dyeing with vegetables

It always baffles me what people claim as “historically accurate” for ye olde fantasy fiction while completely ignoring all the cool shit that actually did exist and negates their misconception that everyone was Gross™ and unkempt because Reasons.

Like all y'all realize we’ve had soap for a while, right, and perfumed oils?

I mean fuck me, we have evidence of the Egyptians as far back as Cleopatra (and likely before) styling their nails (rich and poor!) bright vibrant RED hues using tinted oils and henna.

We’ve got evidence of unisex nail tints and adornments from the Ming Dynasty including but not limited to kohl, vegetable dyes and literal actual gold dust gelled together with egg whites and bees wax. Not to mention actual mother fucking tooth brushes dating from the late 1400s and the well known “chew brushes” from before then.

But sure. Rough mannered white dude takes a piss behind a tree and makes a comment about wining and whoring as he does up his ‘britches’, and all your women just expect to be brutalized 24/7 while lamenting the stench because nobody bathes.

Yep, sure sounds like mediocre white dude fantasy to me.


“Because Emma is so interested in sustainability and fair trade, eco-fabrics and eco-fashion, we applied those criteria to making a costume from head to toe. That [red] costume was made entirely from sustainable fabrics. We dyed it in vegetable dyes in our workroom, we had shoes made with eco-leather and we did the whole thing from top to bottom to be as thorough as we could.” — Jacqueline Durran

Did Dan Stevens Really Sing? What Worried Emma Watson While Waltzing? Beauty and the Beast’s Secrets Revealed!
Ten burning Beauty and the Beast questions asked and answered — with important insider facts about the hit new film

How many people, animals and props were involved in making the opening musical number, “Belle?”

According to Disney, there were more than 150 cast members and extras involved, along with 28 wagons and carts, hundreds of live animals (horses, cows, mules, ducks, geese and hens) and countless props and set decorations. The set itself was also the production’s largest, measuring 28,787 square feet.

Bonus fact: The town is named Villeneuve, a fictional French village that was built on the backlot at Shepperton Studios outside London.  The town’s name is an homage to Gabrielle-Suzanne Barbot de Villeneuve, the author of the original Beauty and the Beast story.

How many horses played Belle and Maurice (Kevin Kline)’s trusty steed, Philippe?


“Belle and Maurice’s horse Philippe was played by three different horses, two of which had to be painted on a daily basis,” says a rep for the studio.

How did they pull off the waltz scene between Belle (Emma Watson) and the Beast?

Carefully! Watson and Stevens first had to learn the choreography, and then Stevens had to master it on stilts. The British star tells PEOPLE practice makes perfect when it came time to learn how to walk and dance in the steel contraptions.

“You’ve just got to get in ’em, start moving around!” Stevens says with a laugh. “Fortunately we had about three months of pre-production for rehearsals, learning the songs, the dances. Initially with the waltz I learned the steps on the ground and graduated to the stilts, which was slightly terrifying for me but probably more for Emma. I think she was very worried that I was going to tread on her toes in steel stilts, which could’ve ruined the movie, but I didn’t, so I’m very proud of that.”

Is that Dan Stevens’ real singing voice?

Yes! And it was a welcome challenge for the actor.

“Singing was a relatively new thing to me,” Stevens, 34, says of re-training his singing voice. “I’d sung at school and when I was younger, but in my 20s I [hadn’t] sung as extensively so reengaging my voice, retraining the voice was a big challenge.”

Did they use Dan Stevens’ actual face for the Beast?

Yes, although the finished product is a computer-animated and significantly hairier version.

Stevens wore a 40-lb. “muscle suit” and performed the role on stilts — first so that the size and movements of the character were captured on set during filming, and then again for the visual-effects teams so that his face was captured and later computer-animated with the Beast’s hair and fangs.

“Every couple of weeks I would go into a special booth and my face would be sprayed with about 10,000 UV dots and I would sit in what I used to call the Tron cage,” Stevens says. “Anything I’d been doing in the previous two weeks in the scenes, whether it was eating, sleeping, roaring, waltzing, I did it again with my face, with Emma [Watson] sitting on the other side of the cage, and we would capture the Beast’s face.”

