#applique embroidery designs

[aworldofpattern]

Lizzo wearing Dolce & Gabbana on the red carpet at the Grammys 2023

A custom ensemble of a silk Mikado opera coat embroidered with handmade silk flowers in a degradé effect, paired with a silk-corseted gown with crystal mesh Swarovski details. X

[walterkov]

Viktoria Rybakova "108 minutes of Cosmos" costume Wild silks, applique, embroidery, synth leather, 2021 Выставка "Магия вышивки Виктории Рыбаковой"

[fiftanraycenter]

🏆 Yogesh Khatri Secures Government Job in Railway Sector and Receives Award from Institute...........

🔥 Fiftanray Educational & Research Center is proud to announce that one of its distinguished students, Yogesh Khatri, has successfully secured a prestigious government job in the railway sector. In recognition of his outstanding achievements, Yogesh has also been awarded an accolade and certificate by the institute.

🏅This notable achievement highlights Yogesh's dedication, hard work, and the quality education provided by Fiftanray Educational & Research Center. His journey at the center has been marked by academic excellence and a relentless pursuit of his goals. His success serves as an inspiration to fellow students, showcasing the potential and opportunities available through commitment and perseverance.

🎯 The faculty and staff of Fiftanray Educational & Research Center extend their heartfelt congratulations to Yogesh Khatri. They are confident that he will excel in his new role and contribute significantly to the railway sector. This recognition underscores the center's mission to nurture and develop talent, preparing students for successful careers and meaningful contributions to society.

[omlembroidery]

Chicken Embroidery Applique

Have you heard? The bird is the word… I mean Chicken embroidery applique designs! New! Chicken embroidery applique designs. Stitch out 8 blocks featuring different chicken portraits and a chicken coop. You will fall in love with these new chicken designs. There is a chicken for everyone in this design set. “I made a funny, son and you’re not laughin’” Foghorn Leghorn PS: If you don’t know who…

[embroidery-pro]

Embroidery machine Tips for wonderful applique

Applique Magic with Your Embroidery Machine: Tips for Stunning Results

Embroidery machines unlock a world of creative possibilities, and applique adds a delightful dimension to your projects. By fusing fabric pieces onto a background fabric, you can create vibrant designs, personalized gifts, and charming home decor. But achieving flawless applique with your machine requires specific techniques and knowledge. Fear not, embroidery enthusiasts! This guide delves into essential tips to help you master applique and transform your machine into a tool for stunning fabric art. Preparing the Perfect Canvas: Fabrics for Applique Success The foundation for beautiful applique lies in the fabric choices. Here's what to consider: Background Fabric: Opt for a stable woven fabric that can withstand the heat and pressure of embroidery stitching. Cotton woven fabrics like quilting cottons or poplin are excellent choices. Avoid stretchy materials that may distort during embroidery. Applique Fabrics: The possibilities are endless! Choose fabrics that complement your design and add visual interest. Popular options include felt, wool, cotton, and even lightweight synthetic fabrics. Test different fabrics on a scrap piece before incorporating them into your project to ensure they adhere well and handle embroidery stitching without fraying. Pro Tip: Starch the background fabric lightly to provide extra stability and prevent puckering during applique stitching. Interfacing Your Applique Shapes: Adding Strength and Stability For a professional finish and to prevent fraying, interfacing your applique shapes is crucial. Here are some interfacing options: Fusible Webbing: This is a popular choice for small to medium-sized applique shapes. Apply the fusible webbing to the backside of your applique fabric following the manufacturer's instructions, then iron it onto your pre-cut applique pieces. Heat n' Bond Lightweight: This interfacing provides slightly more structure than fusible webbing and is ideal for intricate applique details or slightly heavier fabrics. Non-Fusible Interfacing: Use this for larger applique shapes that require additional stability. Adhere the interfacing to the back of your applique fabric with a temporary fabric adhesive spray or glue stick, then stitch around the shape's edges to secure it in place. Remember: Choose the interfacing weight and type based on the applique fabric's weight and overall design complexity. Tools of the Trade: Essential Supplies for Machine Applique Embroidery Machine: With various applique stitch options (satin stitch, blanket stitch, zigzag stitch, etc.), your machine is your creative partner. Stabilizer: Use a water-soluble stabilizer for raw-edge applique or a tear-away stabilizer for applique with a satin stitch finish. Stabilizers prevent the background fabric from puckering and ensure smooth stitching. Fabric Scissors: Sharp fabric scissors are essential for precise cutting of applique shapes. Consider investing in dedicated applique scissors with a small, pointed tip for intricate details. Fabric Marking Pen: Use a heat-soluble or water-soluble pen to mark placement lines for your applique pieces on the background fabric. Embroidery Hoop: Choose a hoop size that comfortably accommodates your entire applique design. Adhesives: Temporary spray adhesive or glue sticks can be helpful for positioning applique pieces before stitching them in place. Mastering the Art of Cutting: Techniques for Flawless Applique Shapes Templates: Create paper or cardboard templates for your applique shapes. Trace the templates onto your chosen applique fabric and cut them out. Die Cutters: For precise and consistent shapes, especially with intricate designs, invest in embroidery applique dies and a compatible die-cutting machine. Heat Cut Tools: Some machines offer built-in heat cutting capabilities. Utilize these if your machine has this feature to directly cut your applique shapes from the chosen fabric. Important Note: Always reverse your applique shapes if the design features text or lettering to ensure it reads correctly after being stitched onto the background fabric. Choosing the Right Stitch: Embracing the Power of Applique Stitches Embroidery machines offer a variety of stitches ideal for applique. Here are some popular options: Satin Stitch: This is a go-to stitch for creating a smooth, decorative edge around your applique shapes. Experiment with different stitch widths to achieve the desired effect. Blanket Stitch: This stitch offers a more casual finish while still securing the applique piece in place. It's a good choice for adding a touch of texture to your projects. Zigzag Stitch: This stitch provides a secure hold for applique pieces and can be used for both straight and curved edges. Decorative Stitches: Many machines offer specialized decorative stitches that can enhance the visual appeal of your applique. Explore the options available on your machine and experiment with creative stitch combinations. Tip: When selecting an applique stitch, consider the size and intricacy of your design, as well as the desired finished look.

