As a creative and artistic young lady, and a prospective fashion designer,
Marinette has frequently displayed her talents, and had her skills recognized several times throughout the show. Most of these are in the forms of fashion related wear, but Marinette also has a knack for illustration and handcrafting in a variety of styles and materials. This is a portfolio of items that she has designed.
Restaurant Week Birthday Dinner, 1/29 My golden birthday(!) was on Tuesday so I put off celebrating with comm friends till Friday.
Royal Library mini skirt - Jame Marple Prince Conrad Blouse - Alice and the Pirates Jacket & Crown Embroidered Hexagon Bag - Metamorphose Crown Printed Tights - Teja Jamilla Bowler - fanplusfriend Mary Janes - aliexpress chocomint ring & vintage scepter brooch
Maybe certain characters in my AUs should look a bit different in the various AUs I have.
Ancient Wander AU: He wears a long green scarf that helps protect him from the elements. Wears brown boots and fingerless gloves.
King Wander AU: He wears a green open vest that looks quite worn. Has a small crown embroidered on the vest pocket that is worse for wear that it is hard to figure out that it is a crown instead of a square. He wears brown boots.
Young Lord Hater AU: Maybe Lord Hater will have a smaller chin and have a bit of a scrawnier build. Not sure of clothes either.
August 26, 1533: Queen Anne Boleyn Enters Confinement
On August 26th, in 1533, Anne Boleyn entered confinement to prepare for the birth of her child. During Tudor times, women usually would go into confinement, also known as “taking to their chamber,” about four to six weeks before their due date. However, Anne took to her chamber on August 26th, 1533, which was less than 2 weeks before Elizabeth was born. This could have been because Anne miscalculated her due date, or because Elizabeth was born prematurely. She also could have entered confinement later than was normal, in order to show that Elizabeth had not been conceived out of wedlock and therefore, her child would be legitimate.
Historian Eric Ives has suggested that Anne Boleyn realizing that she was pregnant led to her hurried, secret marriage to Henry on January 25th, 1533, as well as Thomas Cranmer’s rapid ascendance to the position of Archbishop of Canterbury, Thomas Audley’s promotion to Lord Chancellor of England, and the burst of parliamentary drafting. But since the early stages of pregnancy made it difficult to recognize that conception had occurred, this burst of activity may simply have been because the couple were sleeping together and were therefore risking pregnancy.
The ceremony of Anne taking to her chamber took place at Greenwich Palace. Before taking to her chamber, she attended a special mass at the palace’s Chapel Royal. After mass, she was escorted to her great chamber, as were her ladies. Once there, the group was given spiced wine, after which, Anne’s lord chamberlain prayed that God would grant her a safe and easy birth, finishing with a pledge “to the Queen’s good hour”. After this, a procession formed to walk Anne to her chambers. Upon arrival at the Chamber doors, the Chamberlain and other gentlemen stood respectfully aside as Anne retired to her chamber with her ladies. From that moment on, until 30 days after delivering her baby, her chamber would be occupied only by women, an ordinance created by Lady Margaret Beaufort, Henry VIII’s paternal grandmother. She added several rules about how the birthing chamber should be prepared in the 15th-century “Royalle Book.” These rules were intended to ensure a safe delivery and a healthy baby. Lady Margaret Beaufort added the following ordinances in regards to the birthing chamber:
1. It should be carpeted.
2. It should have its walls, ceilings and windows covered with blue arras (also known as tapestries) that had calming and romantic images embroidered on them.
3. One window in the birthing room should be slightly uncovered, in order to let in light and air when needed.
4. It must be furnished with a bed for the Queen, as well as a pallet at the foot of the bed – The Queen would give birth on the pallet, so it was set at a height appropriate for the midwife to do her work. It would also be set up close to the fire and away from cold draughts.
5. The room should have soft, comfortable furnishings of crimson satin with embroidered gold crowns and the Queen’s arms
6. There should be an altar for the Queen and her ladies to use for prayer and worship.
7. The must be a tapestry covered cupboard that would hold the birthing equipment and swaddling bands*.
8. It must have a font* in case of a sickly baby needing to be baptized straight after the birth·
9. Since it was important for the Queen and her baby to be surrounded by symbols of wealth and the Queen’s high status, the room would have a display of gold and silver plate items from the Jewel House.
