), but Queen Elizabeth had maintained ties with the French court and used lace on her gowns and that's how lace became fashionable. So I picked French lace.

Now the other types of French lace, Chantily lace and Argentan lace, weren't invented at the time Hamlet was written, so I was left with Alencon. The wedding thing was a bonus, honestly. Alencon lace originated in France in the 16th century, was called "Queen of Lace" and was a luxury. I do believe Aziraphale of the infamous I have standards would approve.

Soooooo. There you have it. The detailed real history behind the real lace on the ruffles of a fictional character's fictional dress for their fictional wedding that's not canon.

*contemplates life choices* Well, this isn't the very worst choice I've made, at least.

...that honour would belong to the cufflinks. Next update.

[zellink]

all the bells say - chapter 5: Softspoken

a pre-calamity zelink longfic. [M-rated // chapter 5 of 28 // Act 1 of 5]

>>Read chapter on AO3 or start from the beginning >>here

Chapter excerpt:

With a glass of water in her hand, her ears perk up at the sound of soft whickers coming from outside, so she postpones curling up in bed to peer through the window. There, on the ground, Zelda sees her knight, quiet in his equestrian ministration as he feeds their steeds. He’s stripped off the royal blue tunic, clothed only in the cream long-sleeved muslin shirt and his trousers. His baldric and the Sword rest on the wooden fence of the paddock. His shoulders look less squared, less tense. Epona is nuzzling his palm, munching on something—an apple? He did request for some from the stableboy earlier. A feeling close to satisfaction bubbles in her chest. Here she is, in her rented room, looming above him, quietly observing the observer.

>>Read chapter on AO3

[chicinsilk]

US Vogue March 1, 1954

Chanel Haute Couture Collection Spring/Summer 1954. Marie-Hélène Arnaud wears a navy blue wool jersey suit, with square, lightly padded shoulders; two patch pockets; cuffs that button and unbutton to turn over; pleated skirt on the side for easier walking; a washable white muslin blouse, cufflinks, button tabs on the skirt, front and back, a young turn-down collar and a young bow at the neck.

Chanel Collection Haute Couture Printemps/Été 1954. Marie-Hélène Arnaud porte un tailleur en jersey de laine bleu marine, aux épaules carrées, légèrement matelassées ; deux poches plaquées ; poignets qui se boutonnent et se déboutonnent pour se retourner ; jupe plissée sur le côté pour faciliter la marche ; une blouse en mousseline blanche lavable, des boutons de manchette, des pattes de boutonnage sur la jupe, devant et derrière, un col rabattu jeune et un noeud jeune au cou.

Photo Henry Clarke vogue archive

[chic-a-gigot]

La Mode illustrée, no. 22, 30 mai 1869, Paris. Toilettes de Mme Bréant-Castel. 28.r. N.ve des P.ts Champs. 28. Collection of the Rijksmuseum, Netherlands

Robe en foulard drap de soie violet uni, garnie d'un volant froncé ayant 40 centimètres de hauteur, surmonté d'une ruche double plissée et d'un biais ayant 4 centimètres de largeur. Casaque ajustée, pareille à la robe, avec biais (3 centimètres de largeur), ruche double et très-large, volant en dentelle de Chantilly. La casque, drapée de chaque côté, est ornée sur ses plis d'un nœud renversé en ruban de satin violet; même garniture sur le bord inférieur des manches. Chapeau de dentelle noire avec plume violette posée en diadème. Ombrelle violette doublée de blanc.

Plain purple silk foulard dress, trimmed with a gathered ruffle measuring 40 centimeters high, topped with a double pleated ruffle and a bias binding measuring 4 centimeters wide. Fitted gown, similar to the dress, with bias (3 centimeters wide), double and very wide ruffle, Chantilly lace flounce. The helmet, draped on each side, is decorated on its folds with an upside-down bow in purple satin ribbon; same trim on the bottom edge of the sleeves. Black lace hat with purple feather placed as a tiara. Purple umbrella lined with white.

—

Jeune fille. Robe de foulard rayé, rose et blanc; sur le bord inférieur, large volant très-peu froncé ayant 30 centimètres de largeur, surmonté d'une ruche à coquilles faite en taffetas rose. Petite tunique pareille à la robe, garnie de la même ruche et d'une frange de soie blanche, relevée par derrière de façon à former des paniers. Corselet pareil à la robe, corsage décolleté, en mousseline blanche plissée, manches courtes en même mousseline. Ceinture de taffetas rose.

Young lady. Striped foulard dress, pink and white; on the lower edge, large, very slightly gathered ruffle, 30 centimeters wide, topped with a shell ruffle made of pink taffeta. Small tunic similar to the dress, trimmed with the same ruffle and a fringe of white silk, raised at the back so as to form baskets. Corselet similar to the dress, low-cut bodice, in pleated white muslin, short sleeves in the same muslin. Pink taffeta belt.

—

Robe de linos, nuance feutre, garnie de trois volants découpés et festonnés, teinte sur teinte. Tunique pareille, garnie d'un volant, drapée sous de grands nœuds en même étoffe, à contours festonnés. Berthe carrée, formée par un volant festonné, très-étroit, posé en coquilles. Chapeau de paille rond, nuance feutre, avec roses rouges.

Linen dress, felt shade, trimmed with three cut-out and scalloped ruffles, shade on shade. Similar tunic, trimmed with a ruffle, draped under large bows in the same fabric, with scalloped edges. Square berthe, formed by a scalloped frill, very narrow, placed in shells. Round straw hat, felt shade, with red roses.

[dailyanarchistposts]

The Empire Raised Me

A Poem from Anansi’s Library

I was a soldier for her before I knew her name

Raised to die before I fully knew mine

Crafted by hand for eternal war

Raised for combat as the empire’s ward

I was raised a soldier

I was built for bowing down

To drop to my knees and worship at the sound of

Blood money capital and oil king’s crown

Obey our enforcers, pray to our flag

Our god is the state and war is her ballad

And you were raised a soldier

Stay your tongue child keep silent I beg

Don’t you know that our god can look into your head

See thoughts and images

Fears and dread and shape it all into will

Ask too many questions

Look through the fog

Set truth to deception and raise up the mob

Fight for real justice and soon you will see

The beauty of our weapons pointed straight at you and me

In the end this state knows no loyalty

For we were both raised soldiers

Peer through the windows and watch every street

Heed George Jackson’s words

Watch the pigs and never sleep

A muslin tall grass

A flashbang in the dark

Bombs for the masses

Soon the fires will start

A stalker in the nighttime

A predator

A drone

Tear gas and flames

Jack boots in your home

Door-to-door searches

To your knees dropping atone

Fearful and wordless we all look on

Toward the burning of Rome this can only progress

Toward panic in the streets

Police violence and unrest

Desperate riots to escape the cruelty

While the guilt is placed square on the shoulders of those in need

Fighting for justice is the greatest of sins

Punished by death since the empire began

And I was raised a soldier

Now the muzzle is at my back

The boots are at my door

The guns are all racked

And like my ancestors before

A hail of bullets will set me free

Express one day delivery

From your state god to thee

Expect from your lord no loyalty

For I was raised a soldier

[1] “By anarchist spirit I mean that deeply human sentiment, which aims at the good of all, freedom and justice for all, solidarity and love among the people; which is not an exclusive characteristic only of self-declared anarchists, but inspires all people who have a generous heart and an open mind.” Errico Malatesta, Umanita Nova, April 13, 1922