The Magic Touch: Stitching Strategies for Flawless Applique

Now that you've chosen your perfect applique fabrics, mastered cutting techniques, and selected the ideal stitch, it's time to bring your design to life! Here are some essential stitching strategies for flawless applique with your embroidery machine: Securing Your Applique: Temporary Adhesive: For added control and to prevent applique shapes from shifting during stitching, use a small amount of temporary spray adhesive or a glue stick to secure the applique pieces onto the marked positions on your background fabric. Placement Hooping: When using a hoop, ensure the applique pieces lay flat and wrinkle-free within the hooping area. Avoid excessive tension that might distort the shapes. Stitch Order and Overlap: Start from the Center: Begin stitching from the center of your applique design and work your way outwards. This approach minimizes any puckering or distortion around the edges. Stitch Overlap: When using a satin stitch or other decorative stitch for the applique edge, ensure the stitches slightly overlap the raw edge of the applique fabric. This encloses the fabric edge and prevents fraying. Compensate for Stitch Density: Dense applique stitches can cause the applique piece to shrink slightly. To counteract this, consider using a slightly larger applique shape compared to the final desired size in your design. Advanced Applique Techniques: Reverse Applique: This technique involves stitching the applique shape onto the background fabric, then carefully cutting away the excess background fabric from within the stitched outline. This creates a unique, layered effect. In-the-hoop Applique: Some embroidery machines offer specialized in-the-hoop applique features. These may involve cutting and fusing applique shapes directly within the hooping frame using the machine's capabilities. Explore your machine's manual to see if it offers such functionalities. Finishing Touches: Trimming Excess Threads: Carefully trim any loose threads or jump stitches with sharp embroidery scissors. Pressing (Optional): For a crisp, professional finish, lightly press your completed applique project from the backside using a cool iron setting appropriate for the fabric types used. By following these tips and practicing your applique techniques, you'll be well on your way to creating stunning, personalized projects with your embroidery machine. Remember, experimentation is key! Don't be afraid to try different applique fabrics, stitches, and design elements to discover your own unique style. Bonus Tip: Invest in a magnifying lamp for close-up work while stitching intricate applique details. With a little practice and these helpful insights, you can transform your embroidery machine into a powerful tool for creating beautiful and captivating applique masterpieces. Happy stitching! Discover Our Collection of Applique designs Here  Read the full article

[oddinfotech]

