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[third-generation-female-warrior]

Hidden

So, I decided to maybe do a multi-chapter fic of what Talbott and Alexus were up to during the Second Wizarding War (but it could end up being a one-shot). I don't have too many plans, so I'm hoping I can keep it up. It may get a little more mature than what I've written before, never anything explicit, so far it's a T rating. Lots of romantical language, some dueling, writing the first bit felt a lot like writing quarantine, so take with that what you will.

Chapter 1

Sometimes, on quiet rainy nights, while laying in bed, Talbott Winger would reflect fondly upon the last few years of his life. He was still a young man, only twenty-four-years-old. Some would say the prime of life. He looked down at the woman laying down with him, and kissed her forehead, remembering the last few years, remembering how he was lucky enough to be living with her.

He had graduated from Hogwarts with her in 1991, and he wasted no time moving into a flat in London with his girlfriend of three years: Alexus Johnson. He continued his auror career while she had set up a private investigative office, occasionally working as a hit-witch for his department.

Working young kids, that’s what they were, tripping over themselves in the bliss of freedom, no teachers or dark cabals constantly looming over their heads. Just them, in their space, with their combined book collection.

They continued dating for another couple years until 1995, a year that Talbott reflected upon fondly as he noticed her eyes fluttering from a dream.

That was the year he had proposed to her. In a wheat field, under a large shady tree, when they were on a picnic together, he pulled her favorite book out of the basket and told her to find a story for him to read.

She turned to a marked page, a custom bookmark pressed between the pages of her favorite romantic poem. Embossed in blue lettering was the question he wanted to ask her.

“Will you marry me?”

By the time she processed the bookmark and looked at him for answers, he was already on one knee, an open box with his ring in his hands, held up to her.

They had a small ceremony, a few months later, only their closest friends and her mother and brother were in attendance. They didn’t need or want a big spectacle. All he wanted was to dance with his wife, and he did, for the whole night.

It was 1997 now, and he considered himself the luckiest wizard in the world. He loved her, he didn’t want to lose her.

He loved her, and there was a war right outside their door.

Instead of being stable and safe at their London flat, they were in a safe house.

He loved his wife, but she was rather prone to being targeted by large groups of dark wizards.

Granted, this time, as with his work serving under Alastor “Mad-Eye” Moody in the auror department, Talbott himself had been targeted as the Death Eaters took over the Ministry.

Mad-Eye had been killed just over two months ago, during a big confrontation involving Harry Potter and a bunch of Death Eaters, and a few weeks after, there was a wedding for Bill Weasley.

Alexus, still being a good friend with her the eldest Weasley, had attended with Talbott.

They were attacked while there, and that was when they went into hiding, apparating to their flat to grab the bags they had packed in advance before leaving, on a muggle bus, to a train station.

From that station, they made their way to some distant station before apparating again.

Somewhere in Ireland, Talbott didn’t know the exact location. An old villa in the countryside with rolling hills to the right, as far as they could see, and a thick forest to the left of the home, her father’s childhood home, apparently. She and Jacob inherited it when he died.

It was modest, with a lush flower garden in the front, and a greenhouse in the back, a small village within a bike ride’s distance for when they needed groceries.

Most importantly, it had a library, a record player, and a radio.

The days passed slowly, the sun rose over the hills and set behind the trees.

To pass the time, they read, they danced, they cooked, they tended to the garden and greenhouse. Only sparingly did they venture to the village together, for being in sight of other people increased their risk of being sighted.

Today had included a trip to the village. It started off a sunny day, brilliant blue skies as they walked the markets in the center of the place. By the time they were leaving, fresh groceries in their arms, the dark clouds were rolling through the skys.

They had rushed home, just barely avoiding getting caught in the downpour. Alexus found the whole scenario hilarious. Rainy weather always made her feel better, and after dinner, she played music on the muggle device that she called a record player, some relic that belonged to her grandparents.

Talbott hadn’t really heard music like this before, but it was fascinating nonetheless. So, they danced that night, for a long time.

It was enough to leave Alexus properly tired by the time they were heading to bed, so she had fallen asleep in minutes, laying her head on his chest instead of the pillows.

He read his book with one hand, keeping his other arm around her. It was an old one, a collection of an author’s favorites that Alexus had gotten him for his 16th birthday.

The pages were well preserved, some passages underlined, the ink from their own pens fading.

He traced his thumb over a neat line, knowing it was Alexus who had marked it. He sighed and marked his spot before setting the book on his nightstand.

He turned off his light and gently moved, just slow enough so that he didn’t disturb his wife. He laid down and closed his eyes, letting the lullaby of the raindrops tapping on the window sooth him to sleep.

When the sun filtered in from the bedroom window, Talbott threw the blankets over his head.

“You have to get up eventually,” his wife’s chiding voice came from outside the covers.

“No I don’t,” he called back, a smile creeping onto his lips.

“We’re going to the forest, remember? To explore beyond the yard?”

He felt the weight of the bed shift, the springs in the mattress squeaking as she sat down at the foot.

He relented and sat up, pulling the covers off of his face.

She looked at him, with her big round eyes, misleadingly innocent, a soft smile on her lips. She was already dressed, wearing simple blue jeans and a long-sleeved blue shirt, her hair tied back into a bun, two strands of hair framing either side of her face.

“There you are,” she said, a glint of mischief taking its place in her eyes.

“Here I am,” he repeated before lifting his arms into a powerful stretch, extending his entire upper torso, a yawn accenting his movements.

“Get ready, I’ll be downstairs,” she said, leaning over the bed to peck his cheek before sliding off the bed and walking out.

Now, he really had no choice. He couldn’t keep his wife waiting.

He reflected on their predicament as he got ready for the day. They were treating it like a second honeymoon. If any bystander that they met asked, they were on vacation from two demanding jobs.

Vacation, he mentally repeated as he examined his face in the mirror. A small beard was developing, he hadn’t shaved in a few weeks. Everyone I know could be killed by now, and I’m on vacation. He shook his head to rapidly clear those thoughts. He couldn’t let his mind go down that direction. They were just as safe as he and Alexus.

He ran his hands through his hair, letting it fall where it may before he exited the bathroom, fully dressed. He wore khakis and a grey t-shirt, simple enough, but durable for a walk in the woods. Lastly, from his closet, he grabbed a dark jacket and threw it over his shoulder before making his way downstairs.

Alexus was in the kitchen, reaching through one of the cupboards to grab plates.

Talbott took the opportunity to look over what she was preparing. Bacon on one burner, scrambled eggs on another. He looked at the counter, to see bread in the toaster.

He turned the eggs before kissing the back of her head, reaching above her to grab the plates that were just at the brush of her fingertips.

“What would you do without me?” he said, almost teasingly.

“Get a step-ladder.”

He laughed as two pieces of toast popped up. She quickly took them out and added another slice. He started to prep their coffee.

It wasn’t too long before they sat down at the little table in a dining nook.

While they ate, Alexus was looking through a book of botany, one hand balancing the spine on the table and flicking through the pages, the other holding her fork and messing with eggs that she kept forgetting to actually eat.

He watched her read, her brow furrowing in concentration, her emerald eyes blocked only slightly by her reading glasses, lips slightly parted and occasionally mouthing words, eggs hovering an inch off her plate, occasionally dropping off the fork balanced between her two fingers.

“I thought we banned reading at the breakfast table for this reason,” Talbott remarked casually, snapping her out of her trance.

“Sorry,” she muttered, quickly marking her spot and setting it to the side before she started eating.

“Find anything interesting in the book?” he asked, trying to keep a conversation.

“Well, nothing in particular,” she started, stirring her coffee slightly. Talbott waited for her to finish drinking, knowing that she was about to dump a niche patch of information on him.

“But I just think,” she continued, setting her mug down, “It’s interesting, there’s botany, the study of non-magical plants, but there’s also herbology, which is for magical plants, but there’s also a certain overlap in their medicinal and magical uses.”

He nodded slightly, watching her ramble. The topic she was discussing was rather interesting, but he always found her info-dumping made it more compelling.

“Like, dittany,” she said after a breath. “In herbology and potion making, it’s very powerful for healing purposes, but muggles know about dittany, it’s not just a magical plant. For them, it’s medicinal, ornamental, symbolic of love, used for culinary and perfumery purposes.”

“And?” he asked, encouraging her to state her real point, knowing that her tangent was merely a method of building context to set up her point.

“Why doesn’t someone publish a book containing both muggle and magical herbs?” she asked.

He frowned, biting the inside of his cheek as he thought. “That’s an excellent proposal,” he said, “I suppose we could.”

She tilted her head. “We?” she repeated.

“Well, yes. We’re both talented at Herbology, plus with all the books we read on gardening and other botanical research, we’d both be qualified enough.” He shrugged before taking the last bite of his toast.

She nodded before she continued eating. He could see the gears turning in her head.

She remained deep in thought even when they both finished breakfast and were walking out the door, heading left to enter the forest. There was a fog rolling over the hills and the forest floor, Talbott knew, was caused by the hot October sun evaporating the cold, wet air leftover from last night’s rain. It created a certain ambience as they walked along the natural pathway, the light of the sun breaking through the red and orange canopy and catching on the omnipresent mist.

The forest was cold, almost a biting chill, the shade of the trees only adding to that cold.

Talbott reached for her hand, and they walked together, keeping close for warmth.

There was a natural pathway to the forest, nothing paved, no stepping stones. Just a clearing of trees.

“What do you think we’ll find out here?” Talbott asked after a second of walking, the villa no longer visible behind them.

“Other than memories?” Alexus contemplated his answer, “My father, he wrote some poetry about this place. He called it Sunset Forest. I remember he described finding groves of berry bushes, small streams flowing into ponds, rabbits.”

“I didn’t know he was a poet,” Talbott said.

“Only in his spare time. That’s what my mum would tell me. He kept journals and filled them with poetry, ever since he was young. She gave me a box full of them for my 13th birthday.”

She let go of his hand to jump over a large branch that had fallen in the path. Talbott stepped over it and looked up, hearing a persistent little hammering on a tree trunk, knowing it was a woodpecker.

“Do you still have his journals?” he asked, looking back at her.

“Most of them,” she replied, reaching for his hand. “Jacob took some of his more… contemporary and political stuff. Apparently, he went through a phase, from what I could tell.”

Talbott laughed. “How so?”

“Well, in the journals from his early adult years, they were mostly about society and war.”

“Ah,” he nodded in understanding. He knew Alexus had a small dislike for contemporary poetry, especially when they were about war.

She believed that every good story deserved a love, whether it be a tragedy or a happy ending.

“I also brought a few journals with me, to the villa,” she muttered. “I know we were only supposed to pack essential things, but I just wanted-”

“You don’t have to make excuses to please me,” he quickly assured her. “I understand, it’s important to you.”

She stopped in her path, making him stop with her. “Would you like to hear some? I memorized a couple about this forest.”

“I would love to,” he assured her.

She hummed a bit, leaning against his arm as she thought, mentally searching her internal catalog of poetry. For a second, it was quiet, with just her humming and the sound of yellow leaves and twigs being crushed under foot.

“Okay,” she said finally, “This one is called La Bruja de Rosa. He wrote it after my mum told him she was a witch. His response was to propose to her.”

Talbott laughed again as she cleared her throat.

“Smoothed down by the steps Of the many men that have taken this road Before my first breath This forestry path with the stories untold

My story is mine My head is mine My heart is yours La bruja de rosa

Mi bruja de rosa, I walk this path Guided by your spell From my childhood villa To a love meant to last Oh, the story this ground could tell

Magical in the way you take my breath Oh, enchantress of my soul! Meet me at Gaia’s archway, for apart for me, is living death but together, I am whole

You are my other half On the Sunset Forest path, A compliment to me my flying rose, I offer you my prose and the villa To build our own castillo To last for years But only if You’ll say “yes” My dear”

Talbott let out a breath as she finished. “That was nice,” he muttered.

“My mother’s maiden name was Espartero-Rosales. Espartero was her mother’s last name, the one tied with my magical side of the family. But Rosales, it means “rose bush,” so there was a lot of rose symbolism in his poetry after he met her,” she explained.

“Espartero,” he repeated, humming a bit before a thought struck him. This time, he froze in his path, causing her to look back at him.

“Wait,” he looked at her, “Like, the Espartero family in Mexico?”

“Did I not mention that before? I mean, you know my mom was in both the European and Mexican Quidditch Hall of Fa-”

“You told me she played for Spain!”

“Yeah, she played for the Leona Madrid team after playing for the Mexican World Cup team!”

“You never told me you came from the most influential family in developing Herbology research!”

She started laughing as she turned to him. He wasn’t angry, it was more than likely shock manifesting in him.

She placed her hands on his chest and smoothed out his jacket. “Yes, that is my close family, yes, I keep in touch with them, and yes, we can visit them.”

She stood on her toes and kissed his cheek. “Satisfied?”

He gently wrapped his arms around her waist. “Very.”

She cupped his face into her hands and brushed his cheek with her right thumb before standing on her toes to kiss him on the lips, just for a second.

He moved one hand, placing it over hers to hold it in place as he turned his head to kiss her palm.

She smiled, staring up at him. “I love you, and we will get through this. Both of us. I promise,” she assured him.

“I will never let anything happen to us,” he murmured.

She looked into his eyes, that brilliant crimson, the sharpness of his intellect just as alluring as the day she met him, even now, after everything.

They had been married for a good two years, and it all passed like a dream for her. From the moment he got down on one knee, to when they were running home to grab their pre-packed luggage to escape Death Eaters.

He made life a dream for her, still, even in hiding, where they were the only two people in the world. He gave poems and stories she had memorized for years a new life. He gave her motivation when she had none. Hope when she was hopeless. Love when she needed it.

He was a dream for her, still, even after knowing each other for ten years. She loved him as easily as she did when they were younger, it was breathing to her.

But she was being greedy and she knew it. Neither two years nor ten was not enough for her.

She wanted so much more, she wanted what she vowed to: life. After all the danger she ran into headfirst as a youth, she knew life was not promised to her. Not when there was danger still chasing her, when she was awake, and in the dark nights where her dreams left her gasping in a cold sweat, reaching for him, depending on him to be the rock to anchor her back to reality.

