TalesFromRetail: I'm sorry I can't produce what you're looking for right here on the spot, lady!
I work at a fabric store. In Norway, our traditional costume is called Bunad. If you want an authentic one, you have to use certain fabrics that are on the expensive side. A full Bunad will run you from $3500 upwards. We don’t sell these specific fabrics at our store, only cheaper versions that are quite different. The original fabrics can be bought at Store B.
17th of May (our constitution day - a day we take very seriously. If you have a bunad, this is the day to show it off) was just around the corner and we had customers wanting to make Bunad knockoffs coming out our asses. Enter Bunadlady.
Bunadlady: hi, I have to make a new apron for my Bunad, what do you have for that?
I guide her to what we have, which is not the same as the official fabric. It looks and feels cheaper, because that’s exactly what it is.
Bunadlady: no I don’t want this. Don’t you have anything a little closer to the original?
Me: I’m sorry ma'am, this is what we have.
Bunadlady: but I wanted to get this done today. I came here because you have the biggest selection in town.
Me: ….. (what do you want me to say?)
Bunadlady: do you know where they might have it?
Me: the only place I know for sure would have the quality you’re after, is Store B. I would recommend you go there, their stores are at [location] and [location]. I’m not sure about the other fabric stores, as I haven’t looked for this particular fabric before. Store B would definitely be your best bet.
Bunadlady: too expensive, and I wasn’t planning on going there today. I came to you because you have the biggest selection in town.
Me: you could try the other fabric stores, but I have no idea if they have the quality you’re after, as the original fabric is made for and by Store B. To come close to its quality, any other fabric would probably be equally expensive.
Bunadlady: so you can’t tell me anything about where I could get this fabric, huh. Well allright, this was a swing and a miss.
Me: (wha… I just told you!)
Bunadlady walks off, and I’m left with a little less hope for humanity. I hope she spilled ketchup on her Bunad.
Things I want from a modern retelling of Romeo and Juliet:
- Everyone is dressed in traditional costuming, but the script is in modern English.
- “Romeo, Romeo, why the FUCK did you have to be ROMEO?”
- Juliet talks like a rich white valley girl and wears a flower crown.
- She keeps taking inappropriately timed selfies and posting them on instagram.
- Tybalt won’t stop talking about his crossfit regime.
- Romeo only listens to My Chemical Romance.
- Mercutio’s Queen Mab speech is followed by Benvolio asking “Are you high right now?” (He is)
- Mercutio dabs on stage. Unironically. More than once.
- When the boys are all catcalling Nurse it’s super cringy.
- instead of “a sail! A sail!” You get “Hey Fatass!” “Fatass? I just see a boat!” “Weigh anchor! You’re gonna break the docks, Fatass!”
- Tybalt also dabs on stage, exactly twice.
- The first time is awful and his friends have to correct him.
- Tybalt dabs at Mercutio and Mercutio responds by doing a backflip and ending in a dab.
- The Tybalt/Mercutio fight is an absolutely serious dancebattle with no weapons.
- Mercutio still dies anyway.
- Tybalt tries to dance battle Romeo too, but Romeo keeps taking it too seriously and not dancing back.
- This is because Romeo only knows how to ballroom dance.
- Paris wears a trillby and calls it a fedora.
- Juliet Snapchats her own death.
- Romeo doesn’t have Snapchat.
“Over the past two weeks
we’ve travelled more than 3000 km in Ukraine, searching for stories about national costumes, the museums that preserve them and those who have turned collectors. The situation is
dire - regional museums don’t receive public funding, precious
costumes are stored in completely inappropriate conditions, collection
is not systematic, lacking labelling, things are lost. Because of this, the
project solves two problems; it’s a colorful show of the depth of Ukrainian costumes and
raises funds toward supporting regional museums” - Natalia Kravet (Domosfera)
Douen. Trinidadian folklore. Carnival. Trinidad and Tobago.
The Douen is a character from Trinidad and Tobago folklore, it is believed they are the lost souls of children that had not yet been baptized or christened. Their most recognized characteristic are their feet that are said to be backwards, with the heel facing the front.
Boom wip for the postcard giveaway in korean traditional costume (not sure if I’ve made it properly but it was women clothes) I tried to do it more romantic since this is for St Valentines day
Upd: Ready now!
Juchitán is a colonial town that predates the Spanish conquest. Home to the indigenous culture of the Zapotec, a third gender known as muxe (MOO-shey) – said to derive from “mujer,” the word for “woman” in Spanish – has long flourished here. The muxe gender encompasses a range of identities that are between the male-female binary. While a muxe would have different labels to choose from in the U.S. – “trans woman,” “gay man,” “genderqueer” – “muxe” spans all identities between male and female here. The term is unique to the Zapotec.
Stemming from pre-Columbian societies that had “mixed-genders” outside of male and female, the muxes are analogous to other “two-spirit” identities in indigenous populations of North America. Muxes traditionally have the freedom to dress in women’s clothing, wear cosmetics and grow their hair long. They can be seen wearing the traditional Tehuana costume of the region, a two-part gown made up of a huipil – a shirt with colorful embroidery – and a long skirt that usually matches the top. Called muxes vestidas – “dressed muxes” – they participate in more traditional female gender roles, such as working as seamstresses, than do muxes pintadas – “painted muxes” – who dress in men’s clothes, but still pluck their eyebrows and wear cosmetics.
When asked why a third gender is accepted in Juchitán, the townspeople invariably point to “the matriarchy” of Oaxacan households – women handle the finances of the family, since they’re the ones who work as vendors in the marketplace, giving them more of an equal standing with men than elsewhere in the countryside. Many mothers would sooner force an unaccepting husband to leave the house than kick out a muxe child.
A Chuvash woman in traditional clothing with an ama wrapped around her
The Chuvash have lived over the Volga region of Russia since ancient times. They are considered to be successors of ancient Turkic, Finno-Ugric and Iranian cultures. The Chuvash formed the core of the powerful medieval state - Volga Bulgaria.
The ama which is one of the most common accessories worn by Chuvash women is made of bands of silver coins, and worn around the body in a way that resembles the armor of a soldier. As in many cultures of Eastern Europe, Western Asia and Central Asia silver coins are used in the traditional clothing of the Chuvash as talismans against the evil eye and malevolent spirits. The ama derives its name from a pre-Christian goddess of fertility worshiped by the Chuvash in past generations.