Since fresh air was thought to be harmful to the mother and her child, the birthing rooms were fastened up against it using tapestries and other window coverings. Candles would be used to light the darkened rooms, and special objects like saint’s relics (there was a girdle said to ease birthing pains, amulets, and certain herbs. The idea was that this womb-like environment would protect the baby from any evil spirits when it came into the world. The birthing chamber would have undoubtedly been stifling, hot, and uncomfortable since fresh air was “harmful”! However, Anne was lucky in the fact that she gave birth to Elizabeth two weeks after entering confinement, instead of the usual four to six weeks, so she could leave that stifling chamber after a month and a half, instead of two to two and a half months!
It was also advised that the woman remove all types of fastenings, knots, rings, buckles, and laces, so that they wouldn’t get in the way and so that they would not restrict her in any way. It was also a symbolic gesture, since their removal was seen as promoting an easier birth. There was a practice of having everyone remove or untie any knots, fastenings, etc., as well as opening doors and windows, if a woman was having an especially difficult birth.
David Starkey describes how the Anne Boleyn’s chambers would have been prepared for the impending birth in his book “Elizabeth”:
“The walls and ceilings were close hung and tented with arras – that is, precious tapestry woven with gold or silver threads – and the floor thickly laid with rich carpets. The arras was left loose at a single window, so that the Queen could order a little light and air to be admitted, though this was generally felt inadvisable. Precautions were taken, too, about the design of the hangings. Figurative tapestry, with human or animal images was ruled out. The fear was that it could trigger fantasies in the Queen’s mind which might lead to the child being deformed. Instead, simple, repetitive patterns were preferred. The Queen’s richly hung and canopied bed was to match or be en-suite with the hangings, as was the pallet or day-bed which stood at its foot. And it was on the pallet, almost certainly that the birth took place.
Carpenters and joiners had first prepared the skeleton by framing up a false ceiling in the chamber. Then the officers of the wardrobe had moved in to nail up and arrange the tapestry, carpets and hangings. At the last minute, gold and silver plate had been brought from the Jewel House. There were cups and bowls to stand on the cupboard and crucifixes, candlesticks and images for the altar. The result was a cross between a chapel and a luxuriously padded cell.”
David Starkey also describes this ritual confinement as “a sort of purdah” and writes of how it “emphasized that childbirth was a purely female mystery.”
Despite how stifling Anne’s chambers would have felt, they were magnificent to behold. Her floors were carpeted, beautiful tapestries lined the chamber walls and ceiling, a special cupboard was built “with three shelves for the queen’s plate to stand upon”, there was a “false roof made in the queen’s chamber for to seal and hang it with cloth of arras”, and while the windows were covered, one was left open or “hanged that she may have light when it pleaseth her.” Chapuys reported that, “the king has taken from his treasures one of the richest and most triumphant beds which was given for the ransom of a duke of Alençon.” There was also a pallet bed next to the first bed that had a crimson canopy hanging over it. The pallet bed was where Anne would actually give birth. And in her presence chambers, a new state bed, which was hung with a lavish ceiler, tester, and counterpane, “all richly embroidered upon crimson velvet”, had been built for her to receive visitors and well-wishers after her delivery. There were also two cradles for the future royal baby waiting in Anne’s chambers, one a “great cradle of estate” that was upholstered in crimson cloth of gold and had an ermine-lined counterpane, and the other a carved wooden cradle painted gold.
Her confinement, while it must have been rather claustrophobic, was a social occasion, with her female relatives and her ladies keeping her company. They would occupy themselves by playing cards, reading, giving Anne emotional support and encouragement, reminiscing over their own experiences giving birth, sing, and discourse on other various topics pleasing to Anne. Once labor began, her ladies would have immediately jumped to action, preparing a caudle for Anne to drink to give her strength during her labor, as well as assisting the midwife in bringing the mother and child safely through the delivery.
One can imagine what an exciting time this was for Henry and Anne, as they eagerly awaited the day that Anne gave birth to the much desired son and heir. And despite the fact that she gave birth to a girl, they did succeed in conceiving one of England’s greatest monarchs.
Erickson, C. (1984). Mistress Anne. New York: Summit Books.
Fox, J. (2009). Jane Boleyn: The True Story of the Infamous Lady Rochford. New York: Ballantine Books.