Applique Embroidery Digitizing

🧵 Welcome to OddInfotech, where creativity meets precision! 🌟 Our custom embroidery digitizing services are here to bring your designs to life – whether it's a sleek logo, textured 3D puff, or vibrant applique. With prices starting at just $3, we make quality embroidery accessible to all. 🌍 Proudly serving clients in the USA, UK, and European countries, we're your go-to partner for turning images into stunning embroidered masterpieces. Let's weave your brand's tale with OddInfotech! ✨

[luciality]

the first jsk i made for myself was maybe back in 2016/2017 with the m2035 cosplay pattern and some blue quilters cotton with a tiny cherry print. i dont even have any cherry prints in my closet now i much prefer strawberry. but idk maybe i should try designing a more flattering pattern (tube bodices always look bad on me even when i was *** just bc my genetic curse) and making a cherry coord from scratch over the christmas break. i need an excuse to make myself a blouse tbh and doing a cute cherry embroidery motif would rly make it more fun than another solid color blouse. and if i have a cherry blouse i need a cherry jsk. depending on how much fabric i might even make a cherry skirt. maybe i can even design a cherry bag. and of course i will need a cherry headdress. i could even try my hand at knitting some cherry socks- *gunshots* ow im dead

[shaadiwish]

Moledro’s Taabir Collection Will Leave You Stunned With Its Impeccably Refreshing Designs & Hues. Stay Tuned To ShaadiWish For Latest Trends And Ideas.

[aworldofpattern]

Valentino FW23 Haute Couture details

[nemfrog]

Butterfly design in applique. The ladies' guide to needle work, embroidery, etc. 1877.

Internet Archive

[chic-a-gigot]

La Mode nationale, no. 26, 28 juin 1902, Paris. Toilettes d'été pour dames et jeunes filles. Bibliothèque nationale de France

(13) Corsage de dîners pour jeune femme ou dame d'un certain âge, en dentelle arabe agrémentée de petits velours noirs et de choux. Guimpe et dessous de manche en linon de soie soufre à plis fins. Manche pagode ornée de choux comme le devant du corsage.

(13) Dinner corsage for young women or ladies of a certain age, in Arabic lace decorated with small black velvets and cabbages. Guimpe and under sleeve in finely pleated sulfur silk lawn. Pagoda sleeve decorated with cabbages like the front of the bodice.

Matériaux: Dentelle en laize; 2 mètres de linon soufre.

—

(14) Robe élégante pour jeune femme. Jupe en forme, en crêpe rose-pastel, ornée au bas d'une bande plissée, encadrée d'entre-deux en broderie de soie noire sur fond rose. Corsage de dentelle à longue basque rapportée; ceinture rose. Boléro à manches courtes, en crêpe rose plissé et entouré de bandes brodées. Empiècement plat et col montant en dentelle; devant, choux de velours noirs et bouts tombants terminés par des glands de perles.

(14) Elegant dress for young women. Shaped skirt, in pastel pink crepe, decorated at the bottom with a pleated band, framed by black silk embroidery inserts on a pink background. Lace bodice with long basque attached; pink belt. Short-sleeved bolero, in pleated pink crepe and surrounded by embroidered bands. Flat yoke and high lace collar; in front, black velvet puffs and falling ends finished with pearl tassels.

Matériaux: 10 mètres de crêpe; dentelle en laize.

—

(15) Robe de visites pour jeune femme. Princesse en drap souple vert-Nil. Le bas est un volant à repincés sur lequel passent des biais piqués. Le corsage à repincés et biais piqués est décolleté en rond et ouvert sur un dessous en linon de soie à plis fins piqués. Col en forme en taffetas blancs à dessins roses. Manche évasée, conçue dans le même esprit que la jupe, écourtée sur un bouffant de soie pareille au col. Les biais du corsage se terminent sous des boucles.

(15) Visiting dress for young women. Princess in soft Nile green cloth. The bottom is a ruffle with stitched bias binding. The bodice with stitched bias binding has a round neckline and opens onto a silk lawn underside with fine stitched pleats. Shaped collar in white taffeta with pink designs. Flared sleeve, designed in the same spirit as the skirt, cropped on a silk bouffant similar to the collar. The bodice bias ends under buckles.

Matériaux: 0m,50 de drap vert; 2 mètres de linon de soie; 1 mètre de soie à dessins roses.

