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recycledmoviecostumes · 4 years

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Goodness do I have a treat for all of you today. Larry McQueen, owner of The Collection has sent me a lovely sighting filled with detailed information. Because the detail is frankly incredible, I decided not to edit it and present Larry’s notes in full below:

In 1936, Travis Banton, head designer at Paramount Studios, began work on the last film he would design for his favorite clotheshorse, Marlene Dietrich. The duo had worked closely together on all her films at Paramount and created the “Dietrich style”-- a look of lavish, smoldering, hard-edged sophistication that was instrumental in creating the Dietrich legend.

Dietrich had one final film to complete her contract at Paramount and was cast in a typical Dietrich vehicle Angel, a sophisticated Lubitsch melodrama with her in the role of an ignored wife of means who has an affair with her husband’s friend. Banton designed the most opulent dress he had ever created for the star for the under-five-minute opera sequence and preceding scenes in the film. The ensemble was to become known as the “Faberge” gown and consisted of a fitted long-sleeve bodice with peplum, a matching long skirt with train and a six foot stole bordered with sable. The fabric was solidly embroidered with gold beads, pearls, rhinestones, gold bullion, gold sequins and faux ruby and emerald stones in geometric designs. According to W. Robert Levine in his book “In A Glamorous Fashion,” the costume was cost-listed on the wardrobe records at $8,000.00, an exorbitant price in the post-depression era and a price that would be over $100,000.00 by today’s standards. The expense must have caused stirrings in Paramount’s upper management in a time when the government was asking the studios to scale back the unnecessary lavishness in costume design. Banton himself once said it was the most expensive gown he had ever designed.

The ensemble is given credit in many film costume books as the most spectacular gown ever created. Diana Vreeland, one-time curator at the Metropolitan Museum of Art said of the costume in the book “Hollywood Costume– Glamour! Glitter! Romance!” “When I think of detail, I think of Travis Banton’s marvelous beaded dress for Marlene Dietrich in Angel—like a million grains of golden caviar. That is one of the most beautiful dresses ever…”. Margaret J. Bailey in her book Those Glorious Glamour Years describes the dress “It was simple in lines, of Persian design, and looked like a piece of woven jewelry…” and “… caused no little trauma on the set when producers refused to give it to Dietrich for her private wardrobe.”

Dietrich had loved the gown and asked the studio if she could keep it. It is said she was so angry of being refused by the company she help save, she stormed off the set. The incident no doubt added to her disharmonious departure from the studio. She left the studio and did not return until a decade later. Acquiring gowns and props from her films- by whatever means- was a general practice of Ms. Dietrich. After her death, The German Film Archive Foundation (die Stiftung Deutsche Kinemathek) and The Berlin Film Museum acquired her estate in 1993, which consisted of five different storehouses in Europe and the USA. In the collection were thousands of items from her career including fifty of her most famous film gowns. Her daughter, Maria Riva, once told the curator of the Frankfurt Film Museum, her mother was always in constant fear the studios would someday try to take back her collection and had kept the fact of its existence well hidden.

Paramount, however, retained the piece and began to put it to use. Re-using costumes was a common practice by studios to maintain an opulent look to secondary and background characters without the expense of making new ones. It is unknown exactly how many films the Dietrich gown was used in, but from photos found, it is obvious it was put to work and went through many transformations in the process. Mary Astor wore it, without the stole on the set of Midnight, 1939. The front was reworked and worn by Rose Hobart in the film A Night at Earl Carrolls, 1940. It was used in publicity photos as in that of Loraine Day circa 1944. With the sleeves removed, the stole without the fur was added to the front of the bodice as draping, it was worn by Felicia Atkins in The Errand Boy, 1961. The stole was cut in half to be used as a turban and worn with a sleeveless altered bodice by a model in A New Kind of Love, 1963. In 1974, the bodice was put back together and used by Diana Vreeland in the MET exhibition of films fashion and in 1985, the gown and stole was returned to its original configuration and worn by Barbara Hershey in the TV movie My Wicked Wicked Ways.

With all the different uses, the pieces took a beating. Many of the “re-workings” were fast and crude and some of the attempts to repair the gown involved covering damaged areas with large gold sequins. One previous ‘restoration’ involved applying glue to areas and pushing the beads back together and letting it harden. The fine chiffon backing was weak and starting to split and the patterns were separating. The costume was so fragile, it could never be worn again, but it is amazing the pieces stayed together.

In December of 1990, Paramount put the gown up for auction at Christies New York as part a larger collection of ‘star wardrobe.’ Larry McQueen and his late business partner, Bill Thomas, who were respected experts in the field of film costumes and had compiled one of the finest collections of the medium under the name “The Collection,” were retained to help inventory, authenticate and price the collection and were overwhelmed to see, what they believed to be, the most exquisite film costume ever created. They were successful in purchasing it for a total cost of approximately $23,000.00, one of the highest prices at the auction. As excited as they were to own the gown, the reality of its condition soon set in. Due to the age of the garment, poor storage and multiple alterations, it could never be dressed on a mannequin because it would not support its own extreme weight.

In 1999, four years after Bill Thomas died, Larry McQueen began the process of restoring the costume. Museum experts in preservation and restoration were consulted and much debate occurred as to whether the integrity of the gown- however poor that integrity was- should be tampered with. It was finally decided by Mr. McQueen that instead of leaving it as it was- a box of un-showable beads- the ensemble should be restored. Getson/Eastern Embroidery, who was then owned by Annie Dernderian, was approached with working on the gown. The firm had worked on the original costume and luckily had many of the beads, sequins and stones used on the original construction.

But, restoration of the garment proved far more difficult than planned. Even though the gown had only taken weeks to create, it would take years to restore. Every inch of the beadwork would have to be attached to new chiffon backing and the patterns pulled into shape and lightly tacked. Then the patterns had to be permanently hand stitched, replacing any missing stones or beads. Previous poor repairs would have to be removed. Missing areas or areas that had been glued would have to be replaced. Many of the original silk threads that attached the beads were breaking and would have to be reinforced with new silk thread. The stole, which had been cut in half and then stacked on top of its self and re-sewn, had to be taken apart, attached to a new backing and the beading attached and corrected. Photographs of Dietrich wearing the costume were enlarged to determine what was an original pattern and what had been changed. Luckily, the patterns did repeat themselves, so where a pattern was missing, a template of an existing pattern was made to re-create the missing one. The task would involve going inch by inch and would involve thousands of hours and great expense. But, determined to see the gown restored, Larry McQueen had the work begun.

The gown could not be taken apart and beaded flat as it was originally constructed, so a special frame with a sling had to be constructed to allow access to the inside of the garment to work from the front and the back of the fabric. Beads and sequins that had to be removed were sorted and reattached in to same location if possible. Only a four-inch area could be worked on at one time and each area was photographed before and after to document the work done. The project was daunting.

The entire fabric of the costume is composed of repeating geometric shapes somewhat like a paisley pattern. Each shape is outlined with small pearls or faceted rhinestones. Beads, pearls or sequins in different combinations fill the center portions of the design. Throughout, are patterns that contain a small grid work of bullion threading and each square filled with small pearls, sequins or a combination of sequins and gold beads. The background is of solid gold rocaille beads and the gown is sporadically studded with emerald and red glass beads. Literally millions of beads were used to create the fabric of the ensemble.

After one year, only the bodice was approaching completion, most of the work done by Annie Denderian. But the expense was mounting and it was becoming impossible to find qualified people who had the patience and time to spend on the garment. Mr. McQueen decided that if the costume was to be completed, he would have to take over the bulk of the hands-on restoration. Having the background and more importantly the motivation to see the gown completed, he was mentored by Ms. Denderian, learning and perfecting the techniques to painstakingly re-attach the patterns and began work on the dress. Almost one year to the date of beginning the work- working faithfully five to eight hours a day- the skirt and the stole were completed. To add strength, bias tape reinforcing and a new silk chiffon lining was added by the costume house of John David Ridge and the stole was re-bordered by using existing sable by Judith Moss at LA Fur Center.

McQueen stated that he probably would have reconsidered restoring the gown had he know the time, patience and expense it was going to take, but then quickly adds that he would have done it anyway. It was just too important. In working that closely with the piece, McQueen was amazed how in touch you get with the people who originally created the garment (a process difficult to understand unless you have restored someone else’s creation). You could tell when someone was having a bad day and cutting corners. You could tell when someone was struck with genius. You could see the differences in workmanship and technique between the various beaders. You could see the time spent on details in areas that no one would ever see. You become very close to the garment and understand it.

The gown is truly a testament to the artistry of early Hollywood. Mr. McQueen is confident the care, attention and over 3000 hours spent in its restoration would make its original creators proud. He hopes that if he leaves any legacy to the field of film costumes, one of his main accomplishments will be the “Faberge gown” survives in the splendor it was originally created and will be shown and appreciated for generations to come.

Costume Credit: Photos, copy and all the above incredible info provided by The Collection of Motion Picture Costume Design: Larry McQueen

E-mail Submissions: [email protected]

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Note: If you’ve not checked out Larry McQueen’s The Collection, I highly suggest you do so. It’s incredible!

#Marlene Dietrich #travis banton #mary astor #larry mcqueen #the collection #costume drama #costumes #period drama #fallen angel #midnight #a new kind of love #the errand boy #my wicked wicked ways

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familycuisinee · 3 years

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The Art of Shrinking Boiled Wool in Tirol | Family Cuisine

A few years ago my wife inherited a button up 100% Merino Wool sweater from her mother, who had inherited it from her mother. Despite its old age the sweater looked great because 100% wool fabric is very durable and it had been well taken care of. So last month when my wife accidentally mixed it in with a load of laundry washed on hot and it came out half its original size she was pretty upset. She was so embarrassed that she swore she was never going to tell her mother what she did to grandma’s sweater. But when I looked at our 2-year-old daughter I realized this sweater still had a song to sing. Sure enough, the sweater fit her perfectly and since it was mommy’s sweater after all, she was none the happier to wear it - every day. <img src="https://ift.tt/3z93qVz" alt="2-year-old in a shrunken wool sweater" /> <img src="https://ift.tt/3k5xwp0" alt="2-year-old girl in a shrunken wool sweater" /> A shrunken wool garment, sometimes mistakenly referred to as “boiled wool” used to be a highly appreciated garment in the United States and in other cold climates. But, as Americans slipped into the ‘cheaper is better’ mentality and let practically all of our textiles be produced overseas, quality fabrics like these were lost. Wool itself has been largely replaced by oil based synthetic fibers like Nylon or polyester, not because they’re better mind you, but because they’re cheaper. Fortunately the art of shrinking wool garments hasn’t been lost entirely. In Austria, where we live and the stores are also full of clothes made in Asia, the art has nevertheless been preserved. And it’s not a surprise since they’ve been doing it here for centuries. The name for these garments is “Walk” (pronounced Valk) and it refers specifically to knitted wool garments shrunk by washing them with warm water. A process in german called, "Walken". Knitted doesn't imply hand knitted but means they are knitted as opposed to woven. The process is a bit more complicated than just chucking them in the wash because the amount a fabric shrinks is quite unpredictable. Even seemingly identical wool fabrics can shrink differently under the same conditions due to differences in diameter and crimp of the wool fibers. After all, wool is a natural fiber and not every sheep grows the same wool as the next one. Here is a fabric before and after shrinking. On the left is before and on the right is after: <img src="https://ift.tt/3hrOWds" alt="knitted wool fabric before being shrunk next to a shrunk knitted wool fabric" /> To learn more about “Walk” I recently visited “Tiroler Strick und Walk” located in you guessed it, Tirol, Austria. Nestled deep in the Alps, Tirol is also considered the home of Loden wool fabric, the brother if you will, of “Walk”. It is also a shrunken wool fabric but different than “Walk” because it is woven, not knitted, which makes it a bit denser and less stretchy. Unlike "Walk", Loden is shrunk with a little soap and hours of agitation or even pounding by wooden hammers which in addition to the warm water forges the fibers together. It’s no wonder Tirol is the home of so many wonderful shrunken wool fabrics when you consider the cold alpine climate and abundance of sheep. Here I am with the CEO of "Tiroler Strick und Walk", Herr Herbert Prösch, followed by a few of their jackets from 2016/17. <img src="https://ift.tt/38Y10yH" alt="Robert W. Stolz with CEO Herbert Prösch" /> <img src="https://ift.tt/3noV0ap" alt="boiled wool jacket from Tirol, Austria" /> <img src="https://ift.tt/3A0sAqO" alt="shrunken wool jacket from Tirol" /><img src="https://ift.tt/3AbG4QQ" alt="boiled wool sweater from Tirol, Austria" /><img src="https://ift.tt/3A58N9P" alt="gray wool jacket from Tiroler Strick und Walk" /> “Tiroler Strick und Walk” has been perfecting the art of shrinking wool fabrics into garments since 1955, although the tradition dates back to the Middle Ages. They use 100% wool yarn to make warm, durable & stylish jackets perfect for the cold and/or wet Alpine climate. The reason Austrians have been making and wearing “Walk” since the Middle Ages is because it takes all the amazing qualities of wool and compounds them, kind of like wool on steroids. Here is some yarn being drawn off its spools into the knitting machine: <img src="https://ift.tt/3noUVDD" alt="wool yarn on spools being drawn into knitting machine" /> <img src="https://ift.tt/2XbOh8G" alt="knitting machine" /> We already know that from a functional and environmental perspective wool fabrics are second to none. Not only do they regulate your temperature better than synthetic or plant fibers because of their insulating ability, they are also totally green, (organic, renewable & sustainable). Their special insulating ability comes from the crimp in wool fibers and the microscopic scales on the fibers that together create tiny air pockets in the fabric. The crimp is how the fiber zig-zags unlike say Nylon which is straight and smooth. When wool fabric is made into either a “Walk” or a “Loden” the scales hook onto each other and the fibers intertwine because of the crimp. This creates millions of tiny air pockets that amplify the insulating properties of wool, as well as make it even more durable and weatherproof. The scales and crimp are the result of millions of years of nature perfecting a thermal system for the benefit of the sheep of course, but conveniently we can benefit from them too. At “Tiroler Strick und Walk” the tricky business of making a shrunken wool garment starts with 100% virgin wool yarn, and that’s where the trickiness comes from. As mentioned, not all wool yarn reacts the same during the shrinking process and tiny differences in shrinkage can mean a garment is too small or too big. Additionally, Austrians are very particular that a garment fits properly, so there is no tolerance for error. What this means is that for every batch of fabric spun on their knitting machines a sample must be carefully shrunk to see how it responds. Here is a finished jacket with one of its sides before being shrunk held up next to it. Notice how much larger it is! <img src="https://ift.tt/3nqVJb5" alt="man and women holding up a finished shrunk wool jacket and a piece of the jacket before it was shrunk" /> After knitting the fabric to the desired pre-shrunk size, there are two ways to proceed. Let’s say a jacket has six parts that need to be stitched together. Each piece is made at about 30% larger than its future desired size, because that’s about how much it will shrink. The question is, do you shrink the six separate pieces and then stitch them together? Or do you stitch them together and then shrink the whole thing? It’s actually a bit easier to shrink the pieces and then stitch them together because you’ll know before you stitch them if they shrunk correctly, but a jacket stitched together first and then shrunk is more desirable because the individual pieces bond together so it gives the impression of being one solid piece. In fact they practice both methods but there is a premium for those that are shrunk as a complete garment. Needless to say, these jackets are produced in small quantities, like craft beer and every year a new collection is designed and made so if you ever own one, chances are you’ll neverbe caught in the same room with someone else wearing it! The Fall 2017 Robert W. Stolz collection will have a selection of “Tiroler Strick und Walk” jackets specially chosen for wool lovers in the United States. Below are photos from my visit that show some of the steps of making Walk garments. <img src="https://ift.tt/3hp84bY" alt="color pattern samples for different wool fabrics" /> Color palettes for different wool types <img src="https://ift.tt/3yZxbYV" alt="sign that says," /> <img src="https://ift.tt/3tHfe0s" alt="woman holding up a paper with the design of a sweater in front of the actual wool sweater" /> A design of a sweater held up to the final product. Every piece starts with a concept designed on paper. <img src="https://ift.tt/3ll065b" alt="4 assortments of fabric patterns" /> Fabric patterns for some jackets <img src="https://ift.tt/3hptnub" alt="man showing how the computer programed sample turns out in real life after it is knitted" /> This is a sample of a knitted fabric that was made based off of the pattern programmed in the computer behind. A sample of each fabric must be made and checked for mistakes before more is made. <img src="https://ift.tt/3l9J49K" alt="computer program for programming the knitting pattern and sending it to the knitting machine" /> Close up of the fabric pattern as programmed in the computer <img src="https://ift.tt/3k5mfok" alt="a paper cut out of a piece of a pattern for a wool jacket" /> A paper pattern of a piece of a jacket in design phase. <img src="https://ift.tt/3nqy9vq" alt="knitted wool fabric in walking machine with warm water" /> Knitted wool fabric in a 'washing' machine being shrunk. There is actually no soap used so it's not exactly washing it. Either warm or cool water is used but never hotter than 95 degrees Fahrenheit. <img src="https://ift.tt/396F83X" alt="knitted wool fabric after being shrunk in dryer" /> Knitted wool fabric being taken out of the dryer after being shrunk in warm water. <img src="https://ift.tt/3nnT5D0" alt="woman sewing a wool jacket" /><img src="https://ift.tt/3C2F4if" alt="woman" /> Sewing a jacket. Knitting machines . . . <img src="https://ift.tt/38XH0fF" alt="classic knitting machine that was made in Vienna" /> <img src="https://ift.tt/3hlpJ4j" alt="knitting machine with threads" /><img src="https://ift.tt/3l9J5KQ" alt="needles of a knitting machine in operation" /> <img src="https://ift.tt/3l9J6hS" alt="knitted blue wool fabric coming out of the bottom of a left left knitting machine" /> Finished fabric coming out of the bottom of a left left knitting machine <img src="https://ift.tt/3k53rWE" alt="finished shrunken wool fabrics on rolls" /> Shrunk fabrics ready to be used for making pillows & blankets. <img src="https://ift.tt/3tA9Ko6" alt="workers on the factory floor of" /> The factory floor with knitting machines in view. <img src="https://ift.tt/3hr6O8l" alt="a wool house slipper for a child on a shelf" /> A child size house slipper, which are also made by "Tiroler Strick und Walk" source https://familycuisine.net/how-to-shrink-boiled-wool/