What’s with Dan Stevens’ hair in that Prince reveal?

It’s a wig. A stringy, scraggly one.

“The hair at the end, was it extensions? I think it was a wig,” Stevens says, trying hard to remember the hair accessory he wore two years ago during filming. “It was quite awhile ago. Yeah, I’m pretty sure that was a wig,” he adds with a smile. “And what a wig!”

Which costume was the most challenging to create?

Belle’s red “montage” outfit, aka the one she wears outdoors for her snowball fight with Beast. Why? Because costume designer Jacqueline Durran used all eco-friendly materials in its design.

“Because Emma is so interested in sustainability and fair trade, eco fabrics and eco fashion, we applied those criteria to making a costume from head to toe,” Durran tells PEOPLE. “That [red] costume was made entirely from sustainable fabrics. We dyed it in vegetable dyes in our workroom, we had shoes made with eco leather, and we did the whole thing from top to bottom to be as thorough as we could. People learned different skills in the work rooms to be able to do it, so the dyers learned to dye with strange vegetable dye. Sometimes it took two weeks to dye something because you’d have to leave it in there for that long to get a rich color. It really was a learning curve for all of us, I’d certainly never done that before.”

How did the filmmakers decide on which songs to feature from the animated film and Broadway musical?

The answer is by hiring and deferring to the animated film’s composer, Alan Menken, who also co-wrote the music for the new film.

“It was challenging,” Menken told EW. “[The] Broadway show had songs that I would have loved to use for the movie, but the form for a film and the form for a Broadway show are different, so the song we wrote for the Broadway show was not going to work. Consequently, we wrote a brand-new song. The challenge is just to maintain the balance of what we originally had for the score and what we had for the show, and at the same time allow this film to have its own character.”

How many new songs are in the film?


Menken and lyricist Tim Rice (The Lion King) wrote three new ballads for the film. They are: “How Does a Moment Last Forever,” performed by Belle and her father (and sung by Celine Dion over the end credits), “Evermore,” which Beast sings for Belle when he releases her (and is sung by Josh Groban over the end credits), and “Days in the Sun,” which is sung by the objects in the castle and Belle when they are going to sleep.

What was left on the cutting room floor?

A lot — including a clever Frozen reference. Please allow LeFou (Josh Gad) and Gaston (Luke Evans) to explain:

“I mean, Gaston dies. Is that a spoiler?” Gad says with a laugh, when PEOPLE asked him and Evans during a recent sit-down if there are any Easter eggs fans should look out for. “The Easter egg I fought for [director] Bill Condon to put in but we never did, there’s a moment in the original where a bunch of snow falls on LeFou and he becomes a snowman and I thought, this could kill. It’s a little meta but it could be great [For those who may have forgotten, Gad played Olaf, the snowman in Frozen].”

Evans says his favorite scene that didn’t make the movie is one filmed during the castle battle, in which Gad’s LeFou has a fight with a bathroom appliance.

“What I miss, which we shot and is not in the film, is you having a fight with the toilet,” Evans says to Gad.

Adds Gad: “Played by Stephen Merchant (from Hello Ladies and the original Office)!”

“Yeah, it didn’t make the final cut,” Evans says with mock sadness.

Both actors joke that they have no idea what might end up on the DVD/Blu-ray because no one tells them anything.

“Nobody guarantees us anything,” says Gad. “We’re not even guaranteed that we’re going to be in the movie. It’s all based on our interview performances.

Adds Evans: “Which so far have been terrible.”


When it came to reimagining Belle’s blue dress, “l wanted to show more to it, more than simply the blue outline of the animation,” Durran says. So for that frock (and all of Belle’s simple village-wear, including the red number in the next slide), she took the basic idea of animated Belle’s clothing and infused it with 18th-century French period details, like delicate lacing on the bodice.