—

(16) Robe simple pour jeune femme ou jeune fille, en homespum d'été bleu clair moucheté de noir. Jupe composée de volants en forme taillés en pointe devant et ornés d'une fine passementerie noire. Corsage orné de pattes de velours noir et de passementerie. Manche à trois pèlerines. Grand col de linon plissé orné de broderie. Col et ceinture en panne émeraude.

La même toilette serait jolie en toile ou en piqué.

(16) Simple dress for young women or girls, in light blue summer homespun speckled with black. Skirt composed of shaped ruffles cut into a point at the front and decorated with fine black trimmings. Bodice decorated with black velvet tabs and trimmings. Sleeve with three capes. Large pleated lawn collar decorated with embroidery. Emerald pan collar and belt.

The same toilet would look pretty in canvas or pique.

Matériaux: 6m,20 d'homespum; 1 mètre de panne.

—

(17) Robe de campagne pour jeune femme ou jeune fille, en toile gris pâle. Jupe en forme faite de volants pèlerine superposés. Longue basque rapportée, ornée de poches en toile brodées de cotons lavables ou appliquées de fleurs et de feuillages en cretonne. Boléro très ajusté enguirlandé de la même façon. Guimpe rayée de ganses noirs. Nœud en mousseline de soie blanche lisérée de noir. Manche à revers brodés.

La même toilette en lainage léger et appliques; la guimpe en pékiné.

(17) Country dress for young women or girls, in pale gray canvas. Shaped skirt made of layered pelerine ruffles. Long attached peplum, decorated with canvas pockets embroidered with washable cotton or applied with cretonne flowers and foliage. Very fitted bolero garlanded in the same way. Guimpe striped with black braid. Bow in white silk chiffon edged in black. Sleeve with embroidered cuffs.

The same ensemble in light wool and appliques; the wimple in pekiné.

Matériaux: 8m,50 de toile.

—

(18) Robe de visites pour jeune femme ou jeune fille, en foulard japonais blanc et rouge clair. Jupe en forme garnie de trois petits volants lisérés d'un dépassant en pékiné noir et blanc. Corsage à basque rapportée, entourée d'un biais en pékiné, ouvert sur un gilet de taffetas, lui-même ouvert sur un plastron de soie rouge. Col dentelé en soie blanche rayé de velours noir. Grand col de dentelle; manche élargie, très courte sur un volant de dentelle. Ceinture en taffetas pékiné.

(18) Visiting dress for young woman or girl, in white and light red Japanese foulard. Shaped skirt trimmed with three small ruffles edged with a black and white pekiné overhang. Bodice with attached peplum, surrounded by a pekiné bias, open on a taffeta vest, itself open on a red silk bib. Serrated collar in white silk striped with black velvet. Large lace collar; enlarged sleeve, very short on a lace flounce. Belt in pekiné taffeta.

Matériaux: 12 mètres de foulard; 2 mètres de taffetas à rayures; 0m,60 de soie rouge.

—

(19) Manteau de promenade pour dame d'âge moyen. Collet de drap gris-clair, bordé d'un biais passent des pattes claires, volant brodé d'incrustations, de découpures en drap gris clair sur panne ou taffetas gris foncé. Col brodé pareil au volant. Deux pattes ferment en croisant.

(19) Walking coat for middle-aged lady. Collar of light gray cloth, edged with a bias pass of light tabs, flounce embroidered with inlays, cutouts in light gray cloth on panne or dark gray taffeta. Embroidered collar similar to the ruffle. Two legs close by crossing.

Matériaux: 2m,75 de drap gris clair; 2 mètres de taffetas ou de panne gris foncé.

Le chapeau est un tricorne de paille brûlée, enroulé de dentelle blanche et piqué de deux ailes noires.

The hat is a tricorn of burnt straw, wrapped in white lace and adorned with two black wings.

[getexcitedandmakethings]

I've posted about this quilt before, but I wanted to use it as an example to talk about the perceived vs the monetary value of handmade items (eg. what people think something is worth vs the time and effort that went into making it).

For reference, here is the quilt:

The original quilt was hand-stitched in the 1970s and it's sized for a twin bed.

Before we go further, think about what you would pay for this quilt based on what you know so far. Ready? More below the cut.

The original quilt was made by my grandmother and it was completely worn out to the point where if I hadn't taken it on as a project, it was destined for the trash. Value of the original quilt: somewhere between $0 and priceless, depending on how sentimental you are. For the purposes of this exercise, I'm going to say $0.