Those were terrible nights, when she would sit up, in tears, trying to understand, trying to make sense of why everything she held dear was so fragile. Everyone she loved, they could be gone in a flash, and she didn’t understand it, she couldn’t understand why.

Why did so many things threaten to rip her friends and family from her hands? Why could she never escape the mysteries, the curses? She never wanted any of it, never wanted a reputation for breaking curses, defeating evil. She never wanted the things that threatened to rip Talbott from her hands. She just wanted him. She wanted to be there for him so much, it physically hurt. It was an ache in her chest, a lack of breath in her lungs.

She loved him too much, and she was being greedy because of it.

She loved him and just wanted a life with him. But the war outside the villa was just another thing that threatened to steal him from her.

She was going to spend her whole life with him; she was certain of that fact. What terrified her was how little time that could be. Three minutes, three days, three months. None of it was certain.

Nothing was promised to Alexus, except Talbott.

She stood back up on her toes and kissed him again, he leaned down so she didn’t have to strain so much.

She was so warmed by him, by his hands exploring her, by his lips moving against her own, until a bitter chill swept through a forest, a rustling wind shaking the trees.

Alexus pulled away, shivering, pulling her jean jacket closer around her.

She would have passed it off as a simple October breeze, until everything quieted, the sounds of the forest, the rustling of the leaves, the sounds of animals in the distance, it all went mute. The shadows of the trees grew longer, the sunlight disappearing, the fog taking a much more sinister presence now, heralding a threat, just lurking outside their field of vision. The only thing she heard was Talbott’s own shuddering breath, which puffed out like white smoke from his mouth.

In her stomach, a pit of dread was lodged, making her unsettled.

“T-Talbott,” she whispered through chattering teeth.

He pulled out his wand, she followed suit, and they moved to stand back-to-back.

She watched the fog, until she saw what she was looking for. A hooded figure, looming in the banks, gliding across the forest floor.

“Dementor!” she called before waving her wand, remembering her wedding night, the happiness she felt when Talbott slid the ring on her finger. A patronus of a coyote bounded from the tip and sprang in front of her, rushing at the dementor, sending it away before it could get closer.

“This way too!” Talbott called, another dementor appearing.

She turned on her heel, her and Talbott switching spots as the coyote ran, chasing away the second one.

Immediately, the air cleared, the soft October breeze rustled the canopy, the morning sun returned, even the fog seemed to fade now.

She expelled the patronus and looked at Talbott. “We have to leave, that wasn’t a coincidence,” she whispered, grabbing his hand and pulling him back down the forest path.

They ran to the villa, stumbling over tree trunks and branches, sliding on the golden leaves still wet with morning dew.

Alexus ran into the villa first, but the second she was through the door, a powerful blast sent her flying back, colliding into Talbott, sending him back as well, both of them rolling across the grassy lawn.

“Damn,” Alexus groaned, moving to stand up, clutching her stomach.

“Are you alright?” Talbott asked, sitting up,

“Fine,” she assured him, sliding her wand back into her hand. “But whoever just hit me with a jinx is going to be sorry.”

He pulled out his wand as well and stood up as a wizard, a snatcher, by the looks of his ratty robes, strolled out of the home.

“I wouldn’t try it, Johnson, we’ve got you surrounded,” he drawled casually.

There was a series of snaps as several other snatchers apparated in a circle around Talbott and Alexus.

“Johnson-Winger, I’m a married woman,” Alexus corrected, standing up. “And, I like my odds.”

She did a once-over, glancing over her shoulders, that was all she needed to do, Talbott was aware of that fact. All she needed was one look to gain an accurate account of where everyone was in relation to her own position.

Talbott dove for the ground as she waved her wand in a circle around her head, fire billowing out in a ring around them, pushing the Snatchers away from them.

Standing up, turning on his heel, Talbott fired hex after hex around him, nailing four of the seven snatchers in the chest, sending them down.

“Go inside, I got them!” Alexus called as she sent a particularly nasty hex at the most physically imposing thug.

Talbott ran inside, Alexus standing against two snatchers, both of them holding up their wands.

“Neat trick, Johnson,” the leader said, still standing.

“I’ve had a good amount of practice, didn’t they tell you my background?”

“Why do you think we brought so many?”

With that, they both snapped their wands forward, Alexus stepping to the side, dodging a glaring red jinx, but the second spell had her wand flying out of her hand, landing in the thick grass somewhere behind her.

“Damn,” she whispered before looking back at them.

“No wand, no magic,” the second one said.

Alexus planted one foot behind herself and aimed her hand forward.

She jerked her hand, red sparks shooting from her palm, colliding with the second-in-command, sending him flying back, unconscious.

“Ever heard of wandless magic?” Alexus asked as she turned to the last wizard. “Got any more tricks up your sleeve?”

He lowered his wand.

There was a shift behind Alexus, but before she could react, a pair of thick arms wrapped around her and lifted her up, pinning her arms to her sides.

She responded by slamming her head back as hard as she could into the person’s nose, prompting them to drop her. While they were occupied, she grabbed their wrist and arm, pulling it over her shoulder while hooking her foot behind his ankle, lifting him up enough to flip him over his shoulder.

She kept his arm in her hands, twisting it when he landed on his back, while placing her foot on his chest, keeping him pinned. There was a snapping noise, which was probably his shoulder, and he was yelling.

Alexus, satisfied, jumped back as the initial snatcher tried to hex her.

She quickly retreated, moving behind a snatcher who was slowly climbing to his feet. She grabbed this one by the front of his shirt and hoisted him up to his feet before turning around, using him as a shield, the lead snatcher’s hex hitting his back instead of her, forcing her to drop him as he went dead limp.

She grabbed his wand and ignored its hostile energy as she pointed it forward, right as the lead snatcher was about to hex her. They were at a draw, both ready to take each other out, but the question was, who would go first?

Alexus didn’t find out.

Before she could try, there was a small explosion at the wizard’s feet, sending him jumping back before Talbott sent another hex at him, pushing him back again.

Alexus, satisfied as her husband handled the last one, looked around the grass, running her hands through it before she found her hand.

She went around the other six snatchers and confounded them, casting obliviate on the conscious ones before taking all their wands and throwing them around the yard, some of them ending up in a pond. This would make it harder for them to find Talbott and Alexus again.

“Ready to go?” Talbott asked, holding their bags as she walked back to the house, the tent bundled at his feet.

She grabbed the tent and held it under one arm, placing her hand on his shoulder. “Ready,” she said before kissing his cheek.

With that, they disapparated away from the villa.

[innalterable]

[ park chaeyoung, 22 ] did you hear? there’s a new addition to the hypehens family! [ innalterable ] was starting to get known for [ speed paints, tutorials & supplies reviews ] and i think they will hit it big this time around as a part of the [ expresso ] squad at hypehens. [ kwang inna ] is known to be [ friendly & impulsive ] and enjoys [ collecting polaroids ]. with their vibes of [ singing horribly while taking a shower & enamel pins all over a denim jacket ] and a style that is unique, i think they are going to take the internet by storm!

hello everyone! i’m glad to introduce you to my daughter inna / danna! she’s a bit of a mess that only wants to spend the whole day in her home painting if possible. you can find her basics here, personality here, background here. if you're interested in plotting, you can find me in discord at internebula#6982!

without furher ado, here’s more about her: 

basic information

― full name: kwang inna ― nickname: nana ― age: twenty two ― date of birth: february 11th, 1998 ― birthplace: los angeles, california. ― current location: seoul, south korea ― ethnicity: asian ― nationality: (dual nationality) korean-american ― gender: cisfemale ― pronouns: she/her ― orientation: bisexual, demiromantic. ― religion: atheist ― occupation: content creator, freelance artist ― language(s) spoken: korean (fluent), english (fluent)

physical appearance

― faceclaim: park chaeyoung (rosé) of blackpink ― hair: naturally brown, currently dyed blonde. often put in messy buns, ponytails, french braids but also let loose with casual curls she gets from sleeping with her hair braided. ― eye colour: coffee brown ― height: 168cm ― weight: 45kg ― tattoos: four; the great wave off kanagawa on her right arm, flowery half sleeve on her left arm, moon arrow behind right ear and a matching triangle tattoo with her brother on her right inner forearm. ― piercings: lobe and upper lobe in both ears, anti-tragus on the left one, double helix on the right one. ― clothing style: high-waisted skirts, dresses that flow nicely with the wind, mom jeans that are a bit too long for her, graphic t-shirts she’s gotten from garage sales and thrift shops, oversized jackets she’s customized with either paint or enamel pins or patches, long coats that resemble those of classic detectives, her good ol’ dr. marteens in a variety of colors, knee and thigh high socks, athleisure outfits (consisting mainly of leggins and big sweatshirts), crop-tops, sling bags, whatever pair of sneakers she finds and matching bag or backpack.

headcanons

― born and raised in los angeles, her parents moved to usa right after they got married in their mid twenties only because of the feeling of adventure. they both got stable jobs there and even though her mom was the one that struggled the most with the different language, with the help of her husband she was able to improve steadily.

― ever since she was young, inna has showcased exceptional skills when it came to drawing and painting (if you consider the crayon scattered all over the walls of their apartment back in los angeles as art). always restless, she got easily bored with the common toys and games, only truly finding joy in the coloring books her parents always got her instead of dolls and an easy bake oven.

― she has always been heavily spoiled by every member of their family and inna grew used to this. it was no surprise that she always got what she wanted with a simple smile and her trademark grabby hands (she still does this till now and it’s absolutely gross). the one that spoiled her the most was her brother.

― inna holds dear every member of her family and despite being the ultimate spoiled princess, she always offered help around the house when she became older and realized that everyone had to do something for their household. she hated washing dishes though and always traded that task with her brother to the point that it became a natural thing for him to wash them and for her to mop and take the trash out. to this day, she will avoid washing dishes at any cost and her apartment often has a pile of dirty dishes which only makes it worse when she runs out of clean ones.

― the divorce of her parents hit her hard (spoiler alert: her father was awful when no one was seeing and cheated a lot on her mom, which she forgave every damn time until he crossed the line and brought another girl to their place) mainly because she didn’t understand what was happening at the moment and no one took their time to explain it to her. it was difficult to deal with her behaviour back then, she threw really loud tantrums and demanded to see her father almost daily and, whenever this didn’t happen, she’d go on a silent protest by not doing anything they asked her to. it’s years later that she understands everything (thanks to an argument she had with her brother for defending her dad and he just exploded). this, of course, greatly disappointed her and made her feel bad for still standing by her dad’s side.

― after that, inna just like her brother, closed a little to their father even though he was still as kind, loving and caring as ever with them despite everything. his attitude made her doubt her mother and brother several times, but then came the first girlfriend he ever introduced to them, and then the second… and so on.

― it was obvious that her mother drastically changed after the divorce and this scared inna a lot: letting someone in and become vulnerable with them only to have your heart broken sounded absolutely painful. and she didn’t want that. plus, her mom’s constant reminders of how she can’t trust anyone that its not her or her brother stayed deeply engraved within her.

― she’s never had a stable relationship, if anything, the longer she’s “gone out” with someone is a couple of weeks and after that, she ghosted them with no remorse. inna has had crushes in the past, but rarely ever actively pursues someone unless she’s really curious or interested to know more about them. nonetheless, she's a bit of a flirt and tends to get clingy and touchy when she's comfortable/close enough with someone.

― school is difficult in every stage for her, always getting rather mediocre grades in most of her classes except those that required a more creative and practical approach. simply put: she was bad at theoric classes and anything related to math and physics. though, inna was always close to failing but never did so. this was just one of the many reasons she didn’t want to pursue a college education.

― the creation of her channel is all thanks to her brother, her self-proclaimed number one fan and the one person that’s always encouraged her to keep going with her art. he suggested the idea and told her that they could do a testing video to see how comfortable she felt with it before uploading it. turns out, inna was more than okay with the camera for it focused on her hands and process the whole time. voice over was not necessary back then but as her channel evolved, so did the quality and content of her videos. steadily, she introduced different aspects of herself, starting with her voice by doing easy-to-follow tutorials and later on, her face was revealed when doing an art haul video. this helped her become more comfortable with the camera and now, every couple of weeks she posts vlogs of her visits to museums or events or just updates for her community.

― despite her popularity and some people even recognising her on the streets, inna has never considered herself to be a celebrity. in fact, she feels awkward with the title for she considers her channel to be just another one. she appreciates though whenever her prints get sold out or when someone asks for her autograph and a photo or even when she is invited to events as a special guest.

― the kind to get really excited when talking about things she likes. don’t get her started on her favorite medium or her favorite painting because she might go on for twenty seven minutes straight about how watercolors are the superior medium to work with.

― she likes experimenting with any and every medium out there, particularly enjoying art subscription boxes that always surprised her and push her out of her comfort zone. her specialization is landscapes and character design, though she’s recently learning to draw more animals and plants.

[what-inthe-goddamn]

If you do these types of asks, how about fo4 companions react to a SS who is a witch? Like if you displease them you’ll end up cursed, and their allies always seem to be having good days? Stuff like that if you don’t mind.

Thank you for this ask and I am eternally sorry that it took this long to complete, but it’s just in time for Halloween! You officially get one (1) free punch to use on me for making you wait this long.

Ada: Scavengers in this wasteland were another kind of scum: making her salvaging trips more competitive as good components were hard enough to find without them trying to snatch her good finds while she wasn’t paying attention. One day a scavenger tried to take one of pristine military circuit boards she had found that day and she finally had enough. Sole noticed her arguing with the scavenger over the stolen item and decided to step in herself, flicking her finger downward subtlety in the scavenger’s direction. After a moment the circuit had slipped out of the scavenger’s hands, promptly falling onto his foot. He yelled out in pain: allowing Ada to pick it up as Sole chuckled softly. As they moved onto the next area for components Ada couldn’t seem to process what had just happened. The scavenger had a perfectly fine grip onto the circuit until Sole had stepped in. Did Sole…? No, Ada wouldn’t even give the thought of Sole having any sort of powers, that was just nonsense.