“We decided to take inspiration from there and enrich the world using historical details,” she says. “For instance how that works for Belle (played by Emma Watson) is Belle has the pockets hanging on the outside of her [blue] costume. The pockets are historical, people tied pockets around their waist, obviously we changed it a bit and put them on the outside and they became part of the kind of reinterpretation of Belle as an active heroine who does things and gets things done. The pockets act as a sort of toolbelt where she keeps all the things useful to her in her day to day life, those are the two elements we really looked for.” The pant-like bloomers Durran and her team added underneath the classic blue outfit were Watson’s favorite addition.“They’re nice, as you can tell,” says Durran. “But also again they were part of her being able to be more active, so that you don’t feel restricted by wearing a skirt because you can just pull it up and then just do whatever you were going to do.”

Now onto the Belle’s red costume:

Belle’s red costume, which she wears outdoors for her snowball fight with Beast (Dan Stevens), turned out to be Durran and her team’s most unique challenge in that it was eco-friendly.

“Because Emma is so interested in sustainability and fair trade, eco fabrics and eco fashion, we applied those criteria to making a costume from head to toe,” she says. “That [red] costume was made entirely from sustainable fabrics. We dyed it in vegetable dyes in our workroom, we had shoes made with eco leather and we did the whole thing from top to bottom to be as thorough as we could. People learned different skills in the work rooms to be able to do it, so they dyers learned to dye with strange vegetable dye. Sometimes it took two weeks to dye something because you’d have to leave it in there for that long to get a rich color, it really was a learning curve for all of us, I’d certainly never done that before.”

catcomixzstudios  asked:

Do you think there could be a winter aesthetic to Solarpunk in some way? Like, any fashion, architecture, and/or flora that would exist in a cold environment?

Damn straight!

The best place to start is always with energy sources for me: wind, hydro, solar in the summer. I could imagine some windmill dwellers, or people near waterwheels, or some coastal cold-water port cities.


I would venture that for few communities that get heavy winters, fur-lined everything could be an option. But high tech artificial fur, perhaps something grown like a fuzzy harmless mould that came in bright colours that was grown in caves, could be an idea. I think lots of big, big coats, face covers, hats/hoods and boots, in bright browns and silvers. Perhaps taking up the idea of animal fur being very dense and starting with black at the roots and sliver/white at the tips for camouflage…? There’d be a lot of black, too I imagine. Over the top of these grand poofy coats and such, lithe but sturdy silver gadgets that move with the body along the joints. Tools like knives in compact but slick designs that cling to holsters magnetically, light weight snowgoggles that perch on your face with a HUD.

That’s just the heavy duty going outside stuff, I think inside it would be wool galore. Long, thick weave fabrics of black and dark colours with vegetable dye threads in decoration along side it. Wide necks/boat necks, cute slippers, shawls and cardigans, people with very long or big hair in plaits or braids, big beards and lots of layers! Pendants, buttons, tassels, tufts… I dare say even cloaks and ponchos.

Perhaps for technology, shawls could be literally wispy clouds of nanotech that maintain a comfortable temperature, you could reach into these loose puffs of almost gas and scoop out a handful of shawl to use as a mini projection or a calculator or some app or another. Jewellery would be brooches largely, which holds all sorts of ideas for on hand super tech. Perhaps something quite mundane, personal and domestic in its use, earrings and clips for hair are all good places to sneak in a bit of tech on hand.

I think adaptive materials would be something to consider, something that would thicken or thin according to the weather, perhaps very tight underclothing suits decorated with big fluffy outer layers. 

This immediately brings to mind the works of Erte, which aren’t technically 1900-20sish but fuck it, I mean, look at it. It would be so impractical but definitely something to keep in mind:

Maybe not quite so ostentatious… But wide sleeves, big quilted fabrics, furs and huge bear-like silhouettes… Something like this but a lot more frugal… and cuddly.

Architecture: Now I know very little on this subject so I will say that houses in the uk are damn well insulated and we aren’t even that cold, so great insulation, things like log burners and fireplaces that distribute heat about the houses. Lots of window for brightness, wooden houses perhaps. I am not sure whether I would advocate for big or small houses, big to fit lots of people and having heat circulate easier in big open plan spaces, or small, cosy and effiecient spaces.

Flora: Hm. This is interesting. Everything around me is deciduous and very much adapted to the four season cycle and I think even Sibera in the summer is green. I think lots of berry producing plants, lots of hardy herbs with teeny flowers, lots of plants that don’t give a fuck in the frost and drought. They cling to walls and hide in cracks. Lots of lush ferns perhaps, the beautiful fiddleheads could be used in motifs. I think perhaps lichens and mosses, especially when used as things like carpets and clothing and foods could be an idea, lots of big seeds and nut in the autumn.