To repair the quilt, I purchased more than 60 square feet of felt and I used an uncountable amount of embroidery floss. All in, I estimate the cost of materials at about $250.

To repair the quilt, I hand embroidered 234 three inch diameter hexagons that were then appliqued over top of the exisiting quilt. Some of the hexagons were simple designs that only took 15-20 minutes, while others took 5-6 hours. All together, I spent 2-3 hours per day from November to the beginning of June sewing the patches and stitching them onto my quilt (that's an estimate of 532 hours in total for those who like math).

Once I finished the hand stitching, I paid a local quilter $135 to put a new back and edging on the quilt.

With all that information, has the amount you'd be willing to pay for this quilt increased or decreased?

My costs:

Materials - $250

Time (542 hours at $15/hr minimum wage) - $8,130

Quilting: $135

Total: $8,515

Obviously, this quilt isn't for sale and I didn't make it because it made sense from a monetary perspective. But I wanted to use this as an example to talk about the time that goes into making handmade items, whether they be quilts or paintings or even writing books or making music and how the time and effort of the artist is often at odds with what the market will bear.

[atlaculture]

Cultural Fashion: Kahola Pt. 2 - Clothing

Kahola is a character from Avatar Legends: The Roleplaying Game Core Book. He is the child of Southern Water Tribe pirates. His design is inspired by Ainu culture.

As this is not the first time I’ve written about Ainu clothing, expect a lot of quotes from my previous posts. I think one of the reasons Ainu clothing was chosen for Kahola’s design is the preponderance of blue in traditional Ainu clothing, just like in the Water Tribe. There’s actually a practical reasons for this:

The color blue is actually closely associated with the Ainu people, due to natural indigo (aizome/藍染め) being one of the most common and resilient traditional dyes in Japan.

So if you ever wondered how the Water Tribe gets enough blue to dye all of their clothing that trademark color, they likely get it through trade with ATLA’s Japan-equivalent, Kyoshi Island.

Regarding the patterns and designs all throughout Kahola’s design...

Traditional Ainu decorations favor bold, geometric shapes along the openings of the clothing. These decorations were seen as charms that warded off evil spirits and protected the wearer, hence why the the patterns appeared on areas of the clothing considered vulnerable: Collars, cuffs, hems and backs... From a practical standpoint, adding embroidery and applique to the areas most vulnerable to wear and tear extends the life of a garment, in addition to adding aesthetic appeal.

Unlike the designs of the Kyoshi Islanders--- which had to be simplified for animation purposes--- Kahola’s Ainu-inspired clothing gets to be as beautifully elaborate as its real-life inspiration. The embroidery and appliques (kaparamip / カパラミプ) added to the robes are said to be imbued with the love and soul of the embroiderer. The designs of these appliques are inspired by aspects of nature that Ainu people view as embodying strength and protection.

For example, the swirls on Kahola’s leggings are called moreu (モレウ), meaning spirals. These spirals are stylized representations of whirlpools, symbols of power in Ainu culture. Considering Kahola is both a waterbender and a pirate, he likely shares a similar reverence for them. The designs on his lapels are called ayusi (アイウシ), meaning thorns. This design is meant to ward off evil spirits from the wearer, just as thorns ward off predators from plants. Finally, the boxy patterns on the coat are called utasa (ウタサ), meaning intersecting shapes. They do not seem to represent any specific element of nature, but appear to act as general protection charms.

Finally, underneath their distinct robes, Ainu wear form-fitting undershirts and leggings. It’s worth noting that the patterns on Kahola’s sleeves loosely resemble Ainu hand tattoos, which also acted as protective charms. He also wears sandals, which are quintessentially Ainu (and Japanese) footwear.

Overall, I like Kahola’s design almost as much as I like Tsemo’s; I just wish it was for a Kyoshi Island character instead of a Water Tribe person. Both of his parents are Southern Water Tribe pirates so his choice of clothing doesn’t really make sense for the arctic seas. And Ainu aren’t any more known for being pirates than any other Asian ethnicity. I believe he was primarily given this design to distinguish him from the other waterbenders in the game. Personally, I would’ve put Kahola in a parka, put his guardian (Honu) into a Yakut-inspired dress, and have Honu come from the Northern Water Tribe. That way you’d have a SWT, NWT, and Swampbender character.