Cait: While Cait liked bars and drinking at them, she never had a good history with the other customers at them. Drunk drifters picking fights with her or sleazy men trying to sneak a grab seemed unavoidable, but she knew how to handle them. A few harsh words and a slug to the face usually did the trick.  However, this particular man at the Dugout wouldn’t stop asking to buy her a drink or pay attention to him. Cait was about to beat in her next “No” into him when Sole peeked her head from besides Cait and told the dude to fuck off. The mean gritted his teeth and snapped at Sole, asking her to mind her own business. Sole frowned and waved her hand at him. A second later the drink he had in his hand slipped and spilled onto what seemed to be his only half-decent shirt. “Motherfu…!” the man growled, sulking as he walked off to deal with his shirt, shooting a glare towards Sole before walking out the door. Cait snickered, jokingly asking Sole if she was witch or somethin’. “Would you believe if I said yes?” Sole replied coyly. “Ah, probably.” she laughed. “But I’d probably believe anything ya told me right now, I’m very drunk.” Sole giggled, and Cait realized she might not have been joking. If Sole really is a witch, Cait would think that’d be pretty cool. Imagine all the shenanigans they could pull off!

Codsworth: Back before the bombs dropped Codsworth had the must beautiful flower bushes around Sole’s house. But when she left the poor little plants just couldn’t seem to hold on and all died within a week due to the fallout. He tried his best to bring them back, but to no avail. Once Sole had returned 210 years later though, Codsworth was more than ecstatic to see her! He regrettably let her know about the state of their garden, but Sole just smiled and asked him to check up on the flowers once she had a moment. While she and Codsworth surveyed the wrecked garden of their old home, she turned over the soil where the flowers once grew. At first the Mr. Handy was skeptical of this approach; Sole hadn’t even replaced the flowers! But Sole assured him that they would come back in time. A few days later, Codsworth casually hovered into the backyard, not expecting a full garden in bloom! The daises, the roses, the pansies; all were their swaying softly in the wind like they had never died! Codsworth brought this great news to Sole, who grinned brightly and asked to see them. As they marveled over their rejuvenated garden, Codsworth couldn’t quite come to a reasonable conclusion on how this could have happened. Could Sole have some other worldly spell craft? “I have reason to suspect that you possess supernatural abilities mum.” Sole chuckled, inspecting a small patch of daisies. “I knew you’d find out eventually, Codsworth.” It seemed that his suspicions were true. Since before the war he had these thoughts but had never really brought them until now. He decided to leave it at that and just enjoy the garden with her.

Curie: Curie was more than ecstatic to have her own herb garden; a gift from Sole. But alas! Apparently, Curie didn’t have a green thumb, and the plants were dying within a week! No matter what remedy she tried, her plants didn’t seem to come back to life. She had hoped so much for this garden, the medicines she could’ve made with these! She concluded that she was better formulating the plants into medicine rather than growing them. Curie finally asked Sole for help, seeing as how she didn’t want the garden to waste away after she was so generous to make it for Curie. Sole inspected the plants, the soil, and the water that Curie had been giving them. Sole then removed a small pouch, grab a pinch of some sand-like grain and sprinkled it into the soil of the planters. “Give a day or two and it should work.” Sole said confidently before leaving. Curie waited patiently, continuing to water the plants as normal. When she came in the second morning, the plants had grown twice their expected size overnight! Curie called over Sole immediately to see the miracle. “What did you put in there mademoiselle?!” “Oh, nothing special…” Sole grinned softly, giving Curie a small pat on the back. “Let me know if you need anything else Curie!” She walked off, leaving a very amazed Curie behind who began to harvest the herbs joyfully. This was no simple science, Curie had thought to herself. Could Sole have possibly have access to some kind of magic? There could be no other explanation, but she decided to ask Sole herself that question later. “I’ve come to the conclusion that you may be a-“. “A witch?” She was cut off by a grinning Sole. “Yes! I have so many questions!” Curie had never heard of witches outside of books and the odd tale the old scientists back at Vault 81 used to tell. She was grateful for Sole’s eagerness to answer her questions, she was fascinated by her!

Danse: Being boots on the ground and trekking across the commonwealth with Sole had its perks; but it came with the occasional danger and injury. While he was mostly unscathed after a recent fight, his arm had suffered a graze from a laser rifle’s shot. Usually a stimpak was a quick and easy fix for this, but upon looking in his and Sole’s inventory showed that they had already used their last stimpak. While the wound wasn’t a fatal one, they were about ten miles from the closest doctor or med-supply. Danse saw Sole think to herself for a moment before pulling out a rag and a bottle of water. “This’ll take some of burning away for bit.” She pressed the damp rag onto his arm, the cool water temporarily taking away the stinging sensation of the burn. They planned out their next path to a town, so they could resupply, seeing that the closest settlement was Diamond City. Danse preferred not traveling on foot with an injured arm, but Sole had already stated she had no flares for a vertibird. Danse suddenly realized the wound on his arm wasn’t hurting at all and asked Sole to remove her hand for a moment. When she took of the rag from him the burn wound had amazingly almost healed completely! “What was in that water?’ he asked, his eyes still glued to the healed wound. Sole chuckled, “Nothing, just water.” “This hasn’t happened before, did you…?” Sole met his eyes with a playful wink, stuffing the rag back into the bag and stood up. “I have a few tricks up my sleeve.” She began to walk off, Danse following behind, a confused expression still on his face. There was no obvious explanation for what had just happened, but he wasn’t ungrateful for that small miracle. “I’m asking this off the record here knight; are you…?” “A witch?” Sole had caught him off guard with her abrupt answer. “I know of the history of Salem and its infamous witch trials. But I honestly thought it was just ludicrous.” A small grin showed up on Sole’s face. “Not going to report me to the magistrates, are you?” A hearty laugh came out of him. “No, your secret is safe with me.”

Deacon: This was the tenth repair to his boots Deacon had to make this month. He’d throw them away if a better pair was available, but he didn’t have such luxury in this wasteland. The soles were falling off, the laces withering away each day, and more and more it seemed he had to fix on it. No amount of thread and stitching could keep them from falling apart it seemed. Deacon sighed to himself as he was trying to stitch the sole back to one of his shoes when Sole came into the Railroad bed bunks. “Again Deacon?” she asked nonchalantly. He let out a half-assed laugh, drooping the shoe and needle down in front in front of him. “Unless Fallon’s department makes a comeback with some solid footwear, this is all I have to work with.” Sole took up his weathered shoe and needle, inspecting the tears on it before starting to stitch herself as Deacon watched her. After finishing the first one, she traced her finger over the new stitches; then picked up other shoe and started the process again. Deacon sighed, leaning his head back against the wall and closed his eyes for a bit. He opened them at Sole’s soft nudging. “Here ya go.” She passed him back his boots. He took them and thanked her before taking a quick glance at them and set them down next to his mattress. He froze and looked at them again. All the tears and rips and weathering were completely gone. The original insoles were back in there too! His eyes snapped back to Sole, who had a sheepish grin on her face. “I’m not sure if I should thank you or report you to the local magistrates.” he kidded. Sole rolled her eyes, laying back onto her mattress and told him to get some sleep. “You got a spell for that, boss?” “GoodNIGHT Deacon.” “Night boss.” Deacon jokingly put his fingers up into a cross as he bunkered down as well. He couldn’t wait to see the look on Dez’s and Carrington’s faces tomorrow when he told them.

Dogmeat: Sole had noticed that Dogmeat was very lonely at Sanctuary; he was only dog there and none of the settlers besides Preston and Sturges seem to want to play with him. So, she came up with the idea to set up dog houses with spare food in hopes of attracting another furry friend. But a week went by and Dogmeat was still wandering the settlement by himself. Finally, she decided to set out an extra plate of dog food, this time sprinkling a special spice she blended from the herbs in her garden. Dogmeat watched her excitedly, feeling lucky that a new friend would show up anytime soon. The morning after that, Dogmeat woke up to a giddy little retriever sniffing around his dog house. A new friend! The two canines rushed into Sole’s house to wake her up, who happily patted both of their heads before she gave the new dog a collar. Dogmeat was overjoyed at the fact that he wouldn’t be stuck by himself whenever Sole was gone now. Now while Dogmeat wasn’t quite wise enough to sense that magic was being played into this happy event, he knew something has always been different about Sole. Maybe that’s why he likes her, besides the numerous treats she gives him daily.

Gage: Tempers were getting fiery within the Disciples gang, seeing as how they were pissed at how the new Overboss hadn’t given them any territory yet. Gage suggested to Sole to meet with Nisha and doing some small tasks: just to stay on her good side. On the way up to Nisha’s room in the Fizztop Mountain, a Disciple woman snarled at Gage, threatening a loss of another eye if they didn’t shape up soon. Gage shrugged it off, feeding into their remarks only made it worse. Sole however snapped back that they should watch who they’re talking to. Gage tried to get Sole to disengage with the woman, but she stared down the raider anyway. “What are you gonna do about it?” the disciple laughed. Sole then turned up her nose at her, her eyes unwavering. The bar that was holding up the raider leaning on it suddenly snapped, and she toppled down onto the ground 20 feet below, a scream escaping her before her body crashed onto the hard pavement. Everyone in the room was silent for a moment, then snapped their eyes onto the Overboss, including Gage. Sole shrugged, “Shouldn’t have been leaning on that. Things break.” She resumed walking up to Nisha as Gage followed behind cautiously. What just happened? Gage wasn’t one to be superstitious, but he decided it would be a good idea not to piss his boss off anytime soon. “Geez boss, you gonna put a curse on everyone who pisses you off?” Gage joked when they got back to the Fizztop Grille. “Maybe.” She scoffed taking a seat at the bar, a sarcastic smirk plastered on her face. “Not exactly good for business; and keep it to a minimum. Wouldn’t want to have to suffer through a witch trial.” “Jackass.” “So, I’m right?” he asked. “Yeah, just didn’t expect you to figure it out so soon.” “Hard not to when people start ‘falling’ accidentally.” Gage received a soft punch to his arm for that.

Hancock: Keeping loan sharks and the threatening sort away from newcomers to Goodneighbor was an ongoing duty for Hancock. While some of the drifters bothering visitors was an easy fix with a simple few words or a loose threat, an occasional one would try to start a fight with him. That’s fine, Hancock as no stranger to that sort of thing. But he much preferred to keep the peace. However, a certain drifter was trying to corner the latest newcomer into giving them a handful of caps for a “visitation tax”. He sighed and told the drifter to give the new guy some space. Apparently, they were not one to be bossed around; taking out a knife and glaring down the mayor. Sole appeared to Hancock’s side, warning that the drifter not to try anything. The drifter charged at Hancock anyway, only an arm’s length away from him before suddenly tripping on thin air and crashing into the ground. The drifter was groaning out in pain, in which Hancock realized the idiot had somehow managed to fall onto his own knife. He glanced briefly at Sole, who had a small smirk on her face, suggesting they call over Dr. Amari. Hancock stood frozen for a moment as she walked off. He wanted to think it was just pure luck that got him unharmed, but something told him it had to do with Sole. “Should I invest in a cross or two?” he joshed as he and Sole plopped down onto his couch. “That’s for vampires, dumbass.” She lightly punched him in the shoulder, “Invest in a bible instead, or just make sure to stay on my good side.” Hancock hooted at the thought of that. “So, when were you gonna tell me you were a broom-rider?” “Really?” she scoffed. “Potion-maker?” “John.” “Crystal ball-reader?” “I swear to god.” Hancock now had a new list of jokes and puns just for her. Couldn’t wait to use them all or until she has enough and turns him into a frog.

Longfellow: This godforsaken island didn’t have much to do, so Longfellow usually passed the time with fishing. Sadly, the fish didn’t seem to be biting this month. No matter how much bait or chum he dropped into the water, not a single fish was taking a bite. He was just about to call it a day when Sole had made her way to his shack, sitting next to him on his self-made pier. “No luck?’ she asked. He sighed, throwing another line into the water. “Gonna starve at this point if nothing show’s up.” Sole took a handful of bait and stared at it for a moment, before muttering a word or two and dropping it off the pier. Longfellow was just about to snap at her for wasting good bait when he felt a tug on the line. He immediately started reeling it in. A fish the length of his entire arm was wiggling from the hook. Longfellow let out a cheerful shout as he took the fish from the hook, a rare gleam in his eyes. “I don’t know what kind of magic you just pulled of girl, but holy hell!” Over dinner he asked her simply, “You a witch?” “Suppose so.” Sole casually shrugged, a sly smirk etched onto her face. “Thought my gran was a witch once when she started to claim the devil was talking to her. Turned out she was just jumped up on psycho.” He glanced up at Sole, jokingly asking. “You’re not cahorting with demons, right? I’ll accept spell craft and the occasional chanting, but demons are where I draw the line.” “No demons, promise.” He sat back in his chair, giving her a nod. “Then I see no problem.” Personally, Longfellow had no quarrel or underlying fears with other worldly magics. He’s seen enough weird shit to last three lifetimes, so Sole was still an okay fella in his book.

MacCready: It had been a very hard week, unable to pick up any jobs with Sole even though this had been the third town they’ve been to. No bounties, no raider problems, heck not even a simple errand to do. At least bunker Hill had the small bar, so he and Sole could pass the time drinking. They sat down at Joe Savoldi’s bar and ordered a couple of beers. MacCready reached into his bag to grab a few caps. His eyes went wide as he realized the pack of caps he had in there was gone. He checked a second time, then a third. Sole asked him what was wrong, leaning over towards MacCready curiously. Mac looked up and blankly told her he lost all the caps. Joe muttered to himself, shaking his head as Macready dumped the contents of the bag onto the counter until it was completely empty. Still no sign of their money. Sole asked him to give the bag to her, looking through the pockets of it herself. Macready held his head between his hands as she looked, eyes boring into the counter. That was a whole month’s worth of pay! “Here it is.” Sole said triumphantly, taking a small pouch out of the bag. How? MacCready emptied it out completely!  Joe begrudgingly took the caps and told them not to pull that shit again. Sole popped of the cap of her Gwinnet and took a sip as MacCready stared at her in disbelief, before turning to his own drink. How? Maybe he just didn’t look hard enough… He was too nervous to ask her then, but later on popped the question when they were back on the road. “Do you know magic?” Sole exhaled, “Yeah, I’ve been meaning to tell you that I’m…- “. “A witch! I KNEW it!” MacCready shot his fists up into the air triumphantly, causing Sole to stare at him in confusion. “You… What?” she quizzically raised a brow, not expecting that sort of reaction. “I knew it! Cait owes me 20 caps!” Sole just stood there, mouth agape and unable to add anything. MacCready was giddy all the way back to Sanctuary, asking her a million questions. “Can you turn people into animals? Do witches actually not drown? Why don’t you have a hat- “. “No, I can’t. Witches can drown; that trial was stupid. And I don’t have a hat because that’s a stupid stereotype, plus it’s not like they’re easy to find.” MacCready thought for a moment before asking her if she can make him taller. “Another stupid question and I’ll take a whole foot off your height.” He didn’t know if she was kidding, but he still thought it was cool nonetheless.