Pumpkins! Gourds! Mushrooms and roots and truffles! All very hardy! I would love to see some deep northern forest dwellers who live almost totally veggie in a high-tech world, their diet would be amazing…

And who could forget maple! And lots of sap, that means amber!

 I am not familiar with evergreens aside from yews and hollies, I’m afraid. Someone might have to pitch in a few ideas.

Hope that starts off a conversation and helps out!

pilferingapples replied to your post: Looking at real garments of the period (the V&A…

I am REALLY curious about the “purple didn’t exist” comment, because it definitely did! Maybe a particular shade of purple??

I’ve done a poke around and I’m pretty sure they’re referring to the development of synthetic mauve dye in 1856, which was the first industrial dye. Tyrian purple, which had existed since antiquity, required, and I quote, “tens of thousands of snails”, and so as a clothing dye it was only available to the aristocracy or royalty, but after the chemical reaction which produces mauveine, or “aniline purple” was discovered, it became a very popular colour for clothes.

Now, I would have thought you could mix red and blue vegetable dyes, but I guess it’s going to be hard to get the same vivid shade; vegetable colours are a bit unpredictable in composition, and have a habit of going brown when mixed.

Caroline, a surgeon’s wife, is upper middle class, forward-thinking and interested in science; she would have definitely worn this specific shade a decade later, but it’s an anachronism to have her in it in the 1840s. But the costume designers wanted to allude to the use of the colour by suffragettes and women’s libbers, and I think I’ll forgive them.


A video to show you how to make natural food dyes!

@fungalzombie Because you’re the one that was looking at food dyes.

Prompt 44 – Briar and his siblings go to Hajra

 Submitted by quietasahedgehog

          “Why do I have to go, again?” Briar asked. The four young mages sat in Daja’s house at 6 Cheesman Street in Summersea, eating dinner. “Seems to me your Uncle is forever sending you on diplomatic duties.”

            “Because we’re all going.” Sandry replied, swallowing a bite of potato. “Besides, you know we’re stronger together than we ever are apart.”

            “You scared, thief boy?” Daja teased, flashing him a bright white smile. “Just be glad he isn’t sending us back to that snake pit they call a country.”

            Their sister Tris snorted audibly, but didn’t speak. After a moment of silence, all four of them burst into laughter, remember the havoc they wreaked on their way out of Namorn three years before.

            Sandry rose first from the dinner table, smoothing the perfect pleats in her skirt. “I must get back to Duke’s Citadel. Uncle is expecting me to handle the arrangements for our journey.”

            “Saati, you look tired. Wouldn’t you rather stay here for the night? I’m sure the arrangements can wait until tomorrow.” Daja said, clearing the table as Tris began to wash the dishes.

            Sandry shook her head, donning a light cloak to keep out the nighttime chill. “Maybe tomorrow.” A smile lit her cornflower blue eyes. “I miss sleeping in the same house as all of you. Thank you for dinner.” She exchanged hugs with her brother and sisters before stepping out into the cold.

            Briar stretched and sauntered upstairs to his bedroom. When the door was closed securely, he leaned against it and examined his hands. The X tattoos he had been given for stealing in Hajra were completely obscured by the moving vegetable dye tattoos he had given himself after arriving at Winding Circle. Unless someone recognized his face, no one in Hajra would know he had been a thief. All he had to do was stay away from the magistrate’s courts, where they would be able to look up who he had been before he left.

            Still, his heart beat faster and his stomach clenched when he thought about going back to his one-time home. Surely any of his former gang, the Lightnings, would recognize him, if they hadn’t all been caught up by now. Even the Thief-Lord himself might know him if they chanced to happen upon each other in the street.

            This is ridiculous, he thought to himself, disgusted. It’s no use wondering about something that may or may not happen. It’s been eleven years since I was even in Hajra.