#familycuisine

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retroateez · 3 years

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Prophecy - Chapter Seventeen

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tag list: @hewwo-from-the-other-side

prophecy masterlist

Strolling arm in arm with Seonghwa, the kingsguard of Ateez's powerful monarch, was not a situation you had ever expected to be in, not in a million years.

But yet, here you were, clutching onto the tall, handsome man as he led you through hallways and down great wooden staircases. Really, you didn't know what you were more nervous about, being in the spotlight in front of hundreds of people, or seeing Wooyoung dressed like this.

Your gown, an exquisitely made garment just for you, fits your form beautifully. The skirt sways gently with every step you take and every so often, you swear you catch the stitched butterflies fluttering with ease.

"Yeosang enchanted the butterflies," Seonghwa explains quietly. "They gave me quite the fright too when I saw them moving."

You smile, thinking of Yeosang whispering softly to the fabric and watching as the rose pink butterflies come to life.

Before long, you're both stood in front of the great oak doors that lead into the main hall. Seonghwa adjusts his position, putting his heels together and straightening his back. You can tell he's done this countless times before; he knows exactly how to carry himself and you would expect absolutely nothing less from the man who exudes regality.

"I don't know if I can do this, Seonghwa." You exhale sharply, tightening your grip on the kingsguard's arm.

"Of course you can!" He gives you a small, reassuring smile. "All you have to do is walk, and sit. When Wooyoung comes to you and offers to dance, you accept, and then you dance."

"I'm- I'm not cut out for fancy stuff like this." You say, looking up at him with sad eyes. "I'm just a nasty little street thief."

Seonghwa scoffs.

"You think a street rat would ever wear something as beautiful as this? Nonsense! The past is the past, Iris. You're one of us now."

Something about Seonghwa's words calms you, the thought of being accepted by (almost) everybody in the castle warming you to the heart. In a sense too, he's right. The shades of your old life had been completely cast out, starting with Yeosang giving you a proper home, and Hongjoong giving you a job of sorts.

Really, you had it all.

But the insatiable hunger for more still burned within you, and no matter how hard you tried to push it to the back of your mind, it would come back ten times louder.

Seonghwa reaches out and knocks firmly on the door, and immeditately, both of them are pulled open.

You stand there, mouth agape, taking in the scenery before you.

The great hall has been completely transformed, from an empty, lonely space to a bustling center of hospitality and entertainment.

On the far left, where Hongjoong's brilliant throne is, sits a long table, with space for nine people. In the center, is a smaller, but no less impressive version of the throne, where you assume the king himself will be sitting.

Off to the side of that, is a rectangular platform, upon which is Mingi, expertly playing his lute whilst accompanied by three other men playing various instruments you couldn't name. The rest of the hall is full of grand oak tables, each one lined with people chattering and singing along loudly with Mingi's song. Every table is graced with an abundance of hot food and goblets of ale. Whole roasted pheasants, hogs, mountains of golden roasted potatoes and boiled carrots covered every single surface and filled the air with a delicious aroma.

You spot Yeosang and Wooyoung occupying two chairs on the top table, conversing with each other, probably about the prophecy. You also spy San admist the guests, who laugh heartily as he speaks to them. Perhaps a jester is more than jokes after all.

At the end of the table is a sturdy young man with chesnut brown hair, who looks incredibly familiar to you, but you know you've never met him. Next to him is Yunho, who you grin at, happy to see a familiar face. He doesn't reciprocate your smile, instead giving you a small wave. You pray that he hasn't noticed the stolen textbook.

Seonghwa keeps you closely by your side as you glide into the hall and the silence in the room becomes abundantly clear.

Everybody is watching you.

All the guests take their seats and they sit like obedient children, observing as the stoic, cold-faced kingsguard accompanies you to your seat at the head table.

For some of them, this is a completely new experience; to see Seonghwa leading a beautiful woman to the most importaant table in the room. But for the older attendees, it is a sight they haven't seen since the passing of the Queen.

It's only when you're sat, Hongjoong's empty seat to your right and a giddy Yeosang to your left, that you realise you were holding your breath the entire time. Seonghwa tucks your chair in gently, and takes his own place on the other side of Hongjoong's vacant space, with Wooyoung faintly blushing to his right. The noise in the hall picks back up again, allowing you to quietly converse with your mentor.

"You look positively beautiful, my little student." Yeosang beams at you, and you shyly smile at him.

"You look rather dashing yourself, Yeosang." There's no lie; his brilliantly blonde hair is styled (for once) so it trails ever so slightly down the back of his neck, his outfit makes a start contrast to his usual attire, although he has opted to keep his signature white shirt, but over the top is fitted, beige jacket with embellishments of gold down the line of buttons, and leading down to his wrists.

"Do you like the butterflies?" He asks, a glint of pride behind the eyes. "I thought you would like them."

"Yes, Yeosang." You nod. "They're very pretty."

Suddenly, a hush falls over the room once more, and you guess that can only signify the arrival of a certain person.

The same doors you entered though swing open again, and Hongjoong himself confidently strolls in. He's wearing the tawny brown fur coat you saw before, fancy black trousers with gold patterning up the outside seams of the legs. His boots are ordinary, but they shine brilliantly, almost putting the jewels on his crown to shame.

It dawns on you then that you have actually never seen the king wear his crown, and you're astonished at how stunning it is. At the center is a huge blue gem, identical to the one sitting in the middle of the silver circlet on your own head. Each peak of the crown is embellished with glittering green sapphires, and between the tufts of his fluffy, mousy hair you can spot the sparkling rubies and garnets fitted around the base of the crown.

Hongjoong paces slowly, aware but unaffected by all eyes watching him in awe. He gets to the table, and stands on the other side of where you are seated, and he turns to face the crowded hall.

"Welcome!" he cries, motioning out in front of him. "Esteemed guests and distinguished friends, welcome to the annual Ateez ball."

The guests clap and cheer at their welcoming, Hongjoong patiently smiling as he waits for them to shut up. Sometimes he really hates his obligation to these dreaded social functions.

"It is with great sadness that the kingdom of Seventeen is not able to attend tonight," He says. "Commander Jeonghan sends his regards to all of you."

Hongjoong claps his hands together, the sound echoing throughout the hall and ringing in your ears.

"Nevertheless! Let us enjoy a night of feasting and festivities! Please, thoroughly enjoy yourselves." He finishes with a deep, sweeping bow, upon which the attendees go wild once more, taking up their goblets and gulping their mead down hungrily.

Hongjoong moves around the table, and takes his seat beside you with an exhausted sigh. All chairs, except for two which belong to Mingi and San who are busy entertaining the guests, are now occupied, and you can't help but wonder who the brown haired man next to Yunho is.

"Hongjoong?" You turn to your right and timidly ask the king your question.

"Jongho?" He questions. "He's the tailor who made your dress. He's a quiet lad, from somewhere up north I believe, but he's damn good at what he does."

Jongho's face perks up over hearing his name and he whips around to face you. Hongjoong signals for him to come over, and he does.

"Jongho! This is Iris, Iris, this is Jongho." The king introduces you, and you can't help but blush at the handsome smile the young man gives you.

"Pleasure to meet cha," He says. "You look even more beautiful in that dress that I ever could'a imagined. Hope yah like it?" You notice the difference in his accent, figuring that must be how they talk up in the north.

"It's gorgeous. Thank you."

"Oh hey, you're that kid from the inn!" Yeosang's voice behind you makes you jump, and you slowly realise that Yeosang is in fact correct.

"The inn with the bear!" You gasp. "Do you know if the bear is okay?"

Jongho chuckles. "The bear is fine. I actually recognise you two from the inn also, fancy meeting here, eh?"

You laugh along with him, one of the many worries settled in your mind as you finally learn about the bear that's been plagueing your dreams for so long.

"Well, I'm glad we are all well aquainted." Hongjoong smiles sarcastically, and Jongho takes that as his notice to return to his seat, bowing politely to you before he does so.

"So when do we start dancing and stuff?" You ask Hongjoong, your eyes following Seonghwa as he hurriedly gets up and scurries out of the hall. Your gaze falls back to the king as he shrugs.

"Probably within an hour or so," he answers. "Only people of high status are allowed to dance, so lords, ladies, princes and princesses from other kingdoms will take the center."

You nod, gulping nervously.

"I hope you've been practicing." Hongjoong says. "You'd better not embarrass me in front of my guests."

"What?" you yelp. "Why don't you go out there and dance if you're so bothered?"

"Because I'm the king." he smirks. "I don't have to do anything I don't want to, and I can make anyone do anything I want."

"You're evil." you snarl at him.

"You love me really." he grins. "Besides, I'm being awfully nice to you, am I not? Letting you live in my castle, giving you lavish clothes, allowing you to do whatever you please?"

"But why? All I do is cause trouble and get in the way."

Hongjoong stays silent for a moment, mulling over his answer before turning to face you once again.

"Truthfully, you remind me of my mother. She was very headstrong, very determined. She would never let my father order her around, not a day in her life would she obey the king's command." He stares into the joyful crowd, his eyes misting over ever so slightly as he remembers his late mother.

"I think she would have liked you very much." He continues. "She loved me dearly, but I think deep down she would have loved to have a daughter. My behaviour as of late, I know she would not have approved of it. My mother firmly believed I would be a good king, and so I strive everyday to make her proud. Your arrival reminded me of the promise I made to her before she passed."

"What promise was that?" You whisper.

"To treat everyone fairly, as she would have done. Regardless of age, race, or gender, my mother was a kindred spirit to every soul she met. Did you know that both Mingi and San were found abandoned outside the gates of the kingdom?"

You shake your head.

"My mother refused to have them sent to the orphanage, so she brought them here and they were raised alongside me."

"She sounds like an amazing woman, Hongjoong."

"She was." He smiles fondly. After a few moments, he shakes his head, rubbing his hands together. "My mother also loved to dance, and so with that, the ball shall properly commence!"

Hongjoong stands up, grabbing a glass goblet and a shiny silver spoon from the table and clinking them together to seize the attention of his guests. You watch as he commands the room like a true king, speaking confidently and without hesitation.

You look out at the sea of guests that hang onto his every word, and smile proudly.

Even if you haven't always seen eye to eye, he's a good man who just wants the best for his people, even you can recognise that.

Hongjoong raises his filled goblet towards the ceiling and grins cheerily at his spectators.

"To Ateez!" he toasts.

"To Ateez!" The crowd, including the table at which you are sat, mimic Hongjoong's cry and you sip eagerly at the alcohol in your cup.

When you place your goblet back on the table, you see Wooyoung stood in front of you, on the other side of the table.

You hadn't actually noticed just how handsome he was looking tonight, and now you had a perfect view.

He was wearing his signature, loose, white shirt, except the first two buttons were undone, giving everybody a direct peek at the top of his chest. He also wore a brilliant crimson waistcoat with bold, green plant stems stitched across the front. Beautiful emerald leaves accompanied the stems, with gorgeous, multicoloured flowers dotted here and there all over the front and back of the waistcoast. You even noticed dainty pink butterflies opening and closing their wings, sitting on the flowers of his outfit, butterflies that were completely identical to yours. Wooyoung's trousers were his usual black ones, but tighter than usual.

His jet black hair was soft and curly, parted in the middle and allowing him to stare at you fondly with his stunning amethyst eyes.

"Would you care to dance?" He asks politely, offering you his hand over the table.

Of course, you nod, and hurriedly rush past Yeosang and San who are sat at the table, to take Wooyoung's hand. He gently takes your hand in his, and raises your hand to his lips. He kisses the back of your hand delicately, and smiles at you with a sparkle in his eyes and a warmth in his heart.

"You look stunning tonight, Iris." He whispers to you, leading you towards the middle of the room where the other couples are preparing to dance.

"As do you, Wooyoung." You blush deeply.

The two of you are stood in the center of the hall, and it feels like you're the only two present. You place your arms around his neck, resting your hands on his broad shoulders, and try to contain the blushing when he puts his hands on your waist.

"Are you ready?" He teases. "Remember all your training?"

"Of course," You mumble back. "How could I possibly forget when I had such an amazingly gifted teacher?"

"Don't let San hear you say that," he murmurs against the shell of your ear. "Or else his ego will shoot through the roof."

The music starts up again as you giggle quietly. You feel Wooyoung's hands tighten slightly on your waist and the nerves slowly begin to creep in once again.

But then Wooyoung's fingers are on your chin, tilting your head up to face him.

"Hey." He whispers. "No nerves here. We've got this."

And you grin from ear to ear, because he's right.

You manage to keep yourself standing, Wooyoung assisting you most the time by leading you with gentle spins and careful twirls. The two of you join the rest of the crowd in a group dance in which you temporarily switch partners. To your delight, you ended up with Mingi, who despite the vast height difference, was very pleasant to dance with. At one point, Mingi even picked you up and spun you so fast you thought the room was spinning around you.

"That was so fun!" you exclaim to Wooyoung when you return to your original partners.

"I'm glad you thought so." He replies, a hint of playful bitterness laced in his voice. "I much prefer dancing with you than San, his shoulders are much too sharp."

You nod in agreement, laughing joyfully and grinning as Wooyoung matches your gleeful expression. The dancing continues for a short while longer, most of the dancers filing out to eat and drink as the music becomes calmer and slower. But you and the elf carry on as if you were the only two in the room, whispering to each other as you gracefully move across the floor.

Hongjoong watches the two of you from his seat at the main table. He's sitting alone, Yeosang, Yunho and Jongho having collected themselves at the table of King Chan and his guests, talking animatedly.

Hongjoong watches as you and Wooyoung dance, observing with an amused twist of his mouth as Wooyoung dips you down, holding your waist, and gently places his lips on yours.