Nick Valentine: Brotherhood of Steel was an unwelcome sight for Nick, he didn’t care for them. He wished those assholes would just stay in their blimp, but apparently it was inevitable to find them, even in Diamond City. He just wanted to ask around the market if anybody had seen a missing person that recently came up in a case, but a couple of tin-clad soldiers stopped him and Sole and asked if he belonged here. “I live here jackass.” Nick snapped at them, turning back to Arturo as Sole shot the soldiers a cold glare. “You watch your tone when speaking to the Brotherhood, synth.” Nick almost said something else to the soldier, that is until Sole snapped her fingers, her glare unwavering. The soldier unexpectedly lost balance and fell over, thudding onto the ground. It took a good ten minutes for the other soldier to help them up. Meanwhile, all of the Diamond City market, including Nick and Sole, was snickering. The two soldiers huffed and stomped out of the market, Nick’s smile seemingly permanently etched into a grin for the rest of the day. Valentine asked Sole if she had done it, only receiving a coy smirk from her. Huh, Sole was always the shocker. Nick honestly wouldn’t be too surprised that she was a witch or something supernatural; he’s seen weirder things in life. He didn’t need to pry more out of her.

Piper: Piper had just about had enough of Mayor McDonough. This is the third time this week she was locked out of the front gate of Diamond City! Luckily Sole was there again with her. Sole convinced Danny to let them through, or else they’d be hearing from the Minutemen. Once they walked into Diamond City they were stopped by a very upset Mayor McDonough. After he and Piper argued for a bit Sole finally stepped in and told McDonough he should consider apologizing to Piper. “As if!” he barked as he made his way to the stairs and lift to his office. Sole whispered a few incomprehensible words as she bore her eyes into to the back of his head. Piper raised a suspicious brow but thought nothing more of it then an idle threat. That was until the mayor slipped on the second step of the stairwell. He stood up hurriedly, composed himself, and continued up the stairs, only to slip on the fifth one. Piper burst out in laughter, which resulted in a quick but angry glare from McDonough. Sole had a sly smirk etched onto her face as Piper tried to find something to grab onto, so she wouldn’t fall over in her fit of laughter. And it didn’t stop there. For the rest of the week the mayor just couldn’t seem to do anything in peace. The noodles he bought at Takahashi’s stand burned the roof of his tongue so bad that he had to go see Dr. Sun; the day after that his favorite hat flew off his head and into the mud. Then when he gave a speech that Thursday it spontaneously started to rain, which cut off his microphone and ruined the ink on the speech papers he was reading off from. Piper had a small inkling that Sole had something to do with this. “I’m gonna take a wild guess and say you’re the one giving McDonough a hard time.” She questioned Sole back at her home. “Is this a complaint?” Sole replied. “Hardly,” Piper took another piece of gum out of her packet, handing it to Sole. “It’s a sincere thank you, from me and probably most of Diamond City.” “You gonna ask how I did it? I feel like I’m being interviewed.” “Nah, I’ll save that for the next issue; ‘McDonough Faces Hard Times After Exchange with Supernatural Vault Dweller!’”. Regardless, Piper hadn’t laughed so much in years.

Preston: This rain hasn’t let up in days. Preston missed the blue sky; only gray clouds have been swarming the atmosphere. Sole walked up to him taking shelter in one of the doorways of the Castle. “Been some pretty dreary days, huh?” Sole commented. Preston nodded, “Was hoping to take a stroll around, see how everything’s shaping up.” He sighed sadly, Sole taking notice of the solemn look on his face. “Be right back.” She walked out towards the courtyard, face turned up to the sky. Now why would the General just stand out there? Preston was going to call her over to come back in when the rain started drizzling away. Preston stood frozen in the doorway, mouth agape with shock as Sole turned back to him and chuckled; “Much better!” She beckoned him over and he happily stepped out from the doorway, and accepted Sole’s offer to walk around the walls of the castle. When they got to the shore near the east wall Preston begged her to tell him how she did that. “Did what?” “You know! Made the rain go away!” he said. She just shrugged,” Special little gift I got.” “You a witch or something?  Like from the Salem Museum?” “Suppose you could say that.” Preston looked out into the water; he didn’t expect witches to be an actual thing. “Can you cast a spell to make the Gwinnet kegs refill?” he jokingly asked. Sole just snorted, “For you? Sure.”

Strong: Strong is tough. But not tough enough against power fist to head. Head hurt, ask human to make head stop hurting. Human thought for a while and said hold still. They put hand on Strong head and did nothing. Why human do nothing? Strong grumbled and thought human was being stupid. Suddenly Strong no longer have head pain. “How human do that?” Human say, “Magic and a good spell.” Strong ask what ma-jick is. Human tried to explain but Strong still confused. Oh well, at least head no hurt no more.

X6-88: X6 was never easily scared or frightened. Heights, lightning and Justin Ayo however got to him. Especially Ayo during his screaming fits when things go wrong. Another synth had been lost during X6’s last recapture mission, a failure on his part. Acting Director Ayo was a force to be reckoned with when he was infuriated, especially when that anger was directed towards synths. X6 tried to remain his composure when Ayo threw the report into his face, the man’s shouting could be heard through out the Institute. The exit doors of the Retention Bureau slid open, and a very vexed Sole stomped into Ayo’s office. “What’s the meaning of this?!” she snapped at Ayo, stepping in front of X6, her eyes burning a hole into a now petrified Ayo. “Th-this unit- “Ayo stammered. “You mean X6? He has a name.” X6-88 kept his eyes on Justin. “Identification… He lost a very valuable target and I-!” Director Ayo stopped in his tracks, his hands dropping the remaining pages and cowered down onto the ground. X6 glanced worriedly towards Sole, whose gaze had not broken from the man in front of her. She was whispering incoherent words that X6 couldn’t pick up. Ayo stood up weakly a second later, refusing to look Sole or him in the eye. “You treat him respectfully next time, or I’ll be dealing with you personally.” Ayo gave her a shakily nod, scampering to pick up the papers off the ground as Sole led X6 out of the room. A final wave of her hand in his direction made the door slam shut as they exited, causing a few nearby residents and workers to stare in shock. She sat him down at one of the benches near the center of the complex, a heavy sigh escaping her body. “I’m sorry you had to see that ma’am.” X6 solemnly tugged at the sleeves of his jacket. Sole sighed, “Not your fault he’s a jackass.” X6 couldn’t help but chuckle at that. “How did you do that?” “Do what?” she scoffed lightly. “You know; he just shrunk down all the sudden. I’ve never seen him so scared. And the door?” X6 knew the other coursers would’ve gotten a laugh at the sight of Ayo quivering like a child, not that they would do so in front of him most likely. “Would you believe me if I told you?” “What did you do to him?” he asked. “Just scared him a little. He won’t be bothering you again.” “Are you saying you have supernatural abilities Sole?” He never imagined witchcraft and curses to be more than an absurd land dweller’s story. “Just don’t tell.” She winked at him playfully, getting a rare smile out of him. After that X6 never seemed to have a problem with Ayo. One less thing he’s scared of. Now if Sole could stop the thunder during storms that would be well appreciated.

[middledumpling]

i like the way you smile

fandom: gekkan shoujo nozaki-kun

summary: everyday he walked past the dim windows of the tattoo shop next door and wondered about the owner with the bright orange hair and the beautiful smile

notes: soulmate!au for day 3 of @gsnkfandomweek 

The sun was just beginning to break over the mountains but Mikoshiba had already been up for hours. Truth be told, he hated getting up early, but there was something about the stillness in the air as the world was waking up, like it was holding its breath in anticipation of something, that made it worth it. He tilted the spout of his watering can back and stood up from where he was crouching on the ground. Those were the last of his various indoor plants and flowers watered. All that was left was to decorate the sign board and set the displays outside his door before he could officially open for the day. Mikoshiba rummaged through the top drawer for his chalk pen. Uncapping the pen, he began to outline some daffodils that would serve as a border to the text he’d add in later. Drawing flowers had always been a special skill of his and required almost no concentration, so inevitably his mind began to wander to the store next door, as it was wont to do these days. His small flower shop was unfortunately located right next to a tattoo parlour. It hadn’t been an ideal location for him. Mikoshiba was terrified of illicit yakuza activity and scary people in general, so he had always hurried past the tinted windows with averted eyes in order to avoid seeing any of the store’s employees or clients. But one day he had seen a small girl, at least a head shorter than him, stride confidently into the store. She had been wearing a long sleeved, poofy dress with two large ribbons in her hair. The sight was so odd that he stopped right there in the sidewalk to see what would happen. Nothing happened, of course. It wasn’t until later than he found out she was the owner of the store. But what had started as mere curiosity had slowly evolved into interest and then into a small crush. “You don’t even know her name,” his friend Kashima had pointed out. She had even offered to go and find out for him, but Mikoshiba had staunchly refused. Even if he knew her name, he was too much of a coward to do anything about it. He knew himself too well. Mikoshiba placed his chalkboard pen back down on the table and leaned back against his chair, staring at the way the early morning sunlight filtered through the store. The world didn’t feel beautiful anymore but terribly, terribly lonely. ... The bell over his front door jingled. “Welcome to Mikoto’s Flowers!” Mikoshiba greeted. “Oh—it’s just you.” Kashima laughed and brushed her windblown hair back into place. “Don’t sound so disappointed,” she said. Before he could say anything else, she went on. “Anyways, I know you told me not to talk to the tattoo girl but—” Mikoshiba heart lodged itself firmly into his throat and he leapt to his feet. “What?” he yelped. Kashima’s hands flew up in defence. “I just talked to her that’s all! I didn’t even say your name. I just mentioned I was interested in getting a tattoo.” Mikoshiba stared at her. Since when was she interested in getting a tattoo? Suddenly the pieces clicked as he watched her absently run a hand over her bare wrist. It was still strange to see it blank, when for the past however many years he’d known her it had been scrawled with lines of text. He flopped back into his chair and ran a hand through his hair, sighing. “You’re a hopeless romantic,” he complained half-heartedly. Mikoshiba glanced up just in time to see a soft smile spread across her usual charming face. “Hori-chan-senpai said that it wasn’t necessary, but I think I’d still like it as a momento,” she said decisively. “And besides, it was just lines of script anyways. Nothing to be embarrassed about!” Yeah, it was nothing like his. Mikoshiba’s face burned as he tugged down the sleeve of his sweater so it covered the black line of ink on the inside of his wrist. It was only one sentence, but it sure made an impact.

Too late, Kashima seemed to realize her blunder. “Not that having an embarrassing line is completely awful! It’ll fade either way once you meet them.” Mikoshiba sighs, running an hand through his hair. “Yeah, I know. But still. If I meet my soulmate and want this line tattooed on me again, promise me you’ll stop me.” Kashima nodded solemnly. “I won’t stop you.” “Thanks—hey!” While they tussled, Kashima put him into a headlock and grinned down at him. “I found out her name by the way,” she said. Mikoshiba glanced up, suitably distracted. “It’s Chiyo. Sakura Chiyo.” Mikoshiba mouthed the name to himself. Sakura Chiyo. The name suited her. ... It was still dark outside. Mikoshiba walked down the silent street, breathing in the crisp air of the morning.

As usual, he passed by the tattoo parlour on his way to the store. Before he realized it, Mikoshiba was hovering just outside the glass window of her storefront, watching her putter about the store, cleaning this or shifting that. There was no other way to describe it. She was just so… adorable.

But she walked around with a quiet confidence, with the kind of presence that had caught his attention in the first place. Their eyes met through the tinted glass. The girl—no, Chiyo—looked startled at first. Mikoshiba froze in place, embarrassed at having been caught staring in the first place. Then her lips quirked up into a smile as she waved at him. Mikoshiba had enough presence of mind to let out a quiet eep and wave back before ducking into his own store, blushing all the while. ... It was Valentine’s Day. Regardless of the fact that it was his birthday, his shop was swarming with people. Roses, lilies, chrysanthemums, assorted bouquets—everything was being sold at a rapid fire pace the way it did every year. The bell above his door jingled, signalling the arrival of yet another customer. “Welcome!” he yelled in the general direction of the front door. Milkoshiba rang the customer in and when glanced up, his heart nearly stopped in his chest. The customer that had just entered was Chiyo from next door, and when she caught his eye from the front of the store she wiggled her fingers at him in greeting. Adorable.

I’ll come back later, she mouthed sheepishly, pointing at the door. Mikoshiba nodded and waved back before his attention was completely seized again by a customer asking his opinion on flower languages. Later, after the chaos, Mikoshiba bemoaned the fact to Kashima. “I could have talked to her!” he exclaimed. “What would you have said?” she asked, eyebrows raised in question while perched on a nearby stool. “I would’ve, I dunno, introduced myself or something,” Mikoshiba groaned. “Or like, been all suave and given her a flower while saying ‘This is just for you, it’s on the house’.” “Maybe it’s better that you didn’t talk to her then,” Hori piped in, leaning casually against Kashima’s back. “Or you could always go next door you know, and introduce yourself like a normal person?” Kashima asked. “No, that’s not an option. I’ll just pine here until I die I guess.” “Please don’t,” Hori said.“You’ll ruin the linoleum.”