Like what I’m doing? Tips always appreciated, never expected. ^_^

https://ko-fi.com/atlaculture

[gradientdescent-does-it-all]

Sewing Journal: In Which My Embroidery Projects Become Increasingly Unhinged In Scope, Scale, and Content

Oh boy oh boy, I’m really excited about this one, y’all. After that series of smaller-scale experiments, I’ve finally pulled it all together to set up this fabulously visceral, gory panel by @barbatusart into the embroidery project that I’ll be doing off-camera for the next 2 months of Zoom calls.

In case it’s not clear from the picture, this thing is BIG. Like, 2 feet tall “big”. And although I can generally fit the embroidery frame onto my desk just off-camera, my coworkers have gotten used to knowing I’m always sewing just-offscreen and are in the habit of asking me to show what I’m doing. So I, uh, may need to keep a decoy project on hand to show them. Showing this one to my colleagues may qualify as ‘oversharing’.

If you wanna watch the daily progress pics of this one, I’ll have ‘em up over on the side blog @gradientdescentthreads . And if anyone’s interested in the combination of quilting and applique that went into setting this up, check it out below the cut!

Ok so this project started by slightly editing the original comic panel to pull out just the black and white line art into one layer, and the geometric color blocks into another. The original image used color sparingly so this wasn’t a very difficult task. I then printed both out to the exact same scale; these form the basis for the 2 layers of patterning that went into the overall composition.

Cutting up the print-out of the background was an easy route to a quilting pattern.

…And then, heart-breakingly, I cut up that nice quilt panel, using the paper print-out of the foreground as a template. Taking the lessons I learned from my smaller test projects, I used double-sided iron-on interfacing both to reinforce the fabric as well as attach it to the white underlayer cleanly. Then I got busy with a washable marker and a light box to trace the design. Finally, since the colored fabric was too dark for me to see through the light box, I printed out one final version of the design onto Stick-n-Stitch and overlaid it onto the red and black areas.

Why not save the time and just use Stick-n-Stitch for the entire design, you ask? Well, purely personal preference, but I feel like hand-tracing a complicated design helps me understand it better, kind of a dry run for rendering it in thread next. And also drawing those big gnarly teeth is just FUN.

[oddinfotech]

Custom Embroidery Digitizing Services in USA

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[salix-scribbles]

Nausicaä costume(s): Research

My favorite part of costuming from animation is imagining how the simple textures of animated cloth can be brought into real life. I take into account setting, especially if it’s a fantasy/historical/historical fantasy story, to determine what materials the characters would have access to before I decide what materials I will use. Certain concessions have to be made for cost/efficiency’s sake, but if something ends up taking more time in order to be cost-effective, I will usually take that route.

For Nausicaä, the princess of the Valley of the Wind, the cloth they have access to (in the logic set forth by Miyazaki in the manga) is wool woven from the hair of the goats and long-hair cattle raised in the Valley of the Wind, as well as a linen-like cloth woven from fibers raised in the valley. The manga confirms they raise these animals, and the film shows the many fields of agricultural plants.

Some observations I’ve made about outfits across kingdoms:

-There is a tank top-like foundation garment worn across kingdoms, and most outfits feature waist-fastening trousers. They fit loosely around the leg, but can be easily tucked into boots and have protective gaiters/greaves fastened over them. Materials could be different across kingdoms, but I speculate the tank/undershirt garment is linen and the trousers are undyed wool. In the photo below, the two women with Nausicaä are a Pejite citizen and the mother of the Pejite princess. Nausicaä wears the same undershirt and trouser combination as the Pejite citizen.

-The kingdom-specific variations seem to be in the cut/coloring/decoration of the tunics; neckline, pocket placement, gem embellishment, and applique/embroidery designs are examples of these variations. Below are images of Princess Kushana of Tolemekia, Princess Lastelle of Pejite, Princess Nausicaä disguised as a Pejite citizen, and finally Nausicaä in her most formal outfit we see. Headwear also varies across kingdoms; Tolemekia uses the most metal and Princess Kushana’s may show her high status as both military leader and royalty.