Hongjoong can't help but admire the bravery displayed by the elf.

He watches you smile into the kiss, and notices how Wooyoung's grip on your waist tightens. The king might even go as far to say he's impressed.

With an exhale, Hongjoong's gaze moves from you to the others, to San cracking jokes, to Mingi expertly playing his lute, and to the other three who seem to be getting along well. He's glad he went through with the ball, the stress of the prophecy getting to him more than he would have liked.

The king sits silently, pondering over the last few months, when Seonghwa, visibly distressed comes hurrying over.

"Hongjoong," he rasps. "We've recieved a message from Seventeen. They've recieved word that there's magic in the kingdom and they're sending soldiers to attack-"

"Ah." Hongjoong nods. "That's why Commander Jeonghan didn't show up. I see."

The king stays silent for a few moments, Seonghwa staring him with panic written over his entire face.

"Well, there's no reason why we can't talk this out. Tell them to send their commander and we can assure them there is zero magic in Ateez."

"But-"

"But what, Seonghwa? There is zero magic in the kingdom. Understood?"

"Yes, Sir." The kingsguard nods hurriedly, and once again rushes out of the hall, no doubt to instruct the messengers.

Hongjoong sighs. He won't tell the others, not yet.

"Let them enjoy themselves." He mumbles to himself, watching Wooyoung twirl you around in his arms.

#wooyoung #san #hongjoong #seonghwa #yunho #mingi #jongho #yeosang #ateez au #medieval!ateez #ateez #ateez fic

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onegirlatelier · 4 years

Text

La Façade Shawl | December, 2020

The word ‘façade’ came to me because of the pattern of Chart B, which resembles the dentil ornament on a Greek temple, which then leads to the complete image of a classic temple façade. It’s beautifully symmetrical and rhythmic…

Given that the interior of a Greek temple is just as refined, I cannot help but ponder the opposite functions of a façade: a representation of the inside, or a cover-up?

I’ve been doing a fun free-writing exercise that is prompted by a collection of scents. I may or may not be looking for a new scent, but for each I ask myself to inhale solely and feel properly, and then write down whatever descriptive phrases I find suitable and the image of a lady which I am to construct based on the scent. Some perfumes are more suitable for my pillow, others I could connect with the people I know, and I have not yet found one that would fit me. And I have been wondering. How my perception of myself differs from another person’s, and which one is truer?

When I look at myself, it is all hazy. Secrets, too many of them. I am so full of them sometimes all I can do is to stare out and hope that my words would squeeze through everything else on their own and throw themselves at others; but at the same time life is not fun without secrets, layers upon layers upon layers…Ah, that sweet struggle.

In the beginning of this year I was gifted a perfume with strong notes of rose and oud, which I returned because of many personal reasons, but the choice surprised me. I’m not sure if I am allowed to wear it yet. Most of the time I still feel like a fledgling, shivering and eyes wide open, terrified of what is to come from the world. Sometimes I do feel so old, but instead of the wisdom and self-assurance I aspire to have, I am really just filled with exhaustion. What sort of a grown-up lady gets all teary at a comment from her mother? I don’t deserve rose and oud.

But what exactly is expected of me?

Who is doing all that expecting?

This shawl is made to honour me and no one else. My mind, my hands, my heart, my life—the physical and the mental.

Pattern

Woodlark Shawl by Lærke at Fiber Tales. I modified it somewhat heavily, but I can vouch that the pattern itself is really clearly written and filled with all the necessary details. I loved all the tiny traces to consideration she put into her work.

Yarn

Wool Local by Erika Knight. 100% wool, 450m/100g. It appears to be 2-plied.

The dusty pink colour is #802 Rosedale. Two skeins, with 53g left=approx. 147g used (including a swatch).

The deep grey colour is #806 Cathy. One skein, with 18g left=approx. 82g used.

The yarn is made from British wool and is obviously rougher than, for example, merino. However, it is much softer than Tukuwool. It feels sturdy yet just soft enough for a shawl that will likely come into contact with my arms and my neck. It drapes well, especially with my loose gauge. I have attempted several projects with this yarn and am very glad that it has found its place.

The only con is that this yarn was very splitty. If I were knitting a lace or a stockinette garment, that would not be a problem. But this shawl involved some purl rows and bobbles with the back-stitching method, and it was much more likely for me to split the yarn.

Of course, I appreciate the idea of reducing carbon emission by producing a yarn with local wool, but since the yarn had to travel half-way across the world to reach me, I do feel really guilty. I hate to be constantly having to choose between an eco-friendly yarn from another continent and a locally-produced one that is a pure disaster for the environment.

Finished Size

Wingspan: 180cm

Length: 65cm

Please see modifications below.

Modifications

I knitted extra rows at each stockinette section to increase the size of the shawl. Sometimes that was enough for me to add a complete pattern repeat in the next colourwork section, but if not, then I improvise a pattern to make the centre of the shawl look coherent. You can see from the picture!

I also did a little surgery because in my first attempt of the bobble section I ended up with eight bobbles on the left and seven on the right. It wasn’t obvious, but I couldn’t fall asleep knowing that there was such a fault. I discovered the mistake only after a significant portion of the shawl was done, so I repaired it by cutting open and frogging the three rows involved (the two bobble rows and the row after them) and reknitting the section, before I seamed the new section back with a kitchener stitch. (Please see my Instagram post for the step-by-step pictures!)

In the first bobble section, I added a bobble in the centre of the shawl as that seemed most appropriate for me. I did this by embroidery after I finished the entire shawl: I used a tapestry needle to do a duplicate stitch as the first row, and when knitted the second row of the bobble, after doing the back-knitting I pulled the length of yarn all the way out instead of letting it form a loop on the left needle and kept those three loops on the right needle, and then used the tapestry needle to loop it around the foot of the corresponding stitch on the shawl from right to left, and finally lead the yarn back through the three loops on the right needle. After that, I just tuck the yarn to the back side and hid the ends as usual.

I don’t know how others deal with long floats when doing purl stitches in a garter pattern, but I sort of improvised a method: I didn’t catch the float when doing the purl row, letting that length of yarn float loosely behind the stitches. Then on the next row, which is a knit row, I used my left needle to pick up the floating yarn by doing under it from front to back, and knitted the next stitch together with the floating yarn. The actual stitch is now in front of the floating yarn and cover it up, so you would not see it especially if you pull the floating yarn at the back of the work. I did this every three stitches to make sure the floating yarn is secured.

(This is a backside of which I am not ashamed.)

Further considerations

Not really, except that I would love to try a different colour combination. I intended to pair the dusty pink with a deep grassy green, but the effect wasn’t good as I was going for a pair of high-contrast colours.

I would maybe pair a dusty pink with a yellow, or orange with forest green.

(Pictured are the pink yarn and a green one that I originally intended to pair it with.)

#La Façade Shawl #Woodlark shawl #knitting #knitblr #stories

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lucifer-in-my-head · 5 years

Text

To Love a Prince - Chapter Two

Summary: A new kingdom. A new home. A new husband. When Prince Dolion is arranged to marry the heir of another kingdom, he is eager to leave behind his loneliness, along with the family he knows won’t miss him - but fate is not so benign. Married to a man that does not love him, Dee finds his heart drawn to another; a man that can never be his. As the stability of his marriage rapidly deteriorates, Dee must endure the weight of his own feelings, the crushing isolation that comes with them…and the brutality of the one who is supposed to protect him. Pairings: Roman/Deceit (abusive), Virgil/Deceit Overall Warnings: Abuse, abusive relationship, abusive Roman, angst, broken bones, disowning, domestic abuse, exploration of trauma, injuries, non/con, parental neglect, rape, sympathetic Deceit, violence Chapter Warnings: Graphic consensual sex Word Count: 1585 Masterlist AO3

Chapter Two:

Dee’s lips parted with awe as he looked into the mirror, staring at his reflection with amazement. The tunic looked amazing, even on him, and he wished he knew who the seamstress who made it was so he could thank her.

The garment was truly beautiful, pale white for the most part, with a gorgeous yellow patterning running down from his neck to his naval. The tunic was stitched with golden thread, and it flowed nicely down his hips, ending mid-thigh. Feeling a bit giddy, he twirled, watching as the swathes of fabric at his hips lifted with the motion and followed.

He giggled softly, and the handmaiden assigned to help him dress shook their head, though they too wore a smile.

“Thank you for helping me.” Dee said softly, even though it was their job to do so. He’d always tried to be kind to the servants he encountered back home, and this place would be no exception.

“You’re very welcome, Your Highness.” They responded with a quick bow. “It is my honour.”

Dee smiled at them, then turned back to the mirror. He could feel the butterflies in his stomach again as excitement built in him, and his chest tightened somewhat with anticipation. Today, he would be free of his father once and for all, and would be married to the only man to ever think him beautiful.

He hadn’t been permitted to see Prince Roman since that first day in the throne room - this kingdom adhered to certain marital traditions that his own did not, but Dee didn’t mind. What was the phrase? Absence makes the heart grow fonder.

And Dee’s heart was very fond indeed.

Dee had dreamed most every night of Roman, of that beautiful face - of those arms, holding him close and never letting go. He was practically shaking with jitteriness, wanting this wedding to hurry up and be over with so that he could finally get to know his betrothed.

Eventually, he was knocked out of his own head by a knock on the door. “Your Highness?” A voice called. “Are you ready?.”

Dee left the dressing room without a moment’s hesitation, opening the door to greet another servant, and his own father, who wore his own black regalia edged with gold. Dee offered his father a shy smile, determined not to let the man’s presence ruin his mood, and the King simply huffed, and led Dee down to those same doors he’d entered through two weeks ago.

“It’s time, Dolion.” He said, somehow managing to sound gruff despite the circumstances. He offered his arm, as was custom in this place.

“Indeed, Father.” Dee responded softly, taking the offered arm. A moment later, he was led through.

They walked slowly, and Dee could have used the time to gaze upon the brilliant decorations that adorned the throne room. However, his attention was entirely captivated by something, or rather, someone, else.

Prince Roman.

The Prince stood atop the dais with his own father, wearing a simply gorgeous tunic to match his own - the only difference being the colours Roman wore were red and white, and his tunic only came down to his hips.

To Roman’s right stood King Patton, and behind the Prince stood the minister, holding a white and gold embroidered ribbon.

Dee was pulled to a stop at the foot of the dais, where his father bowed, and stepped back into the crowd. Dee drew in a breath.

He stepped forward.

././././././././

The door creaked and groaned as it was pushed shut, and Dee watched with a giddy feeling as Roman bolted it closed. The other Prince turned back to him, his lips quirked into a grin as he slowly stepped over to Dee. An excited shiver ran down his spine as the other curled his arm around Dee’s waist, pulling him close.

“Finally. We’re alone.” He murmured.

Dee looked up, meeting his gorgeous green eyes. “Indeed we are.” He responded, his own voice low.

There was a moment of silence between them - no noise other than the sound of their breathing.

Roman surged forward, capturing Dee’s lips in a heated kiss as he pulled him closer, pressing flush against him as his hand splayed across the small of Dee’s back. Dee let out a small noise, raising his arms and wrapping them around Roman’s neck as he kissed back.

Roman soon deepened the kiss, and as it progressed Dee could feel Roman’s growing excitement pressed against his stomach - he was sure Roman could feel his own at his hip.

Dee broke the kiss to breathe, and his hands moved down Roman’s shoulders, fumbling for the strings of his tunic. He felt hands at his own back, and Roman undid the strings with ease, pulling off Dee’s tunic and throwing it to the floor. Dee gasped softly at the sudden chill across his skin, and Roman hummed, holding him still as his eyes roved across Dee’s body.

“You’re gorgeous.” Roman breathed, and Dee flushed. “Gorgeous, and all mine.”

“And you’re mine.” Dee whispered back, finally managing to undo Roman’s tunic and pull it off. He dropped it to the floor as Roman kissed him again, his hands running across Dee’s body. Dee could feel his skin beginning to tingle under the touch, and wondered distantly if Roman felt the same as Dee’s own hands slid up his husband’s back.

Roman continued to kiss him with a passion Dee could never have expected, and soon their pants were gone, and Roman was pushing him down onto the bed, crawling on top of him and straddling his waist as his lips moved down Dee’s jawline to his neck.

Dee let out a breathy moan, his eyelids fluttering as he tilted his head to the side to give Roman better access. He felt teeth scrape a sensitive spot on his neck and he gasped, squirming. Roman chuckled, and paid extra attention to that spot, reaching down between Dee’s legs with one hand and eliciting a small yelp from him. Dee forced himself to relax, and even rolled his hips into Roman’s touch.

Roman pulled his hand away for a moment, and Dee let out a small whine at the loss. A few moments later it returned, cold with lubricant oil. Another gasp escaped him as Roman probed his hole with a finger, and he spread his legs wider.

Roman’s lips found their way to Dee’s neck again, but Dee barely felt them as the finger at his entrance pushed in, and he gasped.

A moan was wrought from him as the finger started to move, Roman rocking it in and out quickly. Dee started to pant, his hands reaching up to fist loosely into Roman’s hair.

Roman nipped at his neck as he pushed a second finger in, and Dee moaned again, ignoring the faint burn. He opened his eyes - when had he closed them? - as Roman pulled away from his neck, and looked up to his husband. Roman grinned down at him, his eyes roving up and down Dee’s body as his fingers began to scissor.

Dee let out a shaky breath, his grip on Roman’s hair tightening slightly as Roman worked him open. “Almost ready for me.” Roman murmured, stretching his fingers wider, and Dee let out a groan, rocking his hips onto them.

Soon they were gone, and Dee squirmed with anticipation on the bed as Roman lubed himself up. Before he knew it, Roman’s hands were on his hips, holding him steady, and he was pushing in.

Dee’s gasp morphed into a moan as Roman bottomed out in him, stars behind his eyes at the burn. Roman barely gave him a breath before he was moving, and Dee moaned as pleasure coursed through him like fire.

“Ro-Roman!” He cried breathlessly, bucking to meet Roman’s thrusts.

Roman started out with slow, deep thrusts, but quickly picked up the pace, until Dee was a moaning mess beneath him. He could barely think, barely breathe, as Roman switched angles, and stars exploded behind Dee’s eyes as Roman hit that bundle of nerves inside him.

A shudder went through him as he spilled across his stomach, but Roman wasn’t done, continuing to thrust into him faster and faster, until the ache between Dee’s legs was no longer as pleasant.

“Roman!” Dee gasped out. “Slow- slow down!”

Roman’s pace didn’t falter, and he leaned down to kiss him again. It was deep, and passionate, and quick, and Roman’s lips trailed back down to his neck again, sucking a bruise into his skin. Dee let out a soft groan, and that must have been all Roman needed to tip him over the edge. Roman bit down on his neck as he came, stuttering to a stop.

They both panted for breath as they looked at one another, and Dee winced a little as Roman pulled out. He grabbed a damp washcloth that had been left on the bedside table and used it to clean them both up, then flopped down onto the bed, pulling the blankets over them both.

Dee snuggled up to Roman, resting his head on his husband’s chest with a soft smile on his face. “That was…”

“Amazing.” Roman finished for him, his arm curling under Dee’s waist and holding him close. “You felt so good.”

Dee felt his cheeks heat up even more. “You too.” He murmured, closing his eyes. It didn’t take long for him to fall asleep, curled up against his new husband’s side.

He was content.

#jayde writes stuff #to love a prince #tlap #ts storytime 2019 #TS-Storytime 2019 Submission #deceit sanders #sympathetic deceit #roman sanders #patton sanders #unnamed oc #sanders sides #sanders sides fic #ts fanfic #ts fanfiction #tw sex

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goddamnitdazai · 6 years

Text

just as sweet | Yosano

explicit ; pegging ; smut || thank you to my patron who allowed me to post their commission || Despite her field of work her hands treated you with the utmost delicacy. As if she were handling the most fragile material in all of the country. Red wine swirls in her glass lips spread in a knowing smirk, words flowing from her mouth in a voice lighter than air. Her longest pauses come when she’s focused on how much food is left on your plate or how quickly the wine has drained from your glass. Manicured nails left bare of polish dance along her bottom lip, a sure sign she’s drank twice as much as you by now. Though, her tolerance could outmatch even the strongest stomach in any bar in Yokohama. Soft music plays through the bluetooth speaker propped up on the coffee table low enough to hear her voice above all. Light in her eyes ten times as beautiful as the skyline view behind her head.