“I hate you both,” he complained. ... His phone rang once, twice, and then a third time  before he picked up. “Hey, are you free right now?” she asks, her tone peppy even through the static

“Yeah, what’s up?” Mikoshiba asked, phone cradled between his ear and shoulder during one of his only days off. “We just got our new script and we need some extra people to help read. You down?”

Mikoshiba hesitated. He stared at the screen of his TV, where Yukino was waiting for him to ask her on a date.

“I’ll buy you that new figure that came out. Limited edition, right?” Kashima wheedled.

His decision was made in an instance. “I’ll be there in five. Where are you?”

“Nozaki’s house! We’ll leave the door unlocked so just come right in.” And with that, she hung up. Mikoshiba grabbed his wallet and keys and headed out for the day. He stepped out into the sunshine, only mourning his cool and darkened room for a brief moment before he was cheered up by the thought of the limited edition figurine waiting for him at the end of the night.

It was a quick train ride to Nozaki’s house.

Nozaki was a bit of an eccentric mangaka, but then again, weren’t they all? Mikoshiba helped pen in flowers for him to make a little extra cash on the side and so he could tentatively call them friends.

Mikoshiba cautiously pushed open the door.The house was already alive with yelling and impassioned monologuing. Mikoshiba’s stomach twisted a little at the thought of how many people would be in the room, but he had to do this.

For Yukino, he decided, and pushed open the door.

He opened the door to total chaos. Hori had his back to him and was yelling his lines impassionately at a girl standing in front of him. Kashima was clearly long gone, her admiration for her senpai’s acting throwing her sanity out the window. And Nozaki was sitting back near the window, obviously enjoying the scene before him.

Hori moved to the side at his arrival, and Mikoshiba looked down at the girl, making eye contact with dizzyingly familiar purple eyes.

“Hey,” Sakura Chiyo, owner and tattoo artist of Ribbon & Ink Tattoos, said determinedly. “I know I cheated but I just can’t decide who I love more! You’ll forgive me right?”

Mikoshiba choked. His jaw dropped as he tried to process not only the turn of events, but his entire perspective on the concept of soulmates. There’s a burning sensation on his wrist and he glances down to see the black ink that had accompanied him for most of his life fading into unblemished skin.

“Your line!” Sakura snapped, and Mikoshiba jolted.

“Um,” he stammered, and suddenly a script was deposited in his hands. Mikoshiba scanned the page desperately. “The world may burn and the stars might twinkle out of existence, but I will always love you and therefore, I will always forgive you.”

He peeked up at Chiyo. The realization of what he just said registers in his mind and he feels his cheeks blaze red at the cheesy and embarrassing line. She stared up at him, wide-eyed and shocked, only breaking eye contact to glance down at her arm.

Hori, who had already finished his next line, trailed off to stare at the silent couple.

“...huh,” was all he said. Mikoshiba’s face burst into flames.

At this point, even Nozaki, hopeless in any type of romantic matters, caught on. “Oh ho,” he said, the statement made worse somehow by his usual deadpan face.

Kashima was beaming.

Mikoshiba targeted her, because he’s blushing so hard he can’t keep his gaze on Chiyo—his soulmate. Lord, even the thought of it was crazy.

“You set this up,” he hissed at her. She shrugged haplessly at the accusation, seemingly unable to keep a smile off her face.

“Let’s give them some privacy,” Hori interjected, dragging Kashima off by the back of her collar. “Nozaki, you too.”

In an instant the room was clear. Mikoshiba simultaneously loved and hated Hori-senpai at that moment.

There was a light touch on his arm, and he turned to see Chiyo holding her hand out. Up close, she was even tinier than he thought she was.

“I’m Sakura Chiyo,” she said, smiling bashfully at him. “It’s nice to finally meet you.”

[thereallygoodblogshow]

MA Fashion and Textile Practices Major Project Path - 6th September

The T-Shirt

The the 1970′s, according to Brunel (2002), Elle magazine announced that:

“The T-shirt will become a basic item of clothing that will never go out of fashion because it’s already beyond fashion.”

It is a statement that has never been more correct, the T-Shirt IS beyond fashion, and yet remains steadfastly within the collections of high profile designers but then is equally at home on the rails in a low budget store. The T-Shirt is an oxymoron, it’s that blank piece of paper waiting to be filled. 

The origins of a ‘T’ shaped garment goes as far back as the middle ages, where an undergarment with a round neck and sleeves would be worn as an extra layer between the skin and the upper layer of clothing.This garment could be washed separately and replaced without the need to wash the other clothes. This was a long rectangular piece of woven linen or cotton with longer ‘tails’ which could be tucked between the legs. Over the centuries this garment changed little apart from losing its ‘tails’ and slimming down to fit the body more closely.

Ironically, this is how my boyfriend likes to operate, wearing the same clothes all week - he works from home - and then changing his T-Shirt and underwear daily. Thankfully the string vest has yet to emerge. I’m sure he wouldn’t be impressed with me writing this!

By the time it reached the 19th century this garment was certainly more advanced than its predecessors. With the invention of knitting processes, the structure was made more form fitting and used alternative materials such as wool and jersey. The sleeveless knitted vest was worn as early as the 1910′s but had yet to adopt the classic ‘T’ shape. The Union Suit on the other hand was an American invention, first patented in 1868 as part of the countries clothing reform effort - where clothing was created to be less restrictive than the Victorian clothing of the time - it comprised of an all-in-one body suit which quickly caught on with men because it buttoned down the front and had a flap at the back for, lets say, ease of toilet use. The style remained popular until the early 20th century, primarily used for work wear, but then was separated into two garments to ease movement further - full length trousers known as ‘long johns’ and T-Shirt style top. This is when the T-Shirt is thought to have become an actual piece in its own right.

Real Men Real Style, n.d. (n.d). The union suit dominated as a men's undergarment throughout the late 19th and early 20th century.. [Illustration]. Retrieved from https://www.realmenrealstyle.com/history-origins-mens-underwear/.

Joysmith, E. (1943). Utility Underwear- Clothing Restrictions on the British Home Front, 1943. [Photograph]. Retrieved from https://commons.wikimedia.org/wiki/File:Utility_Underwear-_Clothing_Restrictions_on_the_British_Home_Front,_1943_D13079.jpg.

Although another theory is that the U.S Navy first adopted a very basic form of the T-Shirt as underwear in the First World War but by Second World War the U.S Army had made it part of their official underwear. It was apparently used as a good way of safeguarding the uniform, the uniform was hung safely away whilst manual labour ensued and then could be easily cast aside when inspection was due. In the below photograph, actor Carlo Aldini can be clearly seen wearing a T-Shirt on the set of his 1930 film Kampf gegen die Unterwelt ( Fighting the Underworld)

Aldini, C. (1930). Scene with Carlo Aldini and Siegfried Arno.. [Film Still]. Retrieved from https://www.akg-images.de/archive/-2UMDHUH9GG88.html.

Theories aside, it was the underwear boom that ensued that was to cement the T-Shirt as a necessary item of clothing. That and the association the T-Shirt had with the U.S forces, it was hero attire, of course war time advertising all fueled this link. Sears Roebuck, the large chain of American stores had many ad’s promoting the use of the T-Shirt as an everyday item, not just for underwear but for casual use outerwear too. The term “Gob” referred to a slang word for a sailor.        

Sears, n.d. (1938). 1938 Sears Summer Catalogue. [Advertisement]. Retrieved from https://www.vam.ac.uk/blog/news/t-shirts-101-part-2.

It wasn’t long before this previous underwear garment became acceptable as casual outwear, and not soon after the graphic printed T-Shirt arrived. The first graphics to be seen on a T-Shirt were in the film The Wizard of Oz. In the scene Dorothy, the Cowardly Lion, the Tin Man and the Scarecrow arrive at the the Emerald City looking a little worse for wear, so they are guided to the cities beauty parlour where they are pampered from head to toe. Some of the beauty parlour’s assistants can be clearly seen wearing green T-Shirts with the word ‘OZ’ in white emblazoned across the front. The T-Shirts were also distributed amongst the cast and crew, as well as sold to the general public in anticipation of the film. They were the first promotional T-Shirts.   

Fleming, V. (1939). Workers in The Wizard of Oz wear Graphic T-shirts in 1939. [Film Still]. Retrieved from https://www.shopcommonthreads.com/blog/tag/T+shirts.

As the U.S entered the Second World War it was important to reassure the public that their forces were committed and ready for what lay ahead, so Life Magazine’s documentary photographer and photojournalist Eliot Elisofon was given the task of taking a photograph to be shared with the nation that reiterated this sentiment. Corporal Alexander Legerda from the 94th Bomb Group in the U.S air corps was chosen for the task and made the cover of Life Magazine in July 1942 holding a 30 cal. machine gun and wearing a graphic T-Shirt advertising the Las Vegas Gunnery School, Nevada. The T-Shirt was made by the American Athletic Co. in Los Angeles, CA. Legerda was the first person to wear a custom printed T-Shirt on the front cover of a publication. After the war the T-Shirt symbolised a victorious nation, although still not totally accepted as the everyday attire it came to be, it remained for work wear and home wear only - that is until Hollywood told us differently.           

Elisofon, E. (1942). Corporal Alexander Legerda in his 1942 LIFE Appearance. [Editorial]. Retrieved from https://www.vam.ac.uk/blog/wp-content/uploads/2014/10/LIfe-Magazine-Cover-1942-first-words-on-a-tee1_d84c37654899a36737bb1d059257ec6b.jpg.

By the 1950′s Hollywood had cottoned on (excuse the pun!) to the appeal of the T-Shirt, well at least to how sexy it could be. Marlon Brando was the first Hollywood actor to be seen flaunting the T-Shirt in the film ‘A Streetcar Named Desire’ - a film based on the famous play by Tennessee Williams. In the film Brando is often seen in various states of undress, in form fitting sweat stained T-Shirts, tight grease covered vests, or bare chested  - which could only have added to the films appeal. His character is a somewhat violent factory worker whose relationship with his wife’s sister is twisted and tumultuous, a scandalous subject for the 1950′s. So the T-Shirts association with sex and scandal confirmed the piece as attire for the working class reprobate. Curator of the exhibition Cult - Culture - Subversion Dennis Nothdruft (2018) said of the T-Shirts impact at the time:

“It’s just a white T-shirt, but it already has that kind of disruptive potential, It was rebellious, because [T-shirts] were actually undergarments … It was a tough political statement.” 

Kazan, E. (1951). A Streetcar Named Desire (1951 film). [Film Still]. Retrieved from https://variety.com/2017/vintage/features/streetcar-named-desire-anniversary-1202626588/.

What really launched the T-Shirt to cult status proportions however was James Dean’s portrayal as Jim Stark, an unruly teen in the 1956 film ‘A Rebel Without A Cause’. The film was probably the first of its kind to look at the differences between parents and their children and the conflicts which arose. It was to examine the inner working of dysfunctional family life in America - until then the American family had been portrayed as pinnacles of society, no matter what was bubbling underneath. In 1990 the film was added the the Library of Congress’s National Film Registry as being a culturally, historically, and aesthetically significant slice of 1950′s America. Aesthetically significant because Dean was displaying an authentic vision of what the average teenager wanted to wear in 1956, or what the more rebellious were wearing.             

Ray, N. (1956). A Rebel Without A Cause. [Film Still]. Retrieved from https://www.britannica.com/topic/Rebel-Without-a-Cause.

Now that the T-Shirt was firmly planted in the people’s psyche, it took Marlon Brando again to show it worked well in a rebellious ‘three piece’ teamed with the biker jacket and jeans in the film ‘The Wild Ones’, and the male cast of ‘West Side Story’ to wear the T-Shirt as the favoured accessory of gang culture. The T-Shirt was now so well known for clothing movie’s misfits, when was it to become the clothing of the many? 

It wasn’t until the 1960′s that the T-Shirt was to become a uni-sex item of clothing. Many may remember the French film ‘Babette Goes To War' with the beautiful and sensual Brigitte Bardot, in which she is seen laying in the grass in her slim fitting white T-Shirt with its sleeves casually rolled up. The first graphic printed T-Shirt worn by a woman on film was in the 1960 French New Wave (experimental film making using unusual editing and exploratory narrative)  film ‘À bout de souffle' (Breathless) in which another petty criminal embroils his aspiring journalist girlfriend - played Jean Seberg - into a life of crime. The film shows Seberg on the Champs-Élysées in a T-Shirt advertising the Herald Tribune, her place of work. Teamed with her short gamine hairstyle and slim, androgynous figure she would be easily mistaken for a stylish teen of today. 

Godard, J.L. (1960). À bout de souffle (Breathless). [Film Still]. Retrieved from https://www.vanityfair.com/hollywood/2015/06/raymond-cauchetier-set-photographs-breathless-new-wave.

The T-Shirt was now officially outerwear, and by the late 60′s and 70′s experimentation in the use of the T-Shirt became more evident. In the UK the T-Shirt was a little later to catch on, but the foresight of Barbara Hulanicki’s Biba saw that it became a staple item for the new generation. This time around the T-Shirt also became a medium for political sentiment, used for presidential campaigns to advertising ‘free love’, the T-Shirt became a blank canvas for the sentiments of the many. As Brunel (2002) states:

“Its fundamental simplicity makes it the perfect personal sandwich board capable of getting across its ‘message of the day’. the world over - whether involved in protecting the environment, human rights, saving the whales, you name it - T-Shirts are an excellent means of identifying kindred spirits.”

The T-Shirt now was a revolutionary item, it was a political soundboard, it was a means of expressing our musical affiliations and a way of identifying those who felt the way we did. A great example of this is the Rolling Stones logo t-shirt. The logo was originally designed by Royal College of Art student John Pasche and was commissioned by Mick Jagger to come up with a logo for the bands new company Rolling Stones Records. Jagger had liked the young artists work after seeing it at the degree show in 1970. Mick had seen an image of the Hindu goddess Khali and was inspired by her open mouth with tongue hanging down. Often thought to be a symbol of Jagger’s pronounced mouth, Pasche (2018) said it was possibly an unconscious thing:

“A lot of people ask me if it was based on Mick Jagger’s lips - and I have to say it wasn’t, initially. But it might have been something that was unconscious and also really dovetailed into the basic idea of the design. It was a number of things. It’s universal statement, I mean sticking out your tongue at something is very anti-authority, a protest really… various generations have picked that up.” 