For the outfit I’m referring to as the “princess” outfit, or the most formal-appearing of the outfits featured in the movie, this is likely where the finest (meaning fineness of the spun thread and tightness of the weave) of the fabrics would be used. However, given that the people of the Valley of the Wind are very community-focused and their princess regularly engages directly with her people regardless of social standing, the “finest” fabric is probably available for community members to use and sew with, just dyed in different colors. Only Nausicaä wears the bright, sky-blue fabric, and her “finest” fabric version is a less-saturated hue of that sky-blue; I am going to assume this blue is reserved for members of the royal family, but not used to its full concentration/saturation capabilities since they are a fairly humble kingdom. The tunic also features pale purple trim around the neckline, sleeve cuffs, and the hemline of the skirt; a belt/sash in the same color is tied at the waist.

The trousers and boots seem to be the same as in other outfits (including the flight suit, further reinforcing my theory that these are base garments and the headwear and tunics are the variants), the same off-white of undyed wool and sturdy brown boots found across kingdoms.

In my mind’s eye, the headwear could be knit large in wool and then felted, with the gems sewn into the fabric after the fact. It could also be the same fabric as her tunic but lined/reinforced with a stiffened fabric to make it appear as a truly matching set.

Nausicaä’s flight tunic is a similar, slightly darker shade of blue than her formal tunic. It does not function as armor, but it is worn with protective gloves, protective gaiters/greaves, and a flexible head covering; the tunic itself is soft, pliable and features six cylindrical pockets for flares on its front. This flare-pocket style (in the animated film) is unique to the Valley of the Wind; Lord Yupa stores his flares in a similar manner, but that same storage is not featured on Asbel of Pejite’s tunic when he is shown in the Sea of Decay with his rifle. The neck fastening does not allow the collar (looks to me like a band collar) to close fully, but allows for it to be pulled over the head easily. I personally like the idea that this is a short length of spiral lacing (with the spiral facing towards the skin) with cord dyed to match the blue of her gloves, gaiters, and headwear.

The flight tunic is the shortest of the tunics in the movie, hitting her upper thigh. Nausicaä is proportioned like a classic shoujo heroine (in that her legs are long for her body), so some concessions may be made for people who are trying to balance screen accuracy with personal wearability. I personally will be going with personal wearability and, while my legs are long, my torso is not, so I will make adjustments in my own pattern.

Fabric-wise, wool seems most likely here (and is confirmed in a special insert to the Nausicaä manga to be specifically felted wool). The tunic skirt/flare is unlined. The whole tunic can be moved by wind, but not in a wispy way, which makes me think this is, within the logic of the manga and film, felted from a tightly-woven lightweight wool. For story accuracy, I could go with this -- but if I want to wear this tunic in daily life without looking very obviously costumed, I’ve never been a fan of felted wool on garments that aren’t coats. I plan to go with a woven wool fabric with a visible weave.

My first guess was that these gloves were wool and wet-felted directly onto a mold, but seeing the little finger seam gave me pause. The only soft, pliable material that still allows for some grip that the Valley of the Wind would have access to (that I can currently think of) would be hide/leather; blue leather dye seems hard to come by, though. The boots are also likely leather (maybe even the Valley breathing masks), though they could also be felted wool with leather/suede soles. If not made from leather, the gaiters/greaves, hat, and gloves are dyed blue would likely be felted wool.

Next is the prophecy tunic. This tunic is from the kingdom of Pejite; see one of the earlier images where the pink tunic is in the woman’s arms. It has a tall band collar that closes completely at the neck with a visible join and its most recognizable feature is the turtle-like design across the chest

It is originally pink but changes color when the blood of a baby Ohmu dyes it a dark blue. The blood also overdyes Nausicaä’s trousers a pale blue (the resulting shade is not unlike the blue of her princess outfit).

The skirt of the prophecy tunic falls below Nausicaä’s knees and is unlined. The sleeves flare somewhat over the wrist (they do not fit tightly) and a belt is worn at Nausicaä’s waist.

Based on what we know about Pejite from the manga, plus the similarities in how the center of this turtle-like design and various jewelries are shaded in the film, it is very likely that this design is beaded/beadwork and stitched/embroidered onto the garment. Given that the design is unaffected by the Ohmu’s blood when the fabric items are overdyed, they would need to be nonporous. I’m thinking carnelian and/or red jasper for the cabochon in the center (could also be made with smaller beads since finding a chunk of polished stone that size would be challenging, not to mention expensive and heavy to wear) and porcelain or white stoneware clay beads for the main portion of the design.