“How is it that we always end up in my little dorm when you have this beautiful place?” She asks, another pause. She can tell you’re listening to the story but not as intently as you should be. A shrug of an answer before you take a sip of wine and lean forward on your elbows ignoring proper etiquette. Because she always worked such strange hours and when you’d visit at two am the walk to the train station was too long. “I much prefer this view, but I guess the skyline is nice at night.” You finally respond. She smirks and sets the glass down on the table copying your movement to lean forward closing the space with a gentle kiss. She tasted like cherry wine. “I’m surprised you like this wine. You normally don’t like my ‘sweet baby’ alcohol.” You murmur playfully between kisses. Yosano’s smile widens pulling back on her elbow with a sigh chin propped in her palm. Eyes no less glossy or blurry than when she’s been working too much. People only knew when Yosano Akiko was tipsy if you were graced to know her well enough to know the childhood she’d suffered. At least, part of it. “Are you nervous?” You ask brow cocked in curiosity. Yosano mimics the look. “I’m not, but I can tell you are a bit. Just wanting to lighten the air after all this evening is perfect even with your sweet baby alcohol. And, this wine goes really good with the food.” Her eyes soften as she speaks free hand coming to grip yours over the table. Steam rises from the pile of rice and remainder of teriyaki chicken on the plate near her elbow giving the wine glass a thick layer of fog. You watch red swirl behind tinted grey with bits of light refracting from the window trying to ignore the knot in your stomach. There was no negativity in this ball of nerves you’d been fighting with since the day before last, but a slight embarrassment you’d rather chuck out the window than deal with. “I’m alright.” You lie through your teeth unable to look her direction. Yosano huffs and taps her middle finger along your knuckles one by one. You knew what would come next from her mouth, so you cut it off before she can get the first word out. “I want to. I trust you, but...it’s personal with you. More personal than normal, it’s meaningful.” You grumble feeling the heat rise in your cheeks. Sex on its own wasn’t exactly nerve-wracking but with Yosano the connection was different. Real. Something. Opening up to someone with an intensity you’d never felt before had been the reason of the knot. It started as a thought and spiraled. “I want to.” You repeat, glancing up at her giving her hand a firm squeeze. And, you’d never had this experience before. “______, you’re sweeter than this wine.” She giggles into her fingertips own cheeks flushing slightly under the pale lamp light. “Akiko that was terrible.” You snort pulling her hand up to kiss her knuckles thankful for the corny pick up line. She always knew how to pull you out of your own head. Yosano agrees blaming it on the wine and spending far too much time with Dazai lately. You swirl the remainder of wine in your glass before downing it in a few sips tugging her hand lazily away from the table. “Dishes later.” Your voice drops from playful to sultry, as smooth as smoke gliding over water. Yosano’s eyes flicker in gold as she finishes her own glass. Setting it back down before rising from her knees to her feet pulling you up with her. Hand immediately wrapping tight around your waist. Where it belongs. “Lead the way.” Her voice drops tingles down the side of your throat. Your feet move unconsciously walking her backwards towards the dimly lit bedroom. Single curtain drawn to allow the halcyon glow of Yokohama through the window. Yosano’s hands don’t stay dormant for long. Thin, talented fingers weave up the back of your neck tangling in the roots of your hair while the other wanders playfully beneath the hem of your shirt. Walking up in teasing patterns to the swell of your breast fingernails tracing the underwire around to the back unhooking the garment in one snap. You smirk and press your lips against hers tasting the wine on her tongue. Movements guiding you into her spell, her scent, her warmth-- each kiss grows hotter, needier. Your feet shuffle until the back of her knees hit the bed with a soft thump. On cue she wedges out and spins breaking for air just in time to push your shoulders lightly sending you toppling on to the bed with a gentle bounce. Gold outlines her silhouette as she stands at the foot of the bed panting, metal butterfly clip catching the light of the moon hanging low and full in the night sky. Her hands move quickly to her hair removing the clip, as always, tossing it gently on the armchair near the window. Slowly, the air begins to drain from your lungs as Yosano takes the reigns. This is her show now. All eyes fall to her and the silky smooth glimmer of her bare skin as she rids herself of clothing painfully slow belting ‘watch me’ with her movements. A dance she’s perfected with the utmost care meant only for you. Performed only for you. The mattress creaks as you rise up on your elbows to watch her. Moonlight shining brightly over her pale shoulders following the curve of her waist and hips. Taut muscle hidden beneath skin softer than silk with traces of you hidden in the crook of her neck and shoulder, the edge of her left hip bone, and the inside of her thigh. She loved teeth marks. They riled her up when you played dominate. Made her eyes blow as wide as saucers before she used that lasvacious energy to flip you on your back. Yosano saunters forward clad only in lace panties bra slipping forward off her arms to flip the unnecessary thing over her shoulder landing somewhere unimportant. Her teeth glint like freshly polished pearls in the moonlight. “_____~” her pitch comes out soft, but devilish. A shiver bolts down your spine when her hands move up and up and fuck she’s too quick with those fingers. The button of your jeans clatters to the floor zipper nearly ripped off the stitching as she tugs them down until they’re a pool at your ankles. “Should I just shred my shirt or--” Yosano cuts off the retort with her lips pressed heavily down against your own. Tongue gliding through with ease to paint patterns on the roof of your mouth and behind the line of your teeth. Fabric rips beneath her nails; you smirk against her lips. “Impatient.” You coo, hands winding up the back of her neck dark locks twirling through your fingers until they’re taught. You pull back. She moans your name. Another shiver; her voice was as just intoxicating as her touch. Delicate little patterns leave goosebumps in their wake. Trails of pebbled skin following the tips of her fingernails as they delve down your ribs then back up again. Giggling, her lips drag over your cheekbone following the shell of your ear down to the corner of your jawline. Tepid, dotted kisses that send repetitive electricity down your spine making your thighs twitch beneath her body. Yosano smirks against your skin already reveling in the uncontrolled movements she pulled out of you with barely any effort. Her moan caresses your skin breath hot, aroma of sweet wine still lingering on her tongue. The pink muscle drags between her teeth along your skin when they puncture just enough to redden the area. One hand strays down her spine wanting her to feel the same electricity that had been coursing through you since she’d begun stripping. Yosano welcomes the touch back bowing down to tilt her hips and ass up. Curve in her body making your hand wander further to cup the swell of her ass and pull her closer. “Mmm…” she sighs, letting you have control for a two counts of a heartbeat before she aligns herself on your body to play with your chest. Mouth pulling in a nipple fingers grasping at it’s twin tugging and pinching it into hardness. Both sensations cross in the center of your chest and send a jolt down between your legs that makes your clit throb. “Akiko!--fuck.” Your voice hits a high note only heard in her presence; the reaction makes the need between her legs double in pressure. Her tongue flicks against the pert edge lips sucking in rhythm with her fingers until your back bows off the mattress. You gasp for air when she moves down the center of your stomach dropping hot, open-mouthed kisses that leave your skin tingling. Her hands follow the path teasingly tracing the outline of your ribcage as her teeth dance along the edge. She was an enchantress in her own right. Queen of touch and taste and every miniscule movement that sent galaxies bursting to life behind your eyes. Each part of you felt the impact with the intensity of a supernova. Sensitive was an understatement. Needy was even less. Desperate at the halfway point because when her hands left your body the entire world stopped and stole your breath straight from your lungs until she touched you once more. She lit the world on fire better than any sunrise you’d ever seen. “No...fair.” You pant out through shaky breath feeling her drunkenly laugh against your belly button at your claim. “When have I ever said I was fair?” She quips, stilling to rest her chin on your stomach eyes glossy and blown wide like the moon. Alcohol dusting rouge over her high cheekbones skin contrasting the natural dark tone of her eyes and hair falling wildly against her face. Smirk riding higher the longer it takes for you to catch your breath. “You seem to be enjoying yourself.” She hums, fingertips walking over the new bite mark beneath your rib cage rubbing the pad of her forefinger through the red blossom proudly. “Or should I stop?” There is a mixture of teasing and seriousness only detected in the way her eyes shift from curious to cautious. Ensuring this is what you wanted, still, after months of dating. You run your fingers through her tangled hair lower lip cinched in your teeth eyes locked with hers. A smile, a harsh tug of her hair. Question answered. She wastes no time giving your hip bone a playful bite that leaves a bruise over a fading red tag. Your shaky moan makes her thighs tighten. But, this was far too fun for her to give in just yet. Your hands slide back to grip the sheets moonlight gracing the edge of the bed with stripes of off-white. Catching the curve of her jawline before she disappears between your legs. With just her breath on your thighs you’re already quivering, near begging. More. Touch me. She sighs lovingly and runs her flattened hands up and down the supple flesh begging for attention. Kisses light and lazy from one hip bone to the other hands stilling on your inner thighs. “Akiko,” your voice strains teetering on pathetically desperate, “baby..” you purr. Yosano feels her heart skip a beat at the pet name. Her eyes flicker up for a second drinking in the portrait of your back arching high and skin ignited in rose from her lips and her touch. Sweat crawling down your forehead matting your hair to the sides of your neck. Maybe she was less of a sadist than she thought, or she was too deep in her own need. Who cared. Her tongue draws a stripe down the center of your pussy hitting your clit with perfectly timed swipes as her palms push your inner thighs open further. Your eyes roll; she moans at your taste. Warm vibrations pull wanton moans from your lips as she rolls her tongue up and down your core spending every few seconds flicking the tip over your swollen clit before dropping back down again. Arousal coating her chin and sides of her mouth the longer she teases. Goosebumps feather down her arms and legs, one hand slipping from your thighs to drop between her own legs. Finger mirroring the pattern of her tongue on your clit causing your moans and twitches to sync up with hers. “Akiko!” You hiss, shaking hands gripping her hair to push her back enough to see her blushing, glistening face between your thighs. “I want you.” You gasp between breaths. She was needing you too. Yosano licks her lips clean and nods dropping two kisses to the side of your knee before rising to crawl up your body. Coated finger slipping in to your hungry mouth eyes locking with hers. You moan around her finger lapping her juices happily, whimpering when she pulls the digit out. “Shhh.” She commands tapping her finger against your pouted lip with a smile. “Scoot up on the bed. I’ll be just a minute.” You obey her words, but not before stealing a deep kiss that nearly sends her toppling over from the sudden appearance. You smile; she clicks her tongue and nips at your lips before rising off the bed and walking to her overnight bag in the corner. As your told you scoot up and plop down in the pillows thighs sticky and heat coiling in the pit of your stomach. Watching her from the corner only fueled your desire for her body to reattach itself to you. Cold air of the room making the loss of her heat even more apparent. Yosano works quickly, quietly, pulling the strap from her bag and rubbing a wipe over it to ensure it was fully clean despite it being new and unused. The butterflies idling in your stomach burst up your throat. Heels digging in to the mattress as a strange mix of curiosity and arousal make your pussy twitch in need. Yosano turns harness vibrant red, the color of her dress she wore the night you two met at a benefit, she smiles as its secured. Knees bending to allow her to crawl back up the bed between your legs. Cool silicone brushing against your inner thigh as she tangles her hand back in your hair for a kiss. “Relax..” she coos, teeth nibbling your bottom lip softly, “I know what I’m doing.” You sigh into her words letting her take over the trainwreck of nerves in your mind. Her kisses begin to slow them, and then silence them. Hand wandering up and down your side nails dragging feather-light beneath your breast then over your nipple back to your throat. Thumb rubbing circles directly under your jaw forcing the tilt higher so her tongue can dance over the roof of your mouth. Her hips roll closer head beginning to delve between your soaked lips coating the edge in you before she teasingly rubs it against your clit. “Fuck.” You gasp sharply legs immediately wrapping over her waist. “Mmm..I want to show you something different. You okay with that?” She draws back for air slipping the cock down and inside you slowly until it’s buried completely. Your eyes widen at the stretch moans growing in length and volume legs already shaking around her waist. “I can fuck you like this…” she trails off stomach arched slightly off yours allowing her a perfect view of the expressions you’re unaware of. Pleasure. Shock. That cute little eye roll when you bite your bottom lip to stop from moaning too loud. Her hips arch up head rubbing your g-spot in slow, precise strokes. The teasing was going to drive you insane. Your thighs tense forcing your toes to curl throat beginning to dry from the constant, uncontrollable sounds falling from your lips. “But I want to make you feel as good as I do seeing you like this…” teeth clench the shell of your ear, “get on your hands and knees for me love..I’ll make you see stars.” Her voice glides over your skin smoother than velvet. She smirks, hips pistoning ever-so-slowly, just enough to build the foundation of your orgasm. Edge of her abdomen rubbing your clit in soft, swift strokes when she moves. You gulp for air only able to nod in agreement. Truthfully, you’d let her do anything right now if she’d just stop her teasing. “Akiko.” You grate out nails dragging red down the center of her shoulder blades. “Te.ase..” she cuts off the word with a sharp thrust smile broadening when the moan that comes from your lips nearly shakes the window. Your pussy clenches thighs following suit around her hips. Her own arousal had already soaked down her thighs. “I know my love, but I promise it’ll make everything so much better in the end.” She speaks her words like scripture and fuck if you didn’t swallow every drop and praise her for the goddess she is. Yosano dips her head to nibble down the column of your throat hips pushing the dildo completely inside of you in one slow thrust. Your toes curl lower back bending up off the mattress into her warm skin. Whine bordering on embarrassingly loud when she pulls out completely and sits back on her knees. “Love get on your stomach for me.” Sultry, it vibrates down your chest. Fuck The mattress creaks. Stomach flattened against the warm sheets elbows lined up with your shoulders and head turned to watch her shadowed movements. Her nails grip your hips to tilt your ass up just enough that your hips hover over the bed. As smooth as a wisp of satin dancing in the wind her fingertips draw trails of heat between your legs traveling to the arousal stained between your thigh before one talented hand finds the mattress. It’s twin snakes around to tilt you just a bit more lining up the head with your dripping pussy dragging the tip up and down your soaked folds. Her breath hitches; your entire body pulsates. “Ohh...” She whispers into the moonlight middle finger rolling on your clit as she pushes inside you slowly allowing you to get used to the new angle. Her pace makes your eyes roll and the rush of pleasure from both ends tightens the coil in your stomach so quick the room blurs around the edges. Her moans are sweet, delicious, sinful. Filling the room with her exquisite voice paired to perfection with glimmering night and scent of sweet wine. She rolls her hips, free hand sliding up the mattress to allow her lips open range on the dip between your shoulder blades. Skin far too sensitive to keep your mouth shut. Her name comes out in fragments and the stuttering just makes her moan even louder. “Fall apart for me.” Deep, slow. Each stroke inside your walls makes the entire world crumble into nothing but bright white. Her voice carries the melodic tune of euphoria, torso slick with sweat as she glides up your back over and over keeping your bodies close. The hand between your legs continues the slow, torturous pace even when her hips begin to pick up in fervency. Sweat beads down the sides of your face heat scouring every inch of skin that’s graced with her touch. Yosano’s hips twitch and arc up to jolt against that sweet spot deep inside never leaving it for longer than a millisecond before she’s applying pressure that sucks the air right from your chest. “_____..” she sighs like your name is the only word she knows. Your hand curves back to tug at her hair. Motions shaky and sloppy as your head tilts to capture her lips in a rough kiss. Skin slickened and hot sheets beginning to bunch at your legs twisting up in the movements of your bodies. Golden light streaks over the mattress the scent of sweat and sex overtaking the once lush aroma of vanilla candles burning on the ledge. Yosano grips the mattress tongue darting between your lips in an act of desperation. Her own need eating away at her patience. “Nnnn..fuck..Akiko.” Your voice makes her spine tingle. One smooth motion--a hand sliding beneath your chest--has you flipped on your side back flush against her chest. Arousal coats the inside of your thighs as the arm ducked between your legs falls back beneath your thigh cranking your leg up allowing her deep enough to scrape your cervix; your entire body stiffens in shock and pleasure. The perfect mix that unravels every part of you. “FuckAkiko!” your mouth drops open, her thrusting growing quicker and quicker until the sound of skin slapping skin echoes louder than a thunderstorm. Her teeth leave careless kisses and marks up and down the side of your neck hand beneath your rib cage bending at the elbow to twist and pull at your nipple in tandem with her thrusting. Your hands grip whatever they find. One in her hair and one in the sheets as your back bows off her chest knot coiling tighter and tighter pressure building far too fast to keep any fragment of control on your voice. Yosano bucks hard nails digging crescents into the skin of your thigh and the last knot pulls strong enough to snap. Pleasure encases your body in lightning-fast tingles. Toes curling and muscles clenching as cum drips down coating both of your legs in a glossy, sticky sheen. Yosano slides her fingers down from your thigh to your pussy as she pulls out wanting to coat her fingertips in your cum rather than let it trickle out. Her hand shakes as it rises up to her lips, moans light and satisfied at the taste. You pant heavily but force your numb body to turn wanting to face her as she carefully removes the strap and tosses it off the bed. Legs tangling with yours and arms wrapping you in a tight hug as you both fall from your high. A comfortable stillness overtakes the room. Silence only interrupted by shallow breaths shared in the aftershock. Minutes pass, wrapped in each other’s arms amid the sweat and cum neither of you concerned about the clean up. Later, you think, as Yosano tucks her head beneath your chin hand trailing the outline of your shoulder. “Did..you cum?” You didn’t hear her, or you were too gone to notice. Both scenarios made you feel a bit guilty. Yosano chuckles and nods tilting her chin up to kiss the center of your throat. “There’s a vibe on the inside that works just fine, love.” She pushes herself up to be even with you, eyes half-lidded and glossed over. Haze of adoration and exhaustion mixing beneath her long lashes. She was so fucking beautiful. “ Even if the act of pleasuring you until you screamed my name didn’t get me off I always have a back up plan.” A simple kiss to your lips, soft, sleepy. You smile when she pulls back just enough to let you breathe. “Shower?” She asks voice bordering on smoky as she yawns. “Later.” You mumbled refusing to give up the comfort of your bed. Yosano sighs as if she didn’t know that would be your answer. Though, her legs had twisted in more with yours blocking you from leaving even if you wanted to try. A gust of wind rattles the window, early night falling deeper transitioning twilight with darker skies and quieter streets. Candlelight remaining against the walls softening the harshness of the room and the world outside the walls. “Later.” She repeats eyes fluttering shut to the sound of the wind.