Pasche, J. (1970). Rolling Stones Logo. [Illustration]. Retrieved from https://www.creativereview.co.uk/rolling-stones-logo-john-pasche/.

Putland, M. (1978). Keith Richards lies on a prop bed as Mick Jagger laughs during the production of the music video for Rolling Stones' 'Respectable' in New York, 1978. [Photograph]. Retrieved from https://www.creativereview.co.uk/rolling-stones-logo-john-pasche/.

The T-Shirt had become a place to display political agendas and to project our messages of protest. We all recognise the Cuban revolutionary Ernesto Guevara’s face - aka Che Guevara, not necessarily because of his political standing, but because of the simplified image of his face displayed on a T-Shirt - taken from the iconic photograph by Alberto Korda in 1960. Media and television have also become major players in the way the protest T-Shirt has become a way of pushing our agendas. With photographed and televised protests become the norm, a well worded placard along with the T-Shirt is a way of free advertising for whatever cause you are backing.       

Amazon, n.d. (n.d). Che Guevara Revolution T Shirt. [Fashion]. Retrieved from https://www.amazon.com/Che-Guevara-Revolution-T-Shirt/dp/B079MRM3FF?customId=B075382QRP&th=1.

It could be said that the T-Shirt as a fashion item only became so around this time, but it had been championed as far back as the late 1930′s by none other than Coco Chanel herself. A photograph taken as she posed at her villa on the French Riviera clearly shows her love of the T-Shirt back then. The classic striped sailor’s top - the Breton shirt -  was a essential piece of naval work wear but Coco was to propel this humble item to the mainstream when she included a similar style in her nautical themed sportswear collection in 1917. Teaming it with wide leg trousers and flat brogues it oozed simple elegance, and has since become synonymous with classic French fashion. In the 50′s and 60′s it was adopted by the creatives such as Pablo Picasso and Jean Paul Sartre, and later by French fashion designer Jean Paul Gaultier who has made the shirt edgy when teamed with his more adventurous creations, or tartan kilts!       

Look for the Woman, n.d. (2015). Coco Chanel. [Photograph]. Retrieved from http://lookforthewoman.com/picasso-french-style-icon/.

Marcy, M. (n.d). Jean Paul Gaultier. [Photograph]. Retrieved from https://www.pinterest.co.uk/pin/570057265318472259/.

It wasn’t long before the T-Shirt became the staple piece included in every designers collections. In later years other fibres were added to the cotton mix, such as Lycra in the 80′s which revolutionised the sportswear industry and created clothing for casual wear as well as exercise. The 90′s saw a change in direction where the T-Shirt was disheveled and deconstructed as part of a grunge aesthetic, or emblazoned with bands graphics. One I particularly remember was the band James’s ‘Sit Down’ T-Shirts to promote their song of the same name. I saw guys walking around Leeds with these long baggy T-Shirts with ‘Sit Down’ printed in large text across the back of them, and wondered what they were all about. It was a good tactic as I eventually found out what they were referring to but without a certain amount of digging. James were part of the ‘Madchester’ scene in the early 90′s which saw a glut of Northern Bands, particularly from Manchester storm the music charts.    

Worth Point, n.d. (n.d). JAMES T-SHIRT! SIT DOWN TIM BOOTH. [Fashion]. Retrieved from https://www.worthpoint.com/worthopedia/james-shirt-sit-down-tim-booth-245105457.

I was part of the rave scene at the end of the late 80′s and into the mid 90′s. Quirky T-Shirts were the standard dress code for the ‘raver’ and became more and more of an aesthetic pastiche to the advertising campaigns and big brands of the day. My love of Read or Dead came from - apart from my ‘Space Baby’ T-Shirt -  the wearing of their T-Shirts which played heavily on brands such as Lego, Hoover and Shell, it was a two finger salute to the large corporations. Wayne Hemingway - Read or Dead’s founder did get into a little bit of bother for bastardising their branding but he was never one to take much notice. Another one I remember was the take on the Fairy Liquid logo and catch phrase ‘Mild, green Fairy liquid’ only to say ‘Wild, mean fairly hip kid’. T-Shirts were very much graphics based at that time, and more and more designers saw the power of this affordable clothing item as a way to garner more customers.     

Hemingway, W. (n.d). Hell and Groover. [Fashion]. Retrieved from https://www.hemingwaydesign.co.uk/about/red-or-dead/.

Lewis, J. (2018). Vintage 90s T from rave era. [Fashion]. Retrieved from https://www.depop.com/products/jonnylewis-vintage-90s-t-from-rave/.

Designers such as Sonia Rykiel as early as the 1970′s had been using text on her T-Shirts, then there was Moschino with huge brand fonts adorning his oversized shirts. Dolce & Gabbana and Versace all saw the importance of the designer ‘T’. It was another way of advertising your brand to every level, rich or poor you could wear the logo and feel part of the ‘in’ crowd. The T-Shirt doesn’t care about your socio-economic standing. Christian Lacroix (2002) once said of the T-Shirt:

“Today’s T-Shirt is a banner and a manifesto, a subtitle and a visiting card - almost an ID card. It proclaims loud and clear what people are thinking deep down. It’s like an extremely private skin; it is cut and scratched, tattooed and painted, all to become cutomised. Whatever else they may do, people never put on a T-Shirt just like that - thoughtlessly.” 

Although, however true that statement may be, some people simply wear a T-Shirt as a basic commodity. That is the beauty of the T-Shirt, you can make a statement if you so wish, but you can also remain none committal and ambiguous. So how is the T-Shirt defining our tribes today? I thought I would go out and have a look at what was happening in our high street.   

[taylordprints-blog]

Glossary Of Terms

New Post has been published on https://taylordprints.com/about-us/glossary-terms/

Glossary Of Terms

We have put together a glossary of terms that will help you better understand any phrases or keywords used on our website while shopping for custom t-shirts or any other custom or personalized gifts.

1-9, A-B

1×1 Rib. This narrow rib has a soft, fine hand and retains its slim fit.

2×1 Rib Knit. Textured rib knit with a comfortable stretch—made to be worn alone or layered.

2-Way Zipper. A zipper with two zipper pulls so the garment can be unzipped from either direction.

3-in-1 Jacket. A jacket that consists of two jacket layers that zip together. You can wear either jacket layer separately, or zip them together for extra warmth and weather protection.

3-in-1 Jacket. A jacket that consists of two jacket layers that zip together. You can wear either jacket layer separately, or zip them together for extra warmth and weather protection.

4-Needle Stitching. A finish commonly used on a sleeve or bottom hem that uses four needles to create parallel rows of visible stitching, giving the garment a cleaner, more finished look, as well as adding durability.

4-Way Stretch. A fabric that stretches both on the crosswise and lengthwise grains of the fabric. Also called a mechanical stretch, except mechanical stretch doesn’t use spandex or other stretch yarns.

Air Jet Yarn. A type of open-end spinning that uses a stationary tube in which jets of air are directed to cause fibers to twist thereby forming a yarn. This process definitely influences the soft hand feel of the fabric while maintaining excellent resistance to pilling.

All-Weather Microfiber. Fabric that is tightly woven from an extremely fine poly thread with a suede finish for a luxuriously supple feel. When combined with waterproof coating and full seam sealing, microfiber is 100% waterproof. 100% polyester.

ANSI. The American National Standards Institute (ANSI) is an organization that promotes standards for industry and government.

ANSI Class 2. An ANSI designation for garments that are intended for activities where greater visibility is necessary during inclement weather. It also covers workers who perform tasks that divert their attention from approaching traffic or puts them in close proximity to vehicles traveling 25 mph or higher.

ANSI Class 3. An ANSI designation for garments that provide the highest level of visibility and are intended for workers who face more serious hazards than Class 2.

Antimicrobial. A term used for a garment that is able to resist, either naturally or chemically, the effects of microbial secretions put off by the human body, resisting odor and increasing garment life.

Anti-Pill Finish. A treatment applied to garments primarily to resist the formation of little balls on the fabric’s surface due to abrasion during wear. See Pilling.

Arc Rating. A value of the energy necessary to pass through any given fabric to cause with 50% probability a second- or third-degree burn. This value is measured in calories/cm2. Simply put, the Arc rating determines the protective characteristics of the fabric. The higher the Arc rating value, the greater the protection.

Articulation. A design detail usually in the shoulders, elbows or knees where limbs bend to increase mobility for greater ease of movement.

ATPV. Stands for Arc Thermal Protective Value: a rating of the Arc burn protection capability of a garment. The higher the Arc rating, the more protection a garment gives because it has a higher resistance to catching on fire. The ATPV is expressed in calories/cm2 and represents the thermal exposure from an electric arc that will create a second-degree burn in human tissue.

Athleisure. The movement where clothing designed for athletics is worn outside the gym to the office or to socialize.

Baby Pique Knit. A knitting method that creates a fine, small textured surface that appears similar to a very small waffle weave. See Pique Knit.

Back Yoke. A piece of fabric that connects the back of a garment to the shoulders. This allows the garment to lay flat and drape nicely.

Bartack. To reinforce a seam with a bar of stitches, providing a more durable seam end. Commonly used at stress points.

Base Layer. Worn next to the skin, a base layer wicks sweat and keeps the wearer drier and more comfortable.

Bias Cut. A technique used by designers for cutting clothing to utilize the greater stretch in the “bias” or diagonal direction of the fabric, thereby causing it to accentuate body lines and curves and drape softly.

Birdseye Jacquard. A small geometric pattern with a center dot knit into the fabric.

Blanket Stitch. A decorative stitch often used to finish an unhemmed blanket. The stitch can be seen on both sides of the blanket.

Blend. A yarn or a fabric that is made up of more than one type of fiber.

Bonded Fleece. Multiple layers of fleece are bonded together to form a higher functioning garment.

Bonding. The technique of permanently joining together two fabrics or layers of fabrics together by a bonding agent into one unit.

Box Pleat. A single, uniform fold in the center back of a garment to allow for more room and comfort.

Breathability. The movement of air from one side of the fabric to the other to keep the wearer comfortable. The breathability rating is typically expressed in a gram measurement of how much vapor a square meter (G/M2) of fabric will allow passing in a 24-hour period (typically, 1,000G/M2 to 10,000000G/M2). Generally, the higher the number, the more breathable the garment.

Brushed. A finishing process for knit or woven fabrics in which brushes or other abrading devices are used to raise a nap on fabrics or create a novelty surface texture.

Button-Down Collar. Found on many men’s dress wovens, where the collar’s wings can be buttoned to the front of the shirt, minimizing the spread of the wings.

Button-Through Sleeve Placket. A small placket located near the end of the sleeve, by the cuff, which contains a single button closure.

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C-D

CamoHex (Sport-Tek). A sublimated digital camouflage that uses small hexagons in a tonal pattern.

Carded Ring Spun Cotton. Carded yarns have not been combed. They contain a wider range of fiber lengths and, as a result, are not as uniform or as strong as combed yarns.

Casual Microfiber. Tightly woven fabric from a very fine polyester thread, usually with a sueded finish for a soft feel. Inherently water repellent and wind resistant due to its construction. 100% polyester microfiber.

Category 2 Protection (Bulwark). Arc-rated flame-resistant (FR) long sleeve shirt and FR pants or FR coverall with a required minimum ATPV (Arc Thermal Protective Value) of 8 cal/cm2.

Cationic Polyester. A type of polyester fiber that takes deep and brilliant colors without bleeding or fading. Cationic polyester optimizes printability.

Chambray. A plain woven fabric that can be made from silk or manufactured fibers, but is most commonly cotton. It incorporates a colored warp and white filling yarns.

Chin guard. A fold of soft fabric around the end of the zipper that helps prevent abrasion. Also known as a zipper garage.

Coil (OGIO). A metallic colored coil zipper.

Collar. The upright or turned-over neckband of a coat, jacket or shirt.

Collar Stand. On a woven shirt, the collar stand is around the neck and placed between the actual collar and the shirt. This stand raises the collar so its finished edge will fall smoothly back over the neck edge.

Colorfast. A dyed fabric’s ability to resist fading due to washing, exposure to sunlight and other environmental conditions.

Combed Ring Spun Cotton. A process by which the short fibers of a yarn are removed and the remaining longer fibers are arranged in parallel order for a high-quality yarn with excellent strength, fineness and uniformity.

Cool Mesh™ Technology. Similar to a pique knit but with a more open texture for increased breathability. Features a soft hand for better comfort.

Cord Locks. A stopper or toggle on a drawcord that keeps the cord from retracting into the garment.

Corduroy. A cut filling pile cloth with narrow to wide ribs. Usually made of cotton, but can be found in polyester and other synthetic blends.

Cotton. Soft vegetable fiber obtained from the seedpod of the cotton plant.

Cotton Count. A measure of thread density. It is the amount of thread measured in “hanks” (840 yards) needed to create one pound. With this system, the higher the number, the finer the yarn. In the United States, a cotton count between one and 20 is referred to as course counts. A regular single knit t-shirt can be between 15-18 count and a fashion tee is usually in the 30-40 count range.

Cotton Jersey (Alternative). Alternative’s cotton jersey is made from 100% washed cotton for a distinctly soft, beautifully simple product that is rich in color and velvety smooth to the touch.

Cotton Modal (Alternative). By using a self-sufficient process and extracting the finest fibers from beechwood forests, Alternative created an environmentally friendly fabric that is twice as soft as conventional cotton.

Coverseamed. A finish in which two needles are used to create parallel rows of visible stitching. It is used around the neck, armholes, waistband, and wrists of garments to create a cleaner, more durable finish.

Cuff. The part of the sleeve encircling the wrist. Also the turned-back hem of a trouser leg.

Deboss. To depress below the surrounding fabric surface for decoration or lettering. Often confused with embossing which is to raise in relief from a surface.

Denier. A system of measuring the weight of a continuous filament fiber. The lower the number, the finer the fiber; the higher the number, the heavier the fiber.