Walking over to the window ledge, he placed a gentle hand on his shakkan. The old tree, content in its current situation, radiated calm. Slowly, he felt himself relax as he basked in the small pine’s magic. He would need to leave it with Rosethorn for this trip. It wouldn’t appreciate being dragged all over Emelan and Sotat, given the talent that he and his siblings had for finding trouble.

            Was he even allowed in back in Sotat? He had, after all, been exiled. His heart began to race again, before he remembered that Chammur, where he had traveled with Rosethorn after gaining his mage credentials, was technically part of Sotat. And nothing happened then.

            This will be an interesting trip.

            The journey into Sotat was a quiet one. None of the guards looked twice at him as they passed the border. He had half-expected a picture-perfect drawing of his face tacked to every inn’s door. Now he saw the silliness in that thought and grinned.

            What’s so funny? Tris asked silently.

            Nothing, he replied, knowing she didn’t believe him. The girls knew he had been a thief and a gang member before he had come to Emelan, but they had never known exactly how slippery he had been, or how many offenses he had committed. How close he had been to spending the rest of a very short life at the docks.

            At the inn that night, the girls shared a room, while Briar had a smaller one for himself. He was sure they would have insisted that he sleep in their room, if it wasn’t considered completely indecent in their present company. Given their standing as fully accredited mages, they could each have had a single room, but the girls refused to sleep separated on the road since their departure from Namorn. For safety’s sake, they said.

            Girls, Briar thought, rolling his eyes as a bewildered maid led the noble, Trader, and merchant to a room. A manservant fetched him to his own room shortly after.

            Briar flopped onto his bed immediately and stared at the ceiling. They were a day’s ride, maybe two, out of Hajra. It couldn’t be worse than the war he was caught up in four years ago.

            Tris sensed his discomfort through their bond and briskly asked, Briar, what are you thinking about? You’re making me lose concentration.

            Just the war, Coppercurls. He excused himself mentally, telling himself that it wasn’t really a lie. The war had come into his thoughts, and he knew it was a topic that Tris felt uncomfortable with.

            Oh. Awkwardly, she added, I think I know what you’re–

            I really hope you never do. He cut her off harshly.

            Just listen for a minute! She snapped, and then fell silent. I was going to say that I know what it’s like to return to a place you thought you’d never see again.

            Briar waited for her to continue, but she didn’t.

            What do you mean?

            I-I took a short trip to Capchen, before I went to Lightsbridge. I saw my family, and people who used to hate me. I don’t know what I was expecting by going back there.

            And what did you get? His question was soft, almost hesitant.

            Nothing. Her mind-voice sounded almost surprised. My blood family treated me just the same as always, once they recognized me. They still didn’t understand my magic, and they didn’t bat an eyelash when I told them I was going to Lightsbridge. It didn’t matter to them that I was pursuing proper magic. They still didn’t want me.

            She changed the subject. So, what is it? She asked. Old friends?

            Old enemies, he admitted, but old friends, too.

            Why are you two still awake? Daja’s voice asked sleepily. We have a long way to go tomorrow, and I want to be well-rested!

            Then stop sticking your neb in my business! He said rudely.

            What kind of siblings would we be if we didn’t stick our ‘nebs’ in each others’ business? Sandry asked sweetly, entering the conversation. She emphasized Briar’s street slang just slightly. What’s bothering you?

            He’s worried about seeing people he used to know. Tris answered, much to Briar’s chagrin.

            The people I used to know are thieves, he told his sisters bluntly. If they find out I’m back, they’ll try to suck me back into that life, and if the respectable Money Bags find out who I am, they’ll kick me out entirely.

            As if we’d let them, Sandry answered with a laugh.

            You don’t understand! He said desperately.

            We don’t have to, Daja interrupted him, ever the voice of reason. The point is, we take care of each other, always.

            Always, the other girls echoed.

            Now sleep, she ordered. If I hear one complaint out of any of you, I’m going to give you all a solid beating with a hot pair of tongs in the next forge I find. Sandry and Tris obeyed, closing off their minds, but Briar hesitated.

            Daj’, he started, but didn’t know how to finish.

            I was serious about the tongs, you know. Her voice sounded amused.

            Hastily, he bid her goodnight and closed their connection. Having the girls with him was better than having a gang. They knew him better than his gang ever did, anyway.