#yosano #yosano akiko #yosano smut #scenarios:nsfw/yosano #scenarios:smut/yosano #bsd #bungou sd #yosano x reader #fanfic #my writing #my writing yosano

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theladygruoch · 4 years

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Hello! How can i start to sew and then continue to historical sewing? ( i do have a machine )

Hi!

First things first, I am nowhere near an expert, and the bulk of this answer is dedicated to how to find people who are. For example, @vincentbriggs is a great guy to point you towards further resources, especially for menswear and more technical details. His blog even has an FAQ! I also draw a lot of knowledge from the historical sewing community on instagram, many of whom have blogs where they describe their projects in detail, like graciesews and her blog.

here’s something I cannot stress enough: everyone I’ve met so far in the historical sewing community, on- and off-line, is SO NICE. You know how you get a really specific interest, like 1730s opera or the nebulous nature of “violet” in the 17th-18th centuries? And all you want to do is tell someone else all about it but it feels like nobody else really needs it? EVERYONE in the historical sewing community lives that, and wants to tell all they know to a listening ear. (Well, caveat, some people in the reenactment community CAN be really snotty and gate-keepy, but they’re the minority and probably most of them aren’t even on social media because it’s not historically accurate /s. Most people are great. Especially on Instagram. If somebody makes you feel insignificant and bad for asking or just being a beginner, they are in the wrong, not you, and I give you a pass to ignore them with impunity, no matter how expert they are.)

But at the same time, specificity helps, especially when you want to reach out for knowledge from other people. Do you have a set goal in mind, like a specific garment you want to recreate, or a particular type of skill you want to learn? Is there one period you especially love and want to create clothes from? Find people who have done similar projects and see what their process is, what resources they use, etc.

Online tutorials are your friend! I use them probably more than anything. They’ll show you everything from certain obscure stitches to entire garment constructions! For example, I referred almost exclusively to Fresh Frippery’s guide to a Chemise à la Reine when I made my own. And for my bedgown, I used a combination of this and this.

Reading blogs and tutorials by people whose work you admire will not only teach you specific things, it will also give you a new vocabulary of phrases to search for. Someone is making a really cool 1770s gown and mention using English stitch without explaining what it was? Google it! Now you know about a whole new cool stitch. Someone mentions pad stitching? Same thing!

Also learn from extant garments. Lots of museums will have information on the materials used in certain pieces, and books like Colonial Williamsburg’s Costume Close-Up show you how different pieces were constructed, including pattern layouts!

There’s also the question of how deep in the weeds you want to go. Are you interested more in the historical-reenactment-type sewing, in which everything is done to as period-accurate a standard as possible with minimal machine sewing, or something more costuming-oriented, where the lines and shapes are all accurate, but modern techniques and sometimes modern fabrics are used. Both are equally valid and yield wonderful results! For example, fabricatinghistory on Instagram did a cool series of regency garments inspired by Hogwarts Houses, producing a really creative mix of historic lines and modern pop-culture influences (while donating to the Trevor Project at the same time in order to counteract JK’s gross terfiness).

As with all art, every garment you make is practice for the next one. No matter how unpolished your attempt, you learned something important. In several projects I’ve done, I’ve gotten myself into a pickle and have to improvise like heck to get out of it. That’s how I got myself into making an entire embroidered stomacher for my jumps. Every bit of frantic attempts to fix a mistake, or even scrap a garment entirely, is a learning experience that gives you invaluable knowledge for your next project.

For modern sewing, the project that really helped me learn about garment-making was a simple commercial pattern for a pencil skirt I did in high school. It taught me about interfacing, and putting in zippers and fasteners, and was overall a low-stakes way to familiarize myself with all the invisible work that goes into making a garment look right. I transitioned from there into historical sewing fairly quickly, so that’s really where my experience is. I don’t know what modern sewing has got up to since 1820. Let this be an inspiration to you--you can have a boobsworth of knowledge about regular sewing and still learn how to get into historical sewing--that’s p. much what I did!

As far as historical sewing goes, a good intro project is a petticoat. There are lots of tutorials online like this and this. The historic fabric/sewing company Burnley & Trowbridge is also a great source, not only for things to buy at reasonable prices but for historical patterns and even guided kits to make your own garments, like petticoats and aprons and pockets (pockets are great. Once you make a petticoat you WILL want pockets to put things in). On their Facebook and Instagram they also frequently share posts by other costumers in the community, so you can find even more people to learn from!

I don’t know as much about menswear, but I think that as far as those go, a basic 18th-century working-class waistcoat is fairly simple, in my experience (once I paid a talented friend to draft the pattern for me.)

That leads me to perhaps the biggest factor in my sewing: finding people irl who are better at sewing than I am and learning from them. I understand that meeting anyone irl right now is difficult, but if we’re ever able to see people in person again, it’s one thing that really helped me. If you go to school, maybe you won’t have a reenacting club to join like I did, but perhaps there is a cosplay club, or another history-adjacent club like a Jane Austen club that you’re interested and can maybe find people in. But even if you only ever find your people on the internet, they are still excellent resources for learning more. I recognize that joining a college with regular 18th-century sewing circles is a very niche experience.

I’m not sure how much I can tell you re: sewing machines. I rarely use them, as they scare me and also hand-sewing is something I can do on the couch while watching Murder She Wrote. But a machine can be a valuable resource! Something a lot of historical sewists do is machine-stitching the long seams and then hand-finishing the garment. I commissioned a pair of 1780s stays from a friend and they’re almost entirely machine-stitched, but because of how stays are constructed you can barely tell that they differ from a pair of stays hand-sewn with a really good backstitch. And it all depends on what you’re making the garment for--enjoyment/swag or for a reenactment. Standards vary.

This has been all over the place but I hope it helps. We have something in common, you and I. I also feel like a total beginner. When I see other historical sewists display their perfectly dazzling gowns in gorgeous fabrics, both I and my bank account feel the grip of insecurity. I know it’s not a competition, but it sure FEELS like one when my instagram feed looks like an arms race for who can create the most stunning garden-party dress. But it isn’t! You sew for yourself, to show yourself how far you have come in a specific skill and what more you will be able to do in the future. And also you are allowed to say that sometimes sewing is very boring because it is. It is ok to love the product more than the process.

Best of luck! I’m rooting for you, dear anonymous

#long post #historical sewing #historical costuming

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kafashionsofficial · 4 years

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Fashion Tips: Designing at Home

Sew a patchwork quilt with Next in Fashion’s Daniel Fletcher

Creative director and star of Netflix’s Next in Fashion, Daniel W Fletcher has plenty to get on with while in social isolation, designing a collection for Fiorucci as well as one for his own brand. In his down time, he is taking up a DIY challenge to make a patchwork quilt based on a dress he made during the filming of Next in Fashion, using other designers’ leftover scraps. The design – inspired by concerns over the melting polar ice caps – is an arctic landscape.

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“Ever since the show, I’ve been inundated with requests to make similar quilted items, so I thought this was a good opportunity to show people how they can do so themselves.

“You can make it from any leftover fabrics you have. This time, I used some leftover damaged denim from my studio as the quilt base. I don’t imagine everyone has that lying around so use what you have.

“Heavier is better for the base so it can hold the appliqué – maybe some old curtains or an existing blanket that needs some love. If you don’t have enough to do a blanket, you could use the same technique to make a cushion. For the appliqué, it could be old clothes, tablecloths, tea towels – anything you can get your hands on.

“I went quite abstract with my pattern, but you could come up with a more elaborate design.

“Mine took me five hours on a sewing machine. You could hand sew it instead. It’s going to be a much longer process but could be very therapeutic, which is something we could all do with right now.”

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Difficulty level: intermediate Equipment needed: an old blanket (or similar), scraps of fabrics, thread and needle

How to:

“For the nitty-gritty, head over to my Instagram – my wonderful sister captured the whole process.”

A post shared by DANIEL w. FLETCHER (@danielwfletcher) on Mar 27, 2020 at 12:52pm PDT

Crochet a small rug with menswear designer Liam Hodges

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Liam Hodges has recently moved house, so his time in self isolation has been spent unpacking and making rugs.

“I learnt to crochet last October and have found it really relaxing. For our AW20 collection, we crocheted a lot of squares as embellishments. I’ve kept it up and even tried to make a skipping rope when I first went into isolation.

“I had been wanting to make some rag rugs and started working out how to crochet graphics into them. I made the graphic in Photoshop so that each pixel represented each crochet stitch.

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“I thought doormat-size was perfect. I have mine by the door to remind me to keep positive and take the [government] advice about staying in seriously.

“It took me around two and a half hours to complete and is made up of old, shredded T-shirts for the coloured section and yarn made using Wool and the Gang offcuts for the main black areas, so it is entirely made from waste.”

Difficulty level: intermediate Equipment needed: an old T-shirt, a crochet hook, yarn and scissors

How to:

“Use our how-to digital zine on Instagram, which has the pattern as well as instructions on how to crochet.”

A post shared by LIAM HODGES (@liam__hodges) on Mar 27, 2020 at 4:56am PDT

Sew a shark mascot with designer Christopher Raeburn

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Designer Christopher Raeburn’s team are adapting to the current situation by releasing weekly creative tasks via their #RaeburnAtHome initiative.

“This project is to make one of our shark mascots. We have always featured animals in our collections, initially as a way to highlight and support endangered species through our WWF UK partner. The Shark is one of our most popular animals; we keep it in our collections each season, but it always evolves.

“You need no more than one square metre of fabric – even less if you are conscious of pattern placement for waste reduction. Using a variety of smaller cuts of fabric is encouraged though as this adds pops of colour and texture to the final shark.

“Not only is reusing and repurposing old fabric a more interesting way of working, but extending the lifetime of garments is instrumental in reducing planetary impact. When people are spending more time at home than ever before, now is the chance to pull out those bits that we no longer use and give them new life.

“Unless you are an absolute master, it should keep you busy for about 10 hours. We only recommend a sewing machine for ease and speed – top marks for effort go to anyone tackles it by hand.”

Difficulty level: advanced Equipment needed: a sewing machine, fabric, scissors, thread and paper.

How to:

Sew a kimono-inspired garment with designer Edward Crutchley

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Designer Edward Crutchley’s lockdown aim is to set himself a project each day. His first was to cut a pattern for and sew a one-piece kimono-inspired garment. Next up is making miniature sculptures of the kings and queens of England using modelling clay.

“How to make Japanese clothes by John Marshall is a book I have on my shelf that I thought it would be great to lose myself in during isolation.

“I love traditional Japanese clothing and now is the perfect time to study. What I love about kimonos is that they are traditionally dictated by the fabric – they are the width they are because that is how wide the looms could weave. For a fabric geek like me, that’s a dream.

“A traditional kimono pattern looks like some different-length rectangles put together, but nothing is ever that simple and it takes a lot of skill to construct a traditional kimono properly. The one I made is much, much easier.

“I used three metres of fabric left over from the last collection, but you could make it with two metres if it’s 150cm wide, or you can easily add seams to the patterns or patchwork fabrics together. Repurposing old curtains or a bed sheet would be perfect.

“It took me around four hours to complete – there are only three seams and three hems. I tried to make it as simple as possible.”

Difficulty level: advanced Equipment needed: a sewing machine, two to three metres of fabric, thread, scissors, paper and dressmaking pins.

How to:

“The pattern I made is available to download for free here. The step-by-step sewing guide is saved on my Instagram highlights.”

Make a shrunken crisp-packet necklace with Tatty Devine

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While social distancing, Rosie Wolfenden and Harriet Vine, the designers behind Tatty Devine jewellery, are doing daily making challenges.

“It’s amazing for your mental health and the perfect antidote to these strange and unsettling times. This so-called shrinky necklace is something we did as kids. We first made one as Tatty Devine in 2001. It was very early days, when we made jewellery from whatever we could get our hands on. We enjoyed having to eat crisps.”

Difficulty level: beginner Equipment needed: old crisp packets (not foiled or metallic, such as Chipsticks or many supermarket own brands); a chain necklace (whether new or something you already own); greaseproof paper, a baking tray, a damp tea towel (for safety reasons), an old tea towel, a hole punch, a regular jump ring and two pairs of flat-nose pliers.

How to:

Set your grill to medium.

While the grill is warming, fold the greaseproof paper to make it into rough envelope shapes and pop your empty food packets inside – one wrapper per envelope.

Put the envelopes on a baking tray under the grill. The packet will start to shrink and curl up. You don’t want them to burn or blister so watch closely.

As soon as they are shrunken enough, remove the baking tray, quickly place a folded tea towel on top of the envelope and slam your hand down to flatten your “shrinky”.

Use a hole punch to make a hole somewhere on the packet.

Open a regular jump ring with the pliers and thread the packet on to the jump ring, then put the jump ring on to the necklace and close it.

You can stop with one pendant or layer up for a charm effect.

Knit a scarf with dancer Meshach Henry

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Despite having no previous knitting experience, dancer Meshach Henry has made three scarves in as many days, documented on Instagram by his partner, the Radio 1 DJ Nick Grimshaw.

“I always said I would learn a new skill like plumbing or plastering if I ever had a lot of time on my hands. But they aren’t ideal skills to practice in this current situation. So, having seen knitting supplies in a craftshop window recently, I thought, ‘Here’s my new hobby.’

“I purchased a thick wool because it looked easier to use and less fiddly. I bought 10mm knitting needles, which I thought were an average size but later found out are strangely big – but I’m really happy with the chunky effect they produce.