District Fit. District has a slim fit that is close to the body. The styles have shorter sleeves and tighter and higher armholes than District Made.

District Made Fit. District Made has a comfortable fit with a relaxed waist. The styles have longer sleeves and more relaxed and lower armholes than District.

Dobby. A decorative weave, usually geometric, that is woven into the fabric. Standard dobby fabrics are usually flat and relatively fine or sheer.

Dolman Sleeve. A sleeve tapered from a very large armhole to fit closely at the wrist. Usually cut in one piece with the body of the garment.

Double Knit. A circular knit fabric knitted via double stitch on a double needle frame to provide a double thickness.

Double-Needle Stitching. A finish commonly used on a sleeve or bottom hem that uses two needles to create parallel rows of visible stitching, giving the garment a cleaner, more finished look, as well as adding durability.

Down. The soft, fluffy under feathers of ducks and geese. Serves as an excellent outerwear thermal insulator.

Dri-FIT (NIKE GOLF). Fabric that helps keep the wearer comfortable and dry by moving perspiration from the skin, through the layers of fabric, to the outside layer for rapid evaporation across the outer surface area.

Dri-Mesh® Polyester. The double layer mesh construction releases heat and sweat, while maintaining breathability. 100% polyester double mesh.

Drop Needle. A knit fabric characterized by vertical lines within the cloth. Manufactured by dropping a needle from the knitting cylinder.

Drop Tail. A longer back than front for the purpose of keeping the shirt tucked in. Also referred to as Extended Tail.

Dry Zone® Technology. A double-layer polyester fabrication that wicks moisture away from the body.

Duck Cloth. Tightly woven, plain-weave, bottom-weight fabric with a hard, durable finish that provides wind and snag resistance.

DWR. Durable water repellent. A DWR treatment involves applying a coating to a jacket’s outermost fibers to prevent precipitation from saturating the jacket’s exterior.

Dyed-To-Match. A term which characterizes buttons or trims that are the same color as the garment onto which they are sewn.

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E-H

Eco-Jersey (Alternative). This classic medium-weight jersey features a signature vintage-soft feel and is made from eco ingredients, including recycled polyester, organic cotton and rayon yarns.

Eco-Fleece (Alternative). Alternative’s iconic medium-weight Eco-Fleece is knit on machines calibrated to replicate a vintage-soft look and feel.

Eco-Smart® (Hanes). 50/50 cotton/poly blend tees and sweatshirts made with up to 5% recycled polyester from plastic bottles.

Enzyme Washed. A laundering process in which a catalytic substance is added to create a chemical change in the fabric resulting in a very soft finish, smoother appearing surface and reduced shrinkage.

Epaulet. An ornamental fabric strip or loop sewn across the shoulder of a shirt, dress or coat.

Ergonomic. Design elements incorporated into a garment to improve the design by enhancing the wearer’s comfort, performance or health.

Etched Tone Buttons. A more upscale horn tone button with an etched pattern.

EXCEL FR® ComforTouch® (Bulwark). This practical 88/12 cotton/nylon blend provides long-lasting protection for nearly all work environments. Applications include ferrous metals, electrical utilities and the chemical, oil, gas and petrochemical industries. Every EXCEL FR ComforTouch garment is engineered to provide flame resistance for the life of the garment.

Extended Tail. A longer back than front for the purpose of keeping the shirt tucked in. Also referred to as Drop Tail.

Extreme Heather (District). A soft, durable fabric made of a poly/cotton blend. It has a nicely striated, heathered look.

Eyelets. Small holes or perforations made in a series to allow for breathability. Finished with either stitching or brass grommets.

EZCotton™ Pique. Made from the highest grade of long-staple cotton, this fabric has an innovative finish that provides a consistently softer hand, enhanced smoothness, color fastness, wrinkle resistance and shape retention. 100% cotton.

Fill Power. The measure of the loft or “fluffiness” of a down garment that is loosely related to the insulating value of the down. The higher the fill power, the more trapped air an ounce of the down can trap, and thus the more insulating ability an ounce of the down will have.

Flame-Resistant (FR) These fabrics and garments are intended to resist ignition, prevent the spread of flames away from the immediate area of high heat impingement and to self-extinguish almost immediately upon removal of an ignition source. FR clothing is NOT fireproof.

Flat Collar/Cuffs. A single ply fabric with a finished edge that is used for collars and cuffs on sport shirts and short sleeve garments. Also known as welt.

Flatlock Stitching. Made by bringing two raw fabric edges together and covering them with machine stitching. Often used in activewear.

Flexfit®. Caps that feature a patented technology that weaves spandex into the sweatband and throughout the crown for a superbly comfortable fit.

French Cuff. A shirt cuff that is folded back before fastening, creating a double-layered cuff.

French Terry Cotton. The knit jersey version of terry cloth. It features loops of pile on one side and a smooth, brushed finish on the other for softness and a lived-in, vintage look.

Full Cut. Refers to a garment’s fit as being generous and roomy.

Fully Fashioned. A garment that’s knitted to fit the shape of the body.

Garment Dyed. A dyeing process that occurs after the garment is assembled.

Garment Washed. A wash process where softeners are added to finished garments to help the cotton fibers relax. The result is a fabric with a thicker appearance, reduced shrinkage and a softer hand.

Gravel 50/50 (District). Tees made of 50/50 ring spun combed cotton/polyester that are exceptionally soft and colorful.

Grosgrain. A firm, closely woven fabric with narrow horizontal stripes. Commonly used for ribbons, neckties and trimmings.

Hand. Quality or characteristic of fabrics perceived by sense of touch—softness, firmness or drapability.

Herringbone. A chevron or zig-zag pattern knit into fabric. Commonly used in golf shirts and twill shirts.

High Profile. A term used for a cap or hat silhouette that is less fitted to the head with a high slope. Usually structured with buckram or other stiff fabric lining.

Honeycomb Pique Knit. A pique fabric with a waffle or cellular appearance.

Hook and Loop. A fastener closure system. The rough side is called the hook. Its softer mate is called loop. The hooks engage into the loop and provide the closure. Colloquially known as VELCRO®.

Horn Tone Buttons. Buttons that appear to be manufactured from horn.

Houndstooth. A medium-sized broken check effect that is knit into the fabric.

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I-M

IL50 (Industrial Laundry). Signifies that a garment has been certified to withstand at least 50 industrial launderer washes.

Insulated Jacket. A jacket designed to hold body heat close and buffer surrounding cold air. Down, fleece and synthetic fibers are common insulators. Insulation levels help determine warmth ratings.

Interlock Knit. A two-ply fabric knit simultaneously to form one thicker and heavier ply. It has more natural stretch than a jersey knit, a soft hand, and the same appearance and feel on both sides. Commonly used in knit shirts and turtlenecks.

Iridescent Buttons. Buttons with a lustrous, rainbow-like hue.

Jacquard Knit. Often an intricate pattern knit directly into the fabric during the manufacturing process. Typically, two or more colors are used.

Jersey Knit. The consistent interloping of yarns in the jersey stitch to produce a fabric with a smooth, flat face and a more textured, but uniform back.

Kangaroo Pocket (Alternative). Another name for a front pouch pocket in a sweatshirt or t-shirt. Called a split kangaroo pocket in a full-zip garment.

Linen. A fabric made from linen fibers obtained from inside the woody stem of the flax plant. Linen fibers are much stronger and more lustrous than cotton. Linen fabrics are very cool and absorbent, but wrinkle easily, unless blended with manufactured fibers.

Locker Loop. A looped piece of fabric in the neck of a garment for the convenience of hanging the garment on a hook. Can also be located at the center of the back yoke on the inside or outside of a garment.

Locker Patch. A semi-oval panel sewn into the inside back portion of a garment, just under the collar seam to reinforce the garment and minimize stretching when hung on a hook. The patch also allows for the garment tag or label to be sewn below the neckline to help prevent irritation.

Low Impact Technology (L.I.T.). Enhances the softness and performance of 100% polyester fleece in that the yarns are able to accept dye more readily which uses less water and energy than standard dyeing procedures.

Low Profile. A term used for a cap or hat silhouette that is more closely fitted to the head. Can be either structured or unstructured.

Marled Fleece (District). A ring spun cotton/poly fleece. When cotton is marled, each colored ply of yarn is twisted together and then knitted to create one long, continuous piece of yarn. This gives marled fleece its two-toned, mottled appearance.

Matte Taslan. A durable and water repellent nylon fabric, used mainly in outerwear garments. Same properties and hand as traditional Taslan, but with a dull, matte finish.

Melamine. A highly resistant, exceptionally strong plastic laminate material sometimes used in buttons.

Melange. A mix of different colors of yarns knit together to create a heathered effect.

Melange Burnout (Alternative). Alternative’s burnout fabric was the first in the industry, authentically weathered for a worn-in look and feel.

Mercerized. The result of a process in which cotton yarn or fabric is immersed in a caustic soda solution and later neutralized with an acid bath. This process increases luster, strength and affinity for dyes.

Mesh. A type of fabric characterized by its net-like open appearance and the spaces between the yarns. Mesh is available in a variety of constructions, including wovens, knits, laces or crocheted fabrics.

Microburn® (District/District Made). 75/25 poly/ring spun cotton tees that have a rare blend of shades for an unusually lightweight feel and a one-of-a-kind look.

Microfiber. Tightly woven fabric from a very fine polyester thread, usually with a sueded finish for a soft feel. Inherently water repellent and wind resistant due to its construction.

Microfleece. Crafted from ultra-fine yarn, this lightweight, high-density fleece is brushed less than a regular fleece garment for softness and warmth without bulk.

Mid-Layer. Worn over the base layer, this layer traps warm air, breathes and helps maintain body heat.

Mid Profile. A term used for a cap or hat silhouette that is in between that of a High Profile and Low Profile. Most often structured with buckram.

Mini Rib (District Made). Ultra soft 100% combed cotton tees and tanks that have an elevated, superfine rib for excellent shape retention and a flattering, trimmer fit.

Modal Blend (District/District Made). A super soft fabric made of a blend of ring spun cotton/modal. Modal is soft, smooth and breathable with a texture similar to cotton or silk. It washes well and resists pilling, so the garment looks better, longer.

Modern Stretch Cotton. A breathable fabric made from a blend of cotton and spandex to provide a flattering stretch. 96% cotton. 4% spandex.

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N-R

Nailhead. A jacquard knitting pattern in which the jacquard forms a design similar to small nail heads.

Nap. A fuzzy, fur-like feel created when fiber ends extend from the basic fabric structure to the fabric surface. The fabric can be napped on one or both sides.

Neckband. A strip of fabric sewn around the inside of the neck in a woven shirt.

NFPA® 2112 Compliant (Bulwark). Bulwark Protective Apparel offers flame-resistant protective garments that are certified by Underwriters Laboratories to meet the requirements of NFPA 2112 Standard on Flame-Resistant Garments for Protection of Industrial Personnel Against Flash Fire, 2012 Edition. NFPA 2113 Standard on Selection, Care, Use and Maintenance of Flame-Resistant Garments for Protection of Industrial Personnel Against Flash Fire, 2012 Edition, requires that garments cover the upper and lower body and flammable underlayers as completely as possible. Bulwark garments meet this requirement either as a single garment such as a coverall or when worn with another certified garment such as a shirt or pants to provide both upper and lower body coverage.

Non-Iron. A term characterizing fabric that has been chemically treated to resist wrinkles, eliminating the need for ironing.

Notch Lapel. The most common lapel found on blazers. The “notch” is the opening where the bottom of the collar meets the top of the lapel at a 75-90 degree angle.

Nublend® Fleece (JERZEES®). A combined knitting and spinning process developed by JERZEES® for the prevention of pilling.

Nylon. A synthetic fiber with high strength and abrasion resistance, low absorbency and good elasticity.

Open-End Cotton. Open end (OE) spinning is a technology to make yarns without a spindle. OE yarns have less twist but a more uniform, abrasion-resistant surface and are produced at much faster speeds than other spinning technologies. Fabrics made from OE yarns generally have a cleaner appearance, but are less soft than garments made with ring spun yarns.

Ottoman. A tightly woven, horizontal raised rib textured knit.

Outer Layer. Worn over the base and mid-layers, this layer resists water and wind and has comfortable stretch for mobility.

Overdyed. A process in which yarn-dyed fabrics or piece-dyed garments are put through an additional dye color to create unique colors.

Oxford. A fine, lightweight woven cotton or cotton blend fabric with a 2×1 basket weave variation. Typically used for dress shirts.

Patch Pocket. A pocket attached to the outside of a garment.

Peached. A soft hand usually obtained by sanding the fabric lightly. Can be achieved with chemical or laundry abrasion.

Peak Lapel. Traditionally the most formal of blazer lapels, it’s defined by edges pointing upwards to the wearer’s shoulders.

Pearlized Buttons. Buttons that have a pearl-colored hue.

Perfect Blend® (District Made). A 50/50 blend of ring-spun combed cotton and poly which makes Perfect Blend tees as good or better than the finest purebred.

Perfect Tri™ (District Made).  50/25/25 poly/ring spun combed cotton/rayon. The undeniably perfect combination of exceptional softness and laid-back style.

Perfect Weight Cotton® (District/District Made).This extra-fine gauge 32 singles 100% ring spun combed cotton yarn is known for its lightweight softness. It’s then compacted to 4.3 ounces for long-term durability and shrink resistance. The result is garments that look and feel perfect wear after wear.

Pewter Buttons. Buttons that have a dull, metallic hue.

Picot. A series of small embroidered loops forming an ornamental edging on some ribbon and lace.

Pewter and Horn Tone Buttons. Buttons that incorporate pewter and horn tone. Usually one encompasses the other.

Piece Dyed. A dyeing process that occurs when the fabric is in yardage form after it has been knitted or woven, but before the garment is assembled.

Pigment-Dyed. A type of dye process used to create a distressed or washed look that results in soft, muted tones and a soft hand.

Pilling. A tangled ball of fibers that appears on the surface of a fabric as a result of wear or continued friction or rubbing on the surface of the fabric. See Anti-Pill Finish.