Alright gather round, children, bc u about to learn how to make these sweet-ass Día de Muertos candy called Alfeñiques:


  • 2 Cups of Icing sugar
  • 1 egg white
  • 1 spoonful of corn syrup
  • ½ a teaspoon of vanilla
  • 1/3 of a cup of cornstarch
  • Edible vegetable dyes


  1. Mix the corn syrup with the vanilla and the egg white.
  2. Sift the Icing sugar and add to the mix.
  3. After incorporating the ingredients, knead it all into a ball. Roll the dough until smooth and manageable.
  4. Make small figures of whatever u like
  5. Let them dry on a table for three hours. Once dry, use the vegetable dry to add color!
  6. U can also make Christmas deco this way, just cut a hole before letting them dry so u can hang it.
  7. Now, you can eat ur alfeñiques or just use them as deco. YAY!


  • There’s no TL;DR, this is a recipe.

Michele Nugent (Kitty Greenway, London, United Kingdom): a four poster bed curtain which is similar to some hangings William Morris had specially dyed with vegetable dyes in a unique palette of colours, source: kittygreenway.blogspot.com. Many of the products at Kitty Greenway are inspired and influenced by the Arts & Crafts movement. Please visit etsy.com/uk/shop/KittyGreenway or kittygreenway.blogspot.com for more vintage fashion & accessories, upcycled furniture, soft furnishings, vintage textiles & Bric-a-Brac!

Art Historians Explain Why A Medieval Man Is Getting Rolled Into A Joint, Among Other Things

Once upon a time in the Middle Ages, some artist spent a surprising amount of time painting a face on the butt of a horse. Fast forward to 2015, and social media users centuries later are gleefully adding modern captions to the medieval handiwork for their Tumblr and Twitter audiences. Because lol!

And yet these illustrations would surprise no expert historian. Books were intentionally filled with this kind of strange artwork, and took a long time to make, even as a team effort by skilled artisans concentrated in cities like Paris. A book didn’t used to be a thing you could buy as a joke at an Urban Outfitters store – mainly just the rich and leaders of the church could afford to own books. Their pages were made from vellum or parchment – animal skin soaked in lime water, scraped and stretched thin, then cut into groups of pages. Pages were ruled to ensure text was handwritten in straight, even lines. And unlike the doodles in the margins of your geometry notebook, the manuscript’s illustrations, called “illuminations,” were first outlined onto the pages, then filled in carefully with vegetable dyes and often gold leaf.

The end product, though, was sometimes bizarrely hilarious. Since we’re all about the pursuit of knowledge and understanding of art, The Huffington Post asked a couple experts what’s going on in some of the Internet’s favorite medieval manuscripts.

William Morris (1834-1896) was a little bit of everything. Poet, artist, socialist, manufacturer…to name a few. He idolized Chaucer, who he considered a chief master of poetry (I agree!), translated the Icelandic Sagas into English and experimented extensively in the art of vegetable dyeing.

Seen here is a cartoon he drew for a stained glass window: Guinevere and Iseult.

Much, much more information on Morris can be found here: http://www.avictorian.com/Morris_William.html

anonymous asked:

Why do you dye your hair so much ? It's very damaging. :(

Lmao. Babe im a hair stylist so firstly, I know, but also the funky colors (purple green etc) are VEGETABLE DYES meaning absolutely zero damage! Developer dyes and bleach are the only things that damage hair color wise.

also I shave and cut my hair often as its short. Thanks for your concern but I promise I take care of my hair!

Wisdom Wednesday: “I think a painting is more like the real world if it’s made out of the real world” – Robert Rauschenberg. 

Rauschenberg created his “Waterworks” series, using a high pressure, inkjet process that employed non-toxic, ecofriendly materials. His work “Special Place (Waterworks, 1995”) is made from vegetable dye and is on view in Pace New York’s group show at 32 East 57th Street. Catch it through next Wednesday, February 17. 

Image: Rauschenberg, Robert “Special Place (Waterworks), 1995” WORK ON PAPER. Vegetable dye transfer on paper. 29-½" x 41-½" (74.9 cm x 105.4 cm)