“What I like about knitting is that you can see your physical product. As a dancer, I rarely get to see my own work, so to be able to see and hold this tangible thing is a whole new world for me.

“My intention is to move on to knitting jumpers. I want to create a matching jumper for every scarf, just to keep things interesting.”

Difficulty level: beginner Equipment needed: knitting needles and wool

How to:

“I taught myself by watching an eight-minute Knitting for Total Beginners tutorial on YouTube. The tutorial taught me how to cast on in the first instance. Then there are follow-up links to a second video that teaches you how to change knitting style and how to cast off.”

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Make drinking glasses with former British Vogue fashion director Lucinda Chambers

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Lucinda Chambers is co-founder of fashion brand Colville and online shopping platform Collagerie and was fashion director at British Vogue for 25 years.

“I was in Paris six months ago having a glass of water in the Bon Marché and I noticed the glass looked suspiciously like the end of a wine bottle.” When Chambers investigated she found a world of home crafters making their own tumblers from pre-used wine bottles.

“I found an inexpensive kit on Amazon,” she says. “Each glass is a labour of love as I sand them by hand; it’s strangely therapeutic.”

Difficulty level: medium Equipment needed: empty glass bottles, a glass cutter kit (available online, for instance from Amazon).

How to:

“The kit has everything you need to make the glasses: a stand, saw and markers that you place on the empty bottle at the height you require your finished glass to be. You can make French-style low tumblers or something taller. Once you’ve cut the bottle you need to sand the cut edge smooth.”

The internet is full of videos, such as this one, that show you more details.

This content was originally published here.

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drapefordesigndworkbook-blog · 4 years

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12 Drape Summary

Design Aim

My design aim was to portray the emotion Anxiety through drape. To do this I looked at my own experiences and general knowledge of what Anxiety was and meant, collecting various imagery that I thought to be relevant. When it came to selection a specific visual, I ended up using the x-ray ribcage with butterflies inside. I chose this visual because of the line drawing/sketch I made I found to be visually striking, and I was able to see how it could portray the concept of Anxiety in multiple ways. The sharp ribcage acting as the invisible, unseen barrier and ‘cage’ that Anxiety is to the mind, as well as indicating this idea of internal vs external. And, because we can ‘see’ through the ribcage, we also get a glimpse of what the anxiety looks like inside. The original image had butterflies, which I perceived to be not the right representation of Anxiety, and so I replaced them with the scribble/knot imagery, to get across that feeling of a knot in ones stomach or gut.

And so, in theory, I would be largely portraying through my design the internal/external conflict of Anxiety, the ill feeling one gets from Anxiety, and the trapped feeling of Anxiety. In making theory into a toile, I think that the draped design outcome in portraying anxiety is reasonably successful. I did get the comment that it looked like quite a ‘pretty anxiety’, which did make me wonder if I had gone in the right direction. But perhaps this could show how anxiety doesn’t always look like anxiety, or perhaps that people don’t always recognise it - that one could indeed believe that the way they live is fine and are creating their own cage without realising. Nonetheless I think that my portrayal of anxiety is perhaps a bit more subtle than I intended.

If I were to take this further, I think that I would like to expand on this concept more, and make it feel/look more like anxiety. This would include using sheer fabric for a sharper looking ribcage which would then sit over the texture I created - which I think I could then exaggerate more, and use more knots and tight lines.

Context/market

If I were to look at the garment I intend to make, I see it as more conceptual and therefore leaning towards high fashion. I do wonder how it might be commercially sold, as the construction method, time and effort that has to be put into making the garment will also dictate what part of the market this garment would be sold in. Because I am not entirely sure how the replication of the pre-gathering may happen, it is highly likely that each piece could be slightly different, again leaning towards more couture techniques and high fashion. If there was a way to perhaps ‘map out’ the gathering stitches I used to create the initial texture before pleating my fabric, as well as gather said fabric consistently (which would also be dependant on what kind of fabric is used and it’s behaviour when gathered).

Coming back to the market, I think it would definitely be in mid-high fashion, and perhaps a bit more niche of a target market due to the skeletal aesthetic. I also believe that even though it is conceptual, a consumer wouldn’t necessarily have to understand the concept to buy it.

Process Evaluation

My process for this project in the practical sense started with the way in which I tackled the idea of my scribble-ribcage sketch. At this point I wasn’t sure if I would be using this idea for my final and I just wanted to experiment with said idea. After looking at what I was after I thought that the first aspect of the design, I decided to pre-gather my fabric to create the ‘scribbles’ - I would then go from there, manipulating the gathers as needed. Unfortunately, it was only after I had finished gathering the fabric that I realised I forgot to mark out the grain of the fabric. I couldn’t just un-gather the fabric, and it wouldn’t lie flat enough for anything I drew to be accurate. I therefore decided that I would use the selvage edge as my grainline marker (which later was not visible due to how I had draped the fabric).

When draping the fabric onto the body, I placed the salvage/straight grain parallel (as much as it could be on a 3D shape) to the bust and waist lines. From there I began adding fullness through pleats. These pleats were to represent the ribcage. I originally wanted them to be quite sharp and protruding from the form, but the way I’d gathered the fabric and the way the it reacted to the gathering meant that I couldn’t manipulate said gathering as much as I would have liked. I did, however, only gather the area for the front and side, leaving the back. I then decided to also drape the ribcage on the back without gathers to see what it might look like. This was indeed very sharp looking in comparison to the softer looking if somewhat chaotic looking front.

After adding the fullness I decided that even though it was a bit different to my original idea, as the pleats on the front were partially gathered, I still really liked it and could see lots of potential from this design idea. I therefore decided to continue developing this drape, and after consultation I honed in where I draped the fabric to areas more concentrated until I was satisfied. I did consider using a different/alternate fabric for the ribs, but ultimately left it out. This is because when I draped the alternate fabric on top, it didn’t add anything, and made the design look too busy.

In terms of notations, I didn’t get much time to do many physical notations, which was partially because I wanted to spend more time considering how the gathering might be taken into consideration and whether or not I note where I gathered the fabric before draping and how I gathered it, as said gasther varied. What I was also unsure about were the fact that the pleats were not the same width consistently - a single pleat would start out small, then become wide, then small again. Unfortunately I did not get the opportunity to navigate this.

When it came to the recommended construction sequence, again, the gathering of the fabric was a little ambiguous, so I had to make the assumption that the fabric was gathered before the pattern would be cut out from said fabric. Apart from that, the only major aspects of the construction were the adaptation to allow for boning, and how the hem might be finished due to the knot. Honestly, the only aspect I think needs to be sorted out physically would be the hem, as to adapt the lining for the boning seems simple enough. I didn’t really focus on any other finishings, as the construction meant that only the hem would be open. I do, however, recommend since the tie could be left out from the lining at raw edges (with a row of stitching 5mm from the edge) would be the best option. This is because the frayed, deconstructed hem adds to the Anxiety, and frayed rope/knots were a part of my inspiration.

Overall, I think my process was okay. I would like to have taken more note of grainlines, and drawn all of them in for my benefit in seeing how the gathers and pleats affected that. As well as this, if I had more time, I would have perhaps liked to experiment with more than one idea or at the very least not be too hesitant to change a current idea. This is largely in relation to how I did the ribs. I liked what I had already draped, and was reluctant to unpin and move it about too much, just in case I was not satisfied with the change and wanted to go back - that it was unlikely I would be able to precisely recreate the idea before the change. I also think that perhaps if time were not as pressed as it was with external pressures, I would have liked to experiment more with alternate fabrics for the ribcage, to push and exaggerate the idea more.

Conclusion

To conclude, I think that this project was overall successful. I believe that the garment I draped does represent the emotion of Anxiety through the gathering and the ribcage, if a bit more subtle than I would like. If I were to continue this project or make any design changes, I would like to see how I might push this concept further, and extend it beyond the waist/torso, as well as see how I could exaggerate it to make the Anxiety a bit more obvious.

If I were to do this project again, I would have liked to do more exploration. Perhaps found more images and visuals to draw from to allow more for design elements and shapes. I know this is about breaking from ‘traditional pattern making’ and designing iterations, but I would have liked to do some sketches of garments to help explore more possibilities and ideas beforehand, rather than sticking to the first I happened to put on the form.

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fenlr · 5 years

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Exercise 1.2 Substance and Story

Substance

What is the textile made from?

As I do not have any official information for the items, I cannot be sure as to what the textile pieces are definitely made from but from observing them. I am pretty sure I have identified the right materials. The kimono will most likely be made from silk, it has the feel and look of silk and this is what kimono are generally made from. The fabric scrap is a piece of chiffon, it has the lightweight, flimsy qualities that is seen in chiffon. The cloth seems to be made from cotton, but this is the item I am least sure about.

Is there a manufacturer’s label or an archival label to give you that information?

There are no labels attached to any of the pieces, nor any archival labels stored with the items.

If there is no label, are you able to find out some other way?

As there are no labels for the items, any information about them must be retrieved through researching Japanese textile design as that is about the extent of knowledge that is known about them.

How can the textile be cared for?

As I do not have any official information as to how to care for the textile items, it is hard to know exactly how to care for each of the items and as such, it leads me to think that the best course of action when caring for them is to make sure they are treated delicately and stored away from light, odours and extreme temperatures. If for any reason any of the items needed to be washed, I would assume that the best course of action would be to give the items a light hand wash and to dry naturally without the use of any heat.

What methods have been used in its production?

Is it woven, knitted, another form of construction, or is it a non-woven material? (If you don’t know what these terms mean, do some research to find out.)

All three of the textile pieces that I am examining are woven pieces, although each piece will have been woven in different ways and using different materials to create the different textures that they all have.

Is it hand-made or machine-made? Is it possible to know what type of machinery was involved? If it’s hand-made, is the maker idenitifed?

What textile finishing methods have been employed?

Finishing methods in textiles refers to the treatments that are applied to fabrics once they are created. These treatments are applied to add a variety of qualities to fabrics, depending on the desired use for them – some fabrics need to be made softer and some need to be made water resistant for example. Fabric finishing is generally made up of three stages – washing and drying, stabilising, and pressing, but sometimes fabrics require further treatments to achieve the desired outcomes.

The washing and drying stage of fabric finishing is essential if a fabric is to be dyed and it removes any dirt that has built up during the manufacturing process. Certain fabrics such as cotton require a chemical method called mercerising to be applied which is used to increase the strength of the fibres as well as helping dyes to adhere to the fabric. The stabilising stage of fabric finishing is when a piece of fabric is treated to ensure that there is no shrinkage to the fabric and that the fabric is properly prepared before being dyed and/or printed onto. The stage of pressing is not a stage that is applied to all fabrics, only certain fabrics that need to have specific textures or surfaces.

As all three of my textile pieces have been dyed and/or printed, I can assume that they have all undergone the washing and drying stage as well as the stabilising stage. The kimono seems to have been dyed and printed onto, the fabric scrap seems like it’s been printed onto but not dyed and the same can be said for the cloth.

Is there a print or any form of embellishment, or has a surface finish been added to the original textile? Do you know how this has been achieved?

The cloth has been woven together and then the completed piece of fabric has then been printed on which is where the repeated pattern and the kanji come into the design. From the way the print sits on the fabric, it seems to be that the design has been screen printed onto the design, but it could have also been added onto the fabric using a technique such as sublimation printing. For the kimono, it has a repeated pattern woven into the fabric itself, but it has also had motifs printed on top of it such as the circular crane motif. As I think that the kimono is an older piece that was made using traditional techniques and processes, it is highly likely that the designs that have been printed onto the fabric where transferred using a traditional method such as block printing. For the fabric scrap I can only assume that the pattern was printed using a technique such as sublimation printing as there is no visible height difference between the printed design and the fabric itself which is the end result when sublimation printing is used.

Where is the textile from?

All three of the textile pieces – the kimono, the fabric scrap and the cloth – were all purchased from Kyoto, Japan.

Can you find out this information from labels or from the archive information? Is it the final product (perhaps a garment the fabric has been made into) that reflects the ‘Made in….’ label?

There are no labels on any of the pieces.

Is it possible to be sure where the fabric is from?

As there are no labels attached to any of the items nor was the owner given any information on purchase, it is not possible to be completely sure where the fabrics are from but the designs themselves definitely suggest that they are from Japan any the fact that the designs were purchased in Japan also support this.

Is it possible to know where the original fibres came from? (If you are not sure, again try to do some further research into the fibre types or processes used in order to find out where this is usually done. It could be a country of origin, or even a city or factory.)

It is difficult for me to know where the fibres of the cloth and the fabric scrap originate from beyond knowing that they were both purchased in Kyoto, Japan. I can assume that this means they also originated from there, but I cannot be entirely sure, and I would not know where to start in terms of researching the fibres. The kimono on the other hand is much easier to research as there is so much information readily available concerning kimono design and the process of making them.

Kimono are commonly made from silk and the process of silk making is a process that has been used in Japan for centuries, at one time they were producing the best quality silk in the world, so there is no reason for anything other than Japanese silk to have been used.

What problems have you encountered in trying to find out this information?

I’ve found it difficult to find information about the specific fibres that my archival pieces are made from as I do not have any information to use as a starting point but the kimono was a little easier to research than the fabric scrap or the cloth. There is such a large amount of information available around kimono so I had a good starting point when trying to learn more about the piece, the fabric scrap and cloth did not give me anything to work with as they could be made from any number of materials.

Why might traceability be important in textiles?

Traceability in textiles is extremely important, it allows you to learn about the techniques and processes used to create a piece as well as gives you the knowledge you need to know to care for textiles pieces properly. The lack of information I have about the archival pieces I am studying for this project is a good example of how this can affect ones ability to properly research a piece. As far as information goes, I only know that all three of my archival pieces are from Japan. Beyond that, any information that I gather about them is purely assumption based on my own knowledge and research.

What information are you missing and how might you find out more?

My main problem within this project is the lack of information I have about the items I am observing. I can research Japanese design and fabric, which will help me to gain more knowledge about the items but any information I get this way will be based on my own assumption.

Story

Is it well-worn and heavily used?

The kimono does not seem to be too well-worn or heavily used, but it definitely has some wear and tear in certain places – there are a couple of small marks when observed closely as well as a hole that can be found on the left arm. I can assume that the kimono has been worn before due to these marks and tears. The fabric scrap has frayed edges and is heavily creased, it has clearly been handled but beyond this it is in good condition. The cloth seems to be in near mint condition putting the crinkles and creases from poor storage aside, the kanji that has been printed onto the fabric is still crisp and the fabric weave is still holding strong with no holes or breaks.

Is it fragile and delicate or durable and sturdy?

There are aspects to the kimono which show it’s delicacy such as the hand stitching holding the fabrics together but as a whole the design is sturdy and durable as it was designed to be worn and therefore must have a certain level of durability to be used the way it was intended to be used. The fabric scrap is the most delicate of the three pieces I will be looking at. The fabric is light and could easily be plucked or marked if not handled correctly and the frayed edges mean that greater care must be taken when handling the piece to ensure that this is not made worse.

Can you tell the age of the textile or product?

The owner of the archival pieces purchased them in Kyoto around fifteen years ago, so I know that each item is at least fifteen years old. The traditional Japanese motifs that have been used to decorate the kimono fabric, suggests that it is an older, more traditional piece. If the kimono was a modern piece, I feel that brighter and bolder fabrics would be used rather than fabrics with a slightly muted palette. The patterns printed onto the fabric scrap appear to be more traditional like the kimonos design but the way that they have been printed seems to be a more modern technique leading me to think that the fabric scrap may have been fairly new at the time of purchase. The condition of the fabric and printed design on the cloth suggest that this was new at the time of purchase.

Are there any indications of patina due to wear and age?

There are no clear indications of ageing to the colours of the fabrics that make up any of my archival pieces, but it is likely that the colours of the kimono have lost their vibrancy over the years since it was first created. Although the fact that the items have been in storage for a number of years has probably helped to slow this process down.

Is there evidence of repair or alterations?

There is no evidence of any repairs or alterations having been made to the kimono nor the cloth but the fabric scrap has clearly been removed from another piece at some point as you can see holes in the fabric from stitching that has now been taken out.