PimaCool™ Technology. A blend of Pima cotton and polyester create a soft fabric that offers performance moisture wicking and breathability. 55% Pima cotton. 45% polyester.

Pima Cotton. A term applied to extra-long staple cotton grown in the U.S., Peru, Israel and Australia. It can only be grown in select areas where the cotton is fully irrigated and benefits from a longer growing season for a softer, stronger cotton than standard cotton.

Pique Knit. A knitting method that creates a fine textured surface that appears similar to a waffle weave. Commonly used for polo shirts.

Pit Zips. Zippers placed in the armpits of a jacket to be used for quick ventilation.

Placket. The part of the shirt or jacket where the garment fastens or buttons together. Types of plackets include: reverse (generally a ladies styles in which the buttons are on the opposite side of a men’s garment), open (in which there are no buttons or fasteners) and decorative (non-functioning).

Pleat. A flat usually narrow fold made in a piece of cloth by pressing or sewing two parts of the cloth together.

Ply. Two or more yarns that have been twisted together.

Polyester. A strong, durable synthetic fabric with high strength and excellent resiliency. Low moisture absorbency allows the fabric to dry quickly.

Poly-Filled. A warm polyester lining found in the body or sleeves of outerwear.

Polypropylene A very light, highly resistant, thermoplastic resin used to make coatings, packaging and fabrics.

Polyurethane Coating (PU Coating). A finish commonly used in winter jackets, rainwear and windwear to offer high performance water resistance, while maintaining the garment’s breathability.

Ponte Knit. Ponte knits have the forgiveness of a knit, but the versatility of a woven. They’re very stable with a nominal amount of stretching capability.

Popcorn Pique. Alternating rows of baby pique knit and a larger pique knit that resembles small circles knit closely together.

Poplin. A tightly woven, durable, medium-weight cotton or cotton blend made by using a rib variation of the plain weave which creates a slight ridge effect.

Port Pocket™ Access. A zipper entry pocket that allows the garment to be hooped and embroidered without impacting the inside lining of the garment.

PosiCharge® Electric Heather (Sport-Tek). With a strong all-over single-dye heather pattern, PosiCharge Electric Heather Fleece is the first high-performance fleece to incorporate Sport-Tek’s popular bleed-resistant, color-locking PosiCharge technology.

PosiCharge Mesh®. Water-soluble dye process that breaks apart, or ionizes, in the dyeing solution to give off a positively charged colored ion. The cationic ions dye the polyester fibers by linking with the acid groups on the fibers – locking in the color. This results in a better, bleed-resistant, colorfastness.

PosiCharge® RacerMesh™ (Sport-Tek). Ultra-fine 100% polyester flat back mesh that offers unparalleled breathability. PosiCharge technology locks in color and keeps logos crisp.

  Pre-Shrunk. Fabrics or garments that have received a pre-shrinking treatment.

Princess Seams. Short, stitched folds that taper to a point, typically used to shape women’s garments.

Print Pro® XP Process (Hanes®). A fleece knitting process developed by Hanes that creates a tighter knit for a better printing surface.

PVC. A polyurethane coating that is added to make garments water resistant.

Quilting. A fabric construction in which a layer of down or fiberfill is placed between two layers of fabric, and then held in place by stitching or sealing in a consistent, all-over pattern.

Raglan Sleeves. An athletic cut sleeve set with a diagonal seam from the neck to the underarm. Offers more freedom of movement in comparison with set-in sleeves.

Rapid Dry™ Technology. Designed with a unique weave to wick away moisture from the body.

Rayon. A manufactured fiber composed of regenerated cellulose, derived from wood pulp, cotton linters or other vegetable matter, with a soft hand. Frequently used for shirts and pants.

Reverse Coil Zipper. Unlike the basic coil zipper, a reverse coil zipper doesn’t show its teeth from the front.

Reverse Placket. When the buttons on a placket are on the opposite side from a men’s garment. Commonly done on women’s styles.

Rib Knit. A textured knit that has the appearance of vertical lines. It is highly elastic and retains its shape. Commonly used for sleeve and neck bands.

Ring Spun. Yarn made by continuously twisting and thinning a rope of cotton fibers. The twisting makes the short hairs of cotton stand out, resulting in a stronger yarn with a significantly softer hand.

Rip-Stop Nylon. A lightweight, wind and water resistant plain weave fabric with large rib yarns that stop tears without adding excess weight. Often used in activewear.

Ruching. A French term which means to gather, ruffle or pleat the fabric.

Running Stitch. A stitch that is spaced equally, with the underside stitching being half the length of the external side.

R-Tek® Fleece. An exclusive lightweight microfleece with a soft, plush hand and an anti-pill finish to resist pilling. 100% polyester.

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S-U

Sandwashed. A process in which the fabric is washed with very fine lava rocks or rubber/silicon balls, resulting in a softer fabric with a relaxed look and reduced shrinkage.

Satin Jersey (Alternative). This fabric has the drape and stretch of jersey plus a luxurious satin wash that sets it apart from other soft cotton and makes it noticeably smooth and sleek.

Scoop Neck. Characterized by a deep, rounded neckline that is significantly deeper than normal necklines. Typically found on women’s shirts.

Sculpted Hem. A hem that is softly rounded for fashion detail and un-tucked wear.

Seam Sealing. The process of treating the stitch holes and seams of a garment to prevent leaking and to ensure full waterproof integrity.

Self-Fabric Collar. A collar that is constructed from the same material as the body of the garment.

Self-Fabric Sweatband. Refers to a panel of fabric at the front of a cap that is constructed from the same fabric as the crown of the cap.

Serge. An overcasting technique done on the cut edge of the fabric to prevent unraveling.

Set-In Sleeves. Most common style of sleeve, which is sewn into the shoulder seam.

Sherpa Fleece. A knit terry fabric that has been brushed and washed to raise the fibers for a fluffy, plush feel. The thick terry loops stay soft and absorbent over time.

Side Vents. Slits found at the bottom of side seams, used for fashion detailing, as well as comfort and ease of movement.

Silk. A natural filament fiber produced by the silkworm in the construction of its cocoon. The shimmering appearance for which silk is prized comes from the fiber’s triangular, prism-like structure, which allows silk fabric to refract incoming light at different angles. Silk is recognized for its fine hand and fluid drape.

Silk Touch™. Our silky soft 65/35 poly/cotton pique blend polo that is durable, wrinkle resistant and shrink resistant. (Not to be confused with silk wash which is a finish on 100% ring spun combed cotton tees for exceptional softness.)

Silk Touch™ Performance. Our high-performance 100% polyester double knit polo that resists snags, wicks moisture and locks in color thanks to PosiCharge® technology.

Singles. A term used to indicate the diameter of a yarn. The smaller the number, the thicker the yarn.

Slash Pockets. A pocket in a garment to which access is provided by a vertical or diagonal slit in the outside of the garment.

Soft Shell. A fabrication that bonds an outer shell to a warm fleece or knit layer resulting in a breathable, flexible and comfortable jacket. All our soft shells have laminate for water resistance.

Soft Spun Cotton. Soft spun is an open-end yarn with more twist and a softer exterior to the yarn. The process generally helps lower torque and improve hand feel of the finished fabric.

Soil-Release Finish. A fabric treatment that helps a garment release stains in the wash.

Soil Resistance A fabric in which spills and soil easily roll right off.

Spandex. A manufactured elastometric fiber that can be repeatedly stretched over 500% without breaking and will still recover to its original length.

Sphere Dry (NIKE GOLF). A patented fabric with a raised bumpy surface that lines the inside of the shirt, which not only creates an appealing athletic-inspired texture, but also works like a funnel to draw perspiration from the inside out. The fabric’s three-dimensional construction also creates air space around the body to reduce cling.

Sport-Wick® Fleece. An anti-static fleece that provides moisture wicking by releasing moisture from the inner layers.

Stain Resistance. A fiber or fabric property of resisting spots and stains. Commonly used for industrial or restaurant uniforms.

Stonewashed. A process in which the fabric or garment is heavily washed with lava rocks or rubber/silicon balls, resulting in a softer fabric with a distressed, weathered look and reduced shrinkage.

Storm Flap. A piece of fabric that covers and protects an opening, usually a zipper, on an item of clothing. It is designed to add another barrier on more vulnerable parts of the clothing to protect against wind and moisture.

Structured. A headwear term referring to a buckram lining used to control the slope of the cap.

Sublimation. A type of printing that uses sublimation ink, heat and pressure to transfer an image onto polyester fabric.

Sueded. A process in which fabric goes through a brushing process to raise the nap and give the garment a soft hand.

Super Heavyweight Fleece. A 12-ounce cross-grain heavyweight fleece. 80% ring spun combed cotton. 20% polyester.

SuperPro™ (Port Authority/CornerStone). Hardworking woven shirts that easily resist soil and wrinkles while releasing stains.

Super Slub ™ (District Made).  A unique thick-n-thin slub yard that mingles super style with super value.

Taped Seams. A strip of fabric sewn to the seam of a garment to prevent distortion. In outerwear, taped seams aid in waterproofing.

Taslan. A durable and water repellent nylon fabric with a slightly shiny surface, used mainly in outerwear garments.

Tattersall. A pattern of dark lines forming squares on a light background.

Teklon. A rugged, stronger Taslan nylon that is water repellent.

Terra-Tek™ Nylon. Durable and water repellent with a matte finish.

Terry Velour. A pile weave cotton fabric with an uncut pile on one side and a cut pile on the reverse side. It has a soft, plush feel and is water absorbent. Commonly used for towels, robes and apparel.

Textured Fabric (District/District Made). A blend of polyester, ring spun cotton and rayon that has a vintage look, but the distinctive texture makes it stand out.

Tie-Dye. A method of producing patterns by tying parts of the fabric to shield it from the dye.

Tri-Blend (District). A unique, soft blend of poly, cotton and rayon that has heathered look.

Tricot. A knit fabric of various natural or synthetic fibers like wool, silk, nylon or polyester having fine vertical ribs on the face and horizontal ribs on the back.

Tricot Lining. A very lightweight nylon lining often used in shorts.

Triple-Needle Stitched. A finish commonly used on a sleeve or bottom hem that uses three needles to create parallel rows of visible stitching, giving the garment a cleaner, more finished look, as well as adding durability.

Tubular Collar. A collar knit in a tube form, so it has no seams.

Tuck-In Tails. A shirt constructed so the back hem is longer than the front. This aids in keeping the shirt tucked-in during normal activities.

Tuck Stitch. Refers to the look of the knit where some stitches are actually under the other stitches. Gives the shirt a waffle weave texture and look.

Tulip Hem. Two overlapping pieces of fabric at the hem of a garment which creates the look of a tulip petal.

Twill. A fabric characterized by micro diagonal ribs producing a soft, smooth finish. Commonly used for casual woven shirts.

Twill Tape. Attached to the inside of the placket for a fashion effect.

Two Ply. A yarn in which its thickness is made up of two layers or strands, adding durability and weight.

Underarm Grommets. Small holes in the armpit area to allow breathability and air circulation.

Unstructured. A headwear term referring to a low profile cap with a naturally low sloping crown. No buckram has been added to the crown for structure.

UV-Protective Fabric. A term used to refer to a fabric that resists the ability of ultraviolet rays to penetrate the fabric. Protects the fabric from fading and the wearer’s skin from UV rays.

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V-Z

V Patch. A section of material in a V shape that is sewn onto a garment directly under the collar, providing support against stretching the neck opening. Also a style detail.

Vents. An opening in a garment which assists breathability and can aid in ease of decoration, allowing the garment to be hooped and embroidered with no visibility on the inside lining of the garment. Some vents are tacked down and are for fashion purposes only.

Vintage 50/50 (Alternative). Alternative’s 50/50 fabrication feels unlike any you’ve ever worn before. Soft and loosely knit for a perfectly worn-in fit, it has a vintage-soft feel that gets better with every wear.

Vintage Wash (District). A specialty wash that gives these 100% ring spun combed cotton tees lighter-than-air softness and extra comfort.

Waffle Knit. A square pattern knit into a garment.

Waffle Weave. A square pattern woven into a garment.

Waterproof. Keeps outside moisture from penetrating the fabric. The waterproof rating is typically expressed in milliliters (1,000mm to 10,000mm) based on water pressure tolerance over a 24-hour period. Generally, the higher the rating, the higher the waterproof protection.

Water Repellent. A fabric’s ability to cause moisture to bead up and roll off a garment.

Water Resistant. Keeps the wearer dry in moderate wind and rain. Very breathable, allowing air to pass through while keeping moisture at bay. In extreme or extended conditions, waterproofing is a better solution.

Weathered Twill. A special dye process resulting in a softer fabric with a weathered appearance.

Welded Pockets. The technique by which seams are affixed to one another without stitching.

Welt Collar/Cuffs. A single ply fabric with a finished edge that is used for collars and cuffs on sport shirts and short sleeve garments. Also known as flat knit.

Wind shirt. A typically water and wind resistant outerwear piece. Popular for golfers.

Wind Resistant. The ability of a fabric to act against or oppose the penetration of wind or air, without being completely windproof.

Wickability. The ability of a fiber or a fabric to disperse moisture and allow it to pass through to the surface, so that evaporation can take place.

Wicking. Dispersing or spreading of moisture or liquid through a given area by capillary action in a fabric.

Wood Tone Buttons. Buttons that simulate a wood appearance.

Wool. Usually associated with fiber or fabric made from the fleece of sheep or lamb. The term wool can also be applied to all animal hair fibers, including the hair of the Cashmere or Angora goat or the specialty hair fibers of the camel, alpaca, llama or vicuna.

Woven. Fabric constructed by the interlacing of two or more sets of yarns at right angles to each other. Woven fabrics are commonly used for dress shirts and camp shirts.

Yarn Dyed. A term used when yarn is dyed prior to the weaving or knitting of the garment.

Yoke. A part of the garment fitted closely to the shoulders. Typically seen on the back as on a dress shirt, but may also be on the front, as on a Western style shirt.

Zipper Garage. A fold of soft fabric around the end of the zipper that helps prevent a scratched or irritated chin. Also known as a chin guard.

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