Can you tell the story or guess the story behind the life of the textile?

Being a hand-made, child’s kimono, I can build a narrative of what I think may have happened over the course of its “life”. The care and precision which would have gone into the design and making of the garment, the processes and techniques that would have been applied to the fabrics, and the memories that were made whilst a young child was wearing the kimono.

I can assume that the fabric scrap was previously part of a garment of some sort. The holes that have been left in the fabric suggest that there was once stitching attached and the scrap is most likely the excess after a piece of material was trimmed. There is also the story of how the fabric itself was made, the processes used, and techniques applied.

It is harder to guess the story behind the cloth beyond how the fabric itself was made and how to design was printed onto the fabric as it seems like it has never been used before.

Are there any elements of the design, detail, decoration or construction of the textile sample that indicate a story behind the textile or product? (This could be anything from the use of traditional motifs to t-shirt slogans!)

Can you learn more about these, where they originate from and any background meaning or message?

Are they made to last or are they supposed to be transient?

I would say that all three textile pieces were made to last as they have been designed to be worn or used, which requires them to last.

Kimono are designed to be long lasting, there is a great deal of work that goes into creating such beautiful designs. Great care is taken when choosing the different elements of a design – the fabrics, the colours, the patterns.

Are they personalised in any way or have they been customised or repaired?

There do not appear to be any signs of repair or customisation on the three textile pieces.

Can you build up a story of the users or wearers of the textiles?

The few marks that can be found on the kimono as well as the hole on the left arm and ripped/loose stitching, suggest that it has been worn before being purchased and stored as an archival piece. If this is the case, at some point during its life the kimono will have been worn by a child. The child would have made its own memories whilst wearing the garment that the kimono has experienced in its own way.

Do you feel any sense of nostalgia in relation to any of the three examples you have chosen? If so, why? If not, why not?

Though not a sense of personal nostalgia, the kimono design is very nostalgic of traditional Japanese design. The use of traditional patterns and motifs create an embodiment of the beauty and elegance of garment design of the time. The same goes for the scrap of fabric, the bold and traditional pattern designs which have been printed onto the fabric are reminiscent of the designs that would have decorated kimono worn by Geisha and Maiko in Japan. It is difficult for me to feel a sense of nostalgia to these pieces as I have never experienced Japan or Japanese culture in person, any knowledge I have of the culture and design of Japan is down to research online, reading books and watching television.

Was this a conscious decision when choosing your samples? Or could it have perhaps been an unconscious decision in your selection?

I am a big fan of Japanese culture and design, and when previously studying different areas within the arts I have often made it difficult for myself by restricting myself to this interest without having access to anything bar the internet. So, when trying to locate a textiles archive for this project I was purposely avoiding making this mistake again. This particular archive was offered to me and as I am heavily interested in the textiles themselves and as I have been given permission to borrow the items for reference throughout this project, I felt that this was a great choice of textiles archive.

Do you feel that any of your three examples reflect any sense of heritage, whether your own or someone else’s? If so, why and in what way? If not, why not?

#textiles 1 a textiles vocabulary #part one observing and capturing #project 1 selecting and identifying #exercise 1.2 substance and story

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welldresseddadblog · 7 years

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A few weeks back I was doing a little thrifting and came across a pair of vintage Norwegian army field pants. Super condition, worn in and undamaged. Mine for a pound. Score! Only, in the same way I don’t wear denim jackets, I don’t really wear field pants either. A quirk of taste or a physical manifestation of an inner sense of style? No idea, I just sense it won’t happen. I do wear army jackets though, and I do like a nice waistcoat.

The field pants were hanging on the banister in the kitchen though, waiting to be added to the collection in the basement. And gradually an idea came to me. I have made a few waistcoats before, in fact so many that I transferred the pattern to an old sheet for easy. Laying these pieces out on the trousers it was clear that there would in fact be enough fabric to unpick, cut, splice and assemble into a waistcoat. Game on, you might say.

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Unpicking original stitching.

The pattern used is Burda 7799, with small modifications.

Laying out the transferred pattern on available fabric.

I’ll make no claims to being a lead innovator in doing so. Needles are always cutting up vintage army stuff and reassembling it in odd ways. Maharishi similarly. I’m not sure if I’ve seen either do a waistcoat before though, and I had a couple of ideas of my own. The first was to use as many of the original features of the pants as I could, the second was to demilitarise it. For the first point I reused both rear pockets, the front coin pocket, the fly, the rear darts and used the waist cinches as rear cinches. Where the fabric was double for strength I left it like that.

Even when cut up and reassembled, the army origins of an olive waistcoat are quite obvious to even the least observant of menswearists, and this was a point that was very much in my mind. I’ve previously made the point that when wearing military garments, wear just one piece at a time. We live in troubled times and matters are not improved by dressing up like you’re a member of some outback militia member. So I wanted to make a point of this not being army surplus.

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Lapels added to demilitarise the styling.

Waist cinches added to rear to provide adjustment.

Right hand side almost done, maybe the buttons need realigment?

I added lapels. I sense readers recoiling fractions of an inch in awe at this sneaky move, and indeed, it is pretty radical. Apart from dress uniforms, would a designer of utiliterian garb for an army put lapels on a field garment? No, I can’t imagine so either. And to be fair, apart from the fabric and inherited details, the waistcoat is in fact based on a pretty standard suit-style pattern from Burda.

How I proceeded:

If you’re interested in how I went about this, read on. First of all I laid out the pattern on the trousers to see how it might work out. This wasn’t all that helpful, apart from indicating that there was indeed enough fabric, as there was not enough continuous fabric for all of them. In addition, I would need to cut and splice for the front to get the pockets in the right position and the right way up. So the next step was to unpick the stitching on the legs and explode the trousers in to four main parts. I then cut the two rear panels and inside front panels out, each in one piece. The lapels were also easily cut.

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Left hand side now with second half of fly attached. Makes it a bit different.

Rear cinch attached with two buttons to provide adjustment.

Not a huge pile of leftovers! Most of the fabric ended up being used.

For the front though it was trickier and this was a case of cutting out the pocket parts and then adding the bits around to make up the full front. This could be done in any number of ways, so it’s really a matter of puzzling it together. The scars become part of the design, with different styles of stitching, some top-stitching, some worn original stitching, some double layer fabric, some single. At the end of the day I was just pleased when I had the surface area needed. Using the two parts of the buttoned fly was another challenge, as it was curved and tilted, with many layers of fabric in places. I decided to make it more of a design feature than integrate it in a perfect manner, adding more design interest. Reusing the waist cinch tabs and original buttons on the rear also worked out quite an effective detail.

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The inner side of a pocket was stamped with sizing and some code. This was included on the rear.

The fly wasn’t entirely straightforward to use, as it was made to curve.

One small original repair was included on the rear of the waistcoat.

For the lining I used some fairly heavyweight cotton fabric (from IKEA of all places). I’d have liked to use something lighter, not nothing suitable was at hand. The end result is a waistcoat that if not literally bulletproof certainly has a certain heft to it. I wonder if it will work in combo with jeans and tweed? We live in interesting times.

The almost totally final result, before I top-stitched the front.

Final thoughts:

Something that struck me again and again while working on this was how immensely well made the original trousers were. It took at least a couple of hours just to undo the stitched, as it all properly felled and made to last. Even the pocket constructions were over-engineered to ensure the pockets would be solid enough and be able to carry weight. It’s pretty impressive really, and also makes me question the opinion that the Japanese recreations of classic army wear are of immensely better quality, given that they (obviously) don’t have any budget restraints. How solid do you need your trousers to be?

Sew your own: Making a waistcoat from field pants #armystyle #vintage #seamsman #sewyourown #waistcoat #vest A few weeks back I was doing a little thrifting and came across a pair of vintage Norwegian army field pants.

#armystyle #burda #fatigues #field pants #sew your own #Sewing #vest #vintage #waistcoat

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thewiseoldwoman-blog · 8 years

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Talk about my work - The Knit Monster

Knit Monster

Towards the start of my exploration I decided to experiment with random pieces of wool, from different kinds of fibers and blend them together to create an unusual piece. This was mainly inspired by two aspects. First was this advert by net-a-porter with the women wearing a fluffy coat and secondly was the unusual nature of Japanese street fashion.

At this point I knew for sure I wanted to incorporate wool.

I gained a fascination in Japanese street fashion and through research I discovered a Japanese street fashion known as 'Lolita'.

Lolita holds a controversial name due to the 1955 novel by Vladimir Nabokov which explores dark themes. However I've understood that Subculture share the same name, for the Japanese have merely expanded and adapted the idea of Lolita as their own. And that there is no sexual connections.

A brief understanding of Lolita consists of outfits full of frills, lace, bows and they wear primarily pink. Their outfits incorporate childlike aesthetic such as bonnets and carrying dolls. Lolita is a blend of three main influences, number one being Marie Antoinette and the rococo period which is an 18th century artistic movement and style with its big billowing gowns.

Secondly it is inspired by Victorian clothing which is from 1837-1901 the style is particularly interested with children's clothing for they wore puffy skirts to the knee and bonnets. And thirdly Lolita is inspired by the Meiji era which was from 1868-1912, this was a time when Japan was introduced to western style clothing. So Japan started to blend their own culture into the clothing such as the patterns and the general aesthetic of the outfits.

With this very limited amount of information on Lolita it lead me to being really interested in this subculture. I wanted to create a piece of clothing from this fashion by using knit and sewing. I instantly made a pink lightweight kimono jacket with short sleeves and a belt. I trimmed it off with lace and ribbon. However I felt it too bland, it looked like I was trying to make a outfit for Lolita rather then being inspired by it which enables me to incorporate elements into something my own. Sadly I can't find my photos of this jacket. I also looked into Lolita through books however this one was more picture based with no back ground information.

I wanted to explore the traditional kimono be seeing how it was first established to how it has evolved through time. Short jacket kimonos are used in Lolita and are modernized to fit the Lolita style. I also looked into kimono designers such as Jotaro Saito who seeks to free the kimono from the confines of tradition by making them more modern and accessible.

I then researched the Lolita rules. Such as skirt length and sock height all being so strict and refined. People in the community call those who don't look up to scratch as being lace monsters. As soon as I discovered that I was hooked I immediately wanted to work with that terminology and wanted to create something using the already made kimono jacket and infuse knitting to make an interpretation of this so-called lace monster. I discovered this by reading the gothic and Lolita bible which is a magazine that explores what people are currently wearing and places Lolita's can hang out. I then understood that Lolita's who wear kimono jackets are called Wa Lolita. I also began to understand the Lolita brands. A Lolita online helped me also understand Lolita and this post shows what she explained to me I also showed the emails she sent me in the post. She also linked me a video to watch and it's called sugar coated a short documentary which I also posted, it highlights westerners trying to emulate the Lolita style and what they think of the culture.

With a fuller amount of knowledge I made a small prototype of the wool mixed together with lace to see if this would work, the only thing I decided to take out was the sewing aspect. Simply due to the fact I'd need a industrial machine to sew the thick wool. I did have an induction at the school of fashion with the industrial machines but sheepishly didn't enjoy it due to the environment being very strict and ridged and I didn't feel they understood why on earth I need to crazily stitch wool in an abstract manner. So I dropped the stitch aspect which saves me time and I can focus on the wool. This post shows the patterns I used to create my jacket, I used them to create my own pattern by hand and some knitting element for the belt which I am unsure on whether I need it. I liked the idea of the term monster. So I knew this wording was what I wanted to create.A knitted monster which hinted to a kimono style.

I've been knitting nearly everyday for hours on end since October I madly didn't stop till Christmas Eve. Within that time I had a mental plan of how I wanted to make this however being as I can't exactly draw it for I don't know what the ending will look like I found it hard to exactly get my point across. I wanted to cover this jacket with my knitting pieces to create a knitted monster.

My knitting consists are three main knit styles, knit purl and a wrap stitch. Combining all three contorts the wool so it pulls the wool into many directions rather then in being flat. To put it simply so those who don't knit I can understand. To make the knit curve, let's say I have ten stitches on the needle I only knit a few so I don't complete the line then swap the needles around so I knit back to wear I started. I do understand that what I said is confusing that's why I tend to watch YouTube to understand then read patterns.

I didn't start fully applying the wool onto the garment until the beginning of December. So that meant I had two months worth of knitting to play around with. At this stage I created big sleeves and it covered the jacket entirely. Paula gave me her mannequin with arms which works great to demonstrate the large bell sleeves. Which for me give a more Japanese vibe to the abstract garment. To attached the wool to the garment a sewing machine is to fragile to do it and would break the needle so everything is all done by hand.

Whilst knitting I haven't necessarily looked into depth. However I have been researching and understanding knitting styles and techniques on how to construct and contort wool. I found visual knitting mood boards incorporating different artists. My favorite is mariannne moodie who's combination of thick and thin wool giving a fluffy appearance. I also looked at knitwear designers. Such as Tiffany Godoy who knits in an abstract style.

I left researching late for I was originally looking at a subculture on a whole and now I'm more confident in what I'm making I can now look at artists who have explored wool in a similar manner.

For now my garment or whatever it will be for who knows how my wool will evolve, Has turned into something on its own rather being solely Lolita. I still have to knit into the garment, I have to add more beading, sequins, lace and ribbon. I like how light catches it to just give it that extract individual style.

I will also like to incorporate into my work my knitting and to select a few pieces I have knitted, photograph them and just explain a bit on how it looks. I didn't do this for I was honestly just so focused on making and pulling everything together to see if my idea worked to photograph more of my progression.

And finally For future display I am interested in hanging the garment but I am not to sure how to go about that giving the age of the building. Also if I choose this I would need to neaten the lining. Or for display I could put the garment on a mannequin from a height to it can fall down to the grown and swoop around the floor.

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onegirlatelier · 5 years

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Sheer floral blouse, spring 2019

It’s always exciting when you try something new, and I’m so happy about this blouse, which is my first! I can’t believe how I’ve been sewing clothes since Grade 7 and this is the first blouse I have ever made.

To be honest, I have been wanting to sew a blouse since forever—mostly because of the ill-fitting uniform blouses I was required to wear at school—but it always got pushed back on my agenda to make place for fancier items. Then after the Chinese New Year, it came to me that I could no longer rely on my trusted school uniforms from this October. University would be the first time I need to wear my own clothes on a daily basis, and I realised that now would be a good time to make some wardrobe reformations, to make it both more grown-up and more personal.

Where better to start with shirts and blouses? I had a couple of store-bought blouses, but they were either somewhat uncomfortable, or just blend. ‘Blend’ not only in the sense of having solid colours, but also that didn’t look quite in line with my character. They were safe choices for a job interview, but not really something I would willingly dress myself in on an ordinary Tuesday.

Since most of the time I preferred something a bit structured and with some personal details, it was unavoidable that I had to make it myself. I decided to make a couple of floral shirts and blouses because little floral prints made (and still make) me happy.

I am probably too deeply affected by V&A’s pattern collections. Or it’s just because I have fully adopted my grandma’s aesthetics when it comes to clothes.

And so, this is the first blouse in my queue. I should’ve probably picked a more basic design, but I felt that this offered me an equally good opportunity to get to know my measurements in still and moving states. Since I am currently working on a more standardised blouse, this one has been helpful in easing me into this new world of shirt-making.

And here it is, tucked in, just as how I plan to wear it.

Design elements

It has an open collar. Structure-wise it’s continuous from the front pieces, and rolled back to form the lapels.

The short kimono sleeves are coupled with underarm gussets to increase the range of motion. The gussets extend from underarm to become undersleeves.

The sleeve cuffs are made with one extra strip of fabric for each side.

There are two vertical darts in the front and two in the back.

(Pardon the awkwardly rolled-up lapels. I should’ve done more pressing.)

Fitted kimono sleeves and underarm gussets

Here is a great resource that includes guidelines for kimono sleeves, gussets, and different kinds of rolled collars. The following is my own notes built on top of that.

I was worried about my shoulders appearing wide, so I didn’t add any ease to the shoulder areas on the bodice (i.e. I didn’t let out the shoulder seams; instead I cut more into the shoulder-sleeve dart at the top of sleeve in order to smoothen it out). When there is little ease on the shoulder, it is easier to make the sleeves to fit, as they enclose the arms better. The downside is that my shoulders do feel a little restricted and the range of motion for my arms are reduced, as in I cannot do a ballet bun while wearing this shirt. It’s a worthy compromise for me.

There will inevitably be a crease or some excess fabric in the underarm area, which allows movement of the arms. One way to reduce the excess here is to make the gusset extend more into the bodice (but not more into the sleeve). In other words, you can tighten the fit at bust but not at the inside of the upper arm.

Many patterns I’ve found have diamond-shaped gussets. However, it is far easier to have a curvy, slim, olive-shaped gusset. In a fitted design, if the two underarm corners of the gusset extend too sharply into the bodice, it will be a nightmare to sew because the angles are just too drastic, and there will also be a crease between those two points that cuts uncomfortably into the underarm.

I cut my gussets on bias, so that they are more giving and lay flat more easily under my arms.

A toile is most helpful—the idea is to make as many mistakes as needed on the toile so that they would all be avoided when making the actual blouse.

(It’s probably not very clear, but I used dense overcasting stitches for the underarm corners of the gusset instead of flat-felling them down, so those two centimeters of seam allowance on either side ‘float’ inside the garment, and it doesn’t pull the bodice in an area where it’s already somewhat taunt.)

Fabric

A cotton fabric with floral and star patterns. I purchased the fabric to make a summer dress last year (for which by the way I’m planning on a bit of modification), and I had enough fabric left to make this blouse. There are still some strips and squares left that can be used in other projects.

Both kimono sleeves and continuous rolled collar can take up a lot of space if not arranged carefully, so definitely draft and arrange the pattern pieces first if considering buying some new fabric for such a project.

This fabric is so sheer that I’m sure the lines of any bras or slips will show under sunlight. I don’t mind, though. Besides, it looks lovely when held in front of light—reminds me of the X-ray photos that V&A has done on Balenciaga’s works.

Look how thin the seam allowances are on the sleeve cuffs. I can only pray that the part will not suffer from much wear and tear.

Details

The blouse is entirely hand-sewn. I did a backstitch every several running stitches so that the pieces will not just fall apart when a thread is broken. I used to always sew a seam twice to mimic the machine-sewn running stitch, but I didn’t do it on this shirt.

I used French seams on side seams and shoulder seams. The raw edges of the lapel facings are folded over only once and held in place with an overcast stitch, catching the outer fabric every few stitches. The stitches are almost invisible from the outside. Same for the hem, only that the raw edge is folded over twice. I applied fell stitches and slip stitches where suitable, and sometimes a Frankenstein version of these two stitches. The aim was to make it strong and invisible, not to stick rigidly to a stitch dictionary.

I’ve never liked making buttonholes—just when I start to get familiar with the technique, I run out of buttonholes to make. Fortunately, this time I remembered to start with the lowest buttonhole, just so that the buttonhole at the top would be the prettiest.

I found a pair of thread nippers in my trivia box, and it was very helpful as this design has some curved edges.

Further considerations

I wanted the back to be fitted so as to avoid the baggy look, but it was difficult to achieve with just two darts since the shirt had to accommodate the upper part of my hips too. As a result, the back is a bit wrinkly, especially when the shirt is not tucked in. It gets better when I do tuck it into a skirt, but I think that unless I can have a centre back seam, I will have to give up on such fitted back shaping and use a waist stay instead to help the back lay flat.

Next…

This blouse is making me interested in vintage fashion! I definitely plan to make some nice skirts to match the shirts I make.

I know I won’t be hand-sewing all the garments I want to make, and I do have a perfectly functional sewing machine (despite not having been tuned for quite a few years). I plan to start with something simple to get back into machine sewing. A corduroy pinafore dress, maybe?

#sewing #stories #sheer floral blouse #shirt-making

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ginnyzero · 5 years

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Knock Offs, Counterfeits, Clones, and Plagiarism

And how does this apply to Fashion and writing.

I’m a fashion person. I’m also a writer person. And the last three years or more I’ve spent more time being a writer person than I have been a fashion person. (My current dream job is putting together a girl targeted AAA noncombatant horse MMO with enough clothing skins to rival GW2. Yes. Goals! GW2 is known as Fashion Wars.) But both industries, and a lot of industries have a major problem with theft.

I’m not going to talk about outright e-book download theft and how that hurts authors. I’ve already done that.

No. I’m talking about creative theft. Writers and Fashion Designers stealing from other Writers and Fashion Designers. I’m talking about companies stealing the designs/ideas of Designers and Writers and copying them. I’m talking about knock offs and counterfeiting, genre clones and plagiarism.

Theft is the reason why we have copyright, trademarks and patents. Because human beings like to steal from each other for some reason and the easiest thing to steal are ideas. Ideas are hard to prove to be original. It’s hard to prove who had the idea first. (Fashion is just beginning to tiptoe into patents. Trademarking has been standard for years.)

So, what is the difference between a knock-off and a counterfeit?

Well, both are stealing. The knock off however doesn’t try to pretend that it’s from a famous brand name.

A knock off design is a long standing tradition in fashion. Designers like Worth would put out their designs for the new seasons in the windows, other seamstresses would come and sketch the designs and go back to their studios and make the same designs out of different fabric at a lower price. (And quite possibly a lower quality.) Apparently, I had a relative that could do this! She could go look at the designs in the window, sketch them and come home and pattern them out for herself. As far as I know, she did this without any formal training.

I could probably do this, but I do have formal training. I choose not to.

The knock off design isn’t pretending to be a gown from Worth or any current famous day designer. The Knock Off looks the same usually in different materials at a different price point and gives the customer a feeling that they have luxury goods even if the label is different.

In Asia, the customers are so obsessed with brand names and labels, that the high end companies have made it a point to have their products in three or four different price points so that all the customers can have their goods. (Or else no doubt knock offs and counterfeits would abound even more than they already do.) Now, this was a good decade ago. It might have changed. This policy hasn’t been instituted anywhere else that I’m aware of. But this is one way that big name brands can discourage knock offs, basically, by doing it themselves by embracing more than their “core customer.”

A knock off in writing. Well, it’s a clone.

Remember when the Hunger Games came out and everyone compared it to Battle Royale? And Suzanne Collins swore up and down that she’d never read that series or seen the movies or even heard of it. (Unless she was into anime, I’d believe her. Battle Royale was a bit niche even for anime.)

Dungeons and Dragons “ripped off” Tolkien. (As did Forgotten Realms.) Warhammer “ripped off” Dungeons and Dragons. WarCraft “ripped off” Warhammer. (Only because Warhammer backed out of a game deal with Blizzard and they had too much money invested to abandon the project. I bet Warhammer is wincing now.) And lots of MMOs ripped off World of Warcraft.

They’re clones. They’re genre clones. The difference between all of them is that none of them are claiming that they’re Tolkien. (Tolkien created a mythos based off the legends and tales of Europe, Scandinavia, the United Kingdom and Christianity.)

It doesn’t become a counterfeit or plagiarism until the writer directly lifts words from the other writer or tries to pass the garment/handbag/pair of shoes as coming from a high end company when they really don’t.

We’ll get to trademark infringement in a moment.

Using someone’s design stitch for stitch, color for color and putting in a label that can be mistaken for a high end company’s label like Gucci or Fendi etc is counterfeiting. Taking someone’s words, word for word, from another book, more than 50 words, without credit is plagiarism.

It’s stealing

Stealing is wrong.

Now, yes, to a certain extent knock offs are wrong too. Let’s not get into the idea that “oh, because I presented it as my own, it’s okay.” Knock offs and genre cloning are really this grey area. So, here is where we get into trademarks.

Trademarks were created by the gov’t in order to protect, along with copyright, intellectual property. Trademarks deal with words and visuals and in fashion, they deal with overall design details. Trademarks, the applying of trademarks and not applying for frivolous trademarks and trademark infringement is one of those things that gets lawyers involved and no one makes any money.

The Lord of the Rings is a trademark. Elves aren’t trademarked. Dwarves aren’t trademarked. The Lord of the Rings as a property is trademarked.

That eye searing color of pink that T-Mobile uses on its products and stores. Trademarked.

The double stitching on denim back pockets, the red tag on the back right pocket and the specific leather back tag on Levi Jeans, trademarked. (In fact, they even might be registered which is a step beyond trademarking.)

These are things that make each brand different. If you want to write high fantasy, you can’t use the series title “the Lord of the Rings.” Sure, go ahead and have rings in your story. The Shannara Chronicles did it, there is another series that did it that I can’t remember the name of. But you can’t title it, “The Lord of the Rings.”

If you’re a phone company, don’t even think about bothering to use anything close to that color of pink that T-Mobile uses. They’ll sue you for trademark infringement. Customers might confuse your store for theirs. And they can’t have that!

If you want to design a jean, don’t use double stitching across the back pockets, ban the color red from all your tags and for all that is holy don’t think to use the Levi Logo on a brown leather square on the back of the waistband (or that color of brown for that matter.) Those are Levi’s. People may see those things and think you’re wearing Levi’s. (And I mean, no line of double stitching in any design. It’s a no go.)

Creative people draw from other works of art and writings and from the world around them all the time. There are trends in media and there are writers/corporations/designers that want to jump onto those trends and try to get a bit of that money that everyone is spending on that particular trend at that particular time. (All the dystopian novels that came out after the Hunger Games. All the little WoW MMO Clones. Kanye West’s designs showing up in the windows and on the racks of H&M.)

There are literally writers dedicated to writing stories to fit Amazon search term/graphs. There are writers who take the themes and stories from other writers, dress it up in slightly different trappings and try to peddle it as original. They clone the work without changing it significantly. They use imagery and ideas and even words similar to other popular writers in order to try and leech off those other writer’s fan bases.

Now, I have an entire rant about not worrying about being too original because it’s all been done before.

What I’m saying here is don’t be so unoriginal and draw only from one work of stories or deliberately tread into another author’s trademarked series in order to try and present their works and brand as your own works and brand.

There’s a difference between a Lord of the Rings clone and a Lord of the Rings fanfiction with the serial numbers filed off. A clone is going to do more than just change the “setting” and the “names.” A clone is going to introduce new plots and new ideas drawn from other sources than just Tolkien. Yes. It’s going to be, “Oh, this is similar to Lord of the Rings.” (The first Shannara book didn’t stray quite as far as it should have from Tolkien, for example.) But it’s still going to be different enough to say, “oh, and I see other mythologies and new themes are being explored and it’s advancing the genre.”

And if it doesn’t, then it’s a bad clone even if the names and settings have been changed. It remains that fanfiction with the serial numbers filed off of it.

In fashion, in general, I wince at “brands” that I can tell or have explicitly stated that they’re knock off brands.

They may not realize they’re knock off brands. If part of your company story is going to a store, buying a product and then finding out how to recreate it at a lower price point, then you’re a knock off brand. They may not get this because some, not all, the people who do this don’t have fashion training. And don’t know how fashion business works and why knocking off “styles” of stuff is bad. They didn’t design that style. They didn’t put thousands of dollars into researching how to make that shoe and make it comfortable from sole to last. They went and bought it at a store and copied it. Then they’re presenting it as their own under their name.

Why are they knocking off that handbag? Or shoes? Or item of clothing? Mostly, to make money. But their voice, their point of view as a person isn’t coming through because honestly, most of the time, they don’t have one. I’m talking about fashion brands here started by not fashion people who haven’t gone to school, or companies that don’t hire fashion designers. They make me whimper and cringe. Why? Why? Why? Money. Ohkay, profit isn’t a dirty word, but don’t you feel the least bit dirty taking someone else’s design and remaking it? How can you be remotely proud of that?

It bugs me.

Writers who deliberately want to make a Narnia clone or a Star Wars clone or insert popular trend of the moment clone make me wince as well. I have to ask myself, though I don’t ask them, what they think they’re bringing to the genre by just making another rendition of a popular thing? What questions are they asking? What themes are they exploring? Or are they just trying to make money? Do they really have their own story to tell? Where is their voice? Where is their personal experience?

Personally, if I want to read more of a popular universe, I go to AO3 or FF.net and I read fanfiction. Not only is it free, there’s roughly the same amount of good to bad that I’ll find on bookshelves. The characters are the characters I know and love and leaving a kudo or comment can make someone’s day! (Okay, leaving a review of someone’s book can also make an author’s day. Seriously! Leave reviews!)

When I sat down to write the first book of Heaven’s Heathens. I wanted to write Urban Fantasy. I like the worlds that Kim Harrison and Jim Butcher and Patricia Briggs and Laurell K. Hamilton create. And there is a lot of Urban Fantasy on the shelves and it’s mostly mysteries. And it’d be easy, oh so easy, to create a clone of one of those worlds to put in all the different races and the tensions and try to put my own spin on that. (And there are plenty of writers who have done that!)

And I do have an idea like that. My idea draws on another popular genre as well. (And I’m amazed at how popular that genre is to be honest. It baffles me like Amish romances baffle me.)

But that didn’t feel right at the time. I didn’t want to be another clone of another urban fantasy. I didn’t want to be dystopia either. Even though that was popular at the time. I wanted to write about bikers and werewolves and touch upon themes that were important to me; belonging, family, emotional labor, feminism, healthy masculinity, different types of dating.

Straight up urban fantasy didn’t seem a good fit. Putting it in today’s world might be a bit touchy. And the only place I could think of where leather was accepted was post-apocalyptic fiction. And with that, I could set it into the future and have fun with technology making it science fantasy instead of just pure urban fantasy. There’s more adventures in science fantasies and I’m good at writing adventures and action. (And silliness, I’m good at silliness.)

Originality comes from taking the building blocks of different ideas and different designs and fitting them together in different ways to say new and meaningful things in your own voice. Remember, stealing from one person is plagiarism. Stealing from many is research.

Knock offs and cloning, counterfeiting and plagiarism, the deliberate and with intent stealing of other people’s creative work, words, writing and designs and presenting them as your own is wrong. Counterfeiting and plagiarism is straight up illegal. Knock offs and clones aren’t as long as they don’t stray into trademark infringement. Though there is a very good question about morals and ethics if you want to knock off another design or another book.

The reason why there are so many kitchen sink urban fantasies out there outside of the popularity of the genre, is because they don’t stray into trademark infringement, the worlds are different, the protagonists are different even if they are essentially all doing the same thing; solving mysteries. And there is nothing wrong with having 101 different types of kitchen sink urban fantasy mysteries with private eye wizards or mechanics or nurses or bounty hunters or security people or line cooks at bbq joints that double as assassins. (And those are the ones I’ve read.) Because the world building is different, the characters are different, the rules are different. They may be clones but they aren’t direct copies trying to pass themselves off as from super popular writer.

And readers like this because that means there are more kitchen sink urban fantasies for them to read (regardless of quality.)

So, if you want to write a kitchen sink urban fantasy go right ahead. Just, remember, you need to take your voice and your experience and your themes and infuse them into your writing by creating your own characters and writing in your own world instead of using someone else’s.

In fashion, it’s the same way. There are basic building blocks to fashion. There are basic ideas for clothes, the tailored jacket, the 5 pocket jean, the basic t-shirt, the pencil skirt and so on and so forth. And if you want to create a fashion label, then by all means, create a fashion label and remember that these basic building blocks (that everyone needs) are launching and jumping points for higher designed clothing. Don’t go out and buy someone else’s pencil skirt or t-shirt or bootie and cut it apart and trace their pattern. Take your voice, your experience with clothing and try to find out what is important to you in fashion, what types of things do you want to wear and others like you want to wear. Those are the fashion details you bring to your clothes!

Be yourself. Find your voice. Then, you don’t have to worry about being a clone or a knock off or being sued for copyright or trademark infringement. (Though looking into various fashion trademarks is a good idea to be honest.) If you have something you want to say and it’s important to you, you’ll find a way to say it without relying on the ideas of others.

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kaliiwashere · 6 years

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Hollywood Siren of the Day - Dorothy Dandridge and Her Fashion Style

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