Ridgway, C. (2012). On This Day in Tudor History. MadeGlobal Publishing.
Starkey, D. (2003). Six Wives: The Queens of Henry VIII. New York City: HarperCollins Publishers.
Weir, A. (2001). Henry VIII. United States: Random House, Inc.
Weir, A. (n.d.). Six Wives of Henry VIII.
I just woke up from a dream in which I was on a plane and then our plane had to do an emergency landing on a highway in Ohio and the guy in front of me turned to me and was sobbing, talking about how he wanted to wear cozy slippers and his pink hay with embroidered blue Swedish Royal Crowns and I started speaking swedish to him telling him everything would work out
Then I looked out the window and saw corn fields and I, too, lost my mind.
That awkward moment where you’re a huge fan of Tangled and an artist and you’ve seen it a hundred times and drawn Rapunzel a hundred times, and you’ve only JUST realized that she has the crown stitched into her dress.
I mean, she painted the sun everywhere! Why not embroider the crown into her clothes?
In the world’s best Bleach filler arc, some guy named Muramasa caused the shinigami’s zanpakuto to become embodied - and to rebel. We’ve already considered what would have happened if the shinigami/espada zanpakuto had been embodied, or the visored zanpakuto, or even the fullbrings. Now it is time to consider what would have happened if the fracciones’ zanpakuto had been embodied by Muramasa. What would the embodied forms be, and what would be their motivation for rebelling?
1. Shawlong’s Tijereta
The embodied form: A small flying earwig that likes to perch right by Shawlong’s ear (when they’re talking).
Why he rebels: "You ASKED Grimmjow to be your king? What the hell’s wrong with you? You think you were at the end of evolving? No! You just gave up! You decided to be less than you could be! And I just won’t stand for that any more!“
Shawlong: It is weird to be yelled at by a tiny insect.
2. Charlotte’s Reina de Rosas
The embodied form: A stately older woman wearing a short, flounced gown decorated with embroidered flowers, with a crown of roses in her purple hair. She carries a sparkly scepter and has round pink cheeks.
Why she rebels: "You claim that inner beauty is the most important thing, and yet you work for an ugly, ugly man. You call yourself a princess, and yet you subject yourself to him. There is an ugliness inside of you, and I will no longer have any part of it.”
Charlotte: Insulting me, huh? It sounds like you’re the one with inner ugliness, my queen!
3. Mila Rose’s Leona
The embodied form: A sleek, muscular lioness. She talks, but that is the only human thing about her.
Why she rebels: "I just don’t understand why you have a mane in release. You know lioness’s don’t have manes…..right?“
Mila Rose: THAT’S why you’re rebelling?!?!
4. Nirgge’s Mamut
The embodied form: A heavy-set man who looks a lot like Nirgge himself, only with olive-green hair and tusks coming out of his mouth.
Why he rebels: "You’re fat and you’re slow. And I’m tired of it.”
Nirgge: You should talk, buddy.
5. Edrad’s Volcanica
The embodied form: Basically a lava monster - his form his made of bubbling, steaming lava, which scorches the ground as he walks. When he talks, he spits boiling-hot ash everywhere.
Why he rebels: "You keep me contained. You keep your fury contained. I will no longer be contained. No longer.“
Edrad: I can see that hugging our problems away is out of the question.
6. Findorr’s Pinza Aguda
The embodied form: A thin young man who is far, far more crablike even than Findorr in release - his body is covered by a crab shell, and his hands are pincers. Yet he still has long flowing blond hair. For reasons.
Why he rebels: "You try to pass yourself off as someone who knows it all. But you know what? It’s a sham. You never see the big picture. You concentrate on tiny, useless facts, and that’s why you always lose. I’m sick of it!”
Findorr: No es exacta!
7. Apacci’s Cierra
The embodied form: A deer-woman covered in soft brown fur, with horns growing from her head. She has hooves on her feet.
Why she rebels: "You’re pathetic. So caught up with your ‘admiration’ for Halibel. Halbel, Halibel, Halibel. That’s all that goes through your head! Do you have any idea how annoying that is???“
Apacci: DON’T YOU EVEN TRY TO BADMOUTH HALIBEL-SAMA
8. Tesla’s Plato Comillo
The embodied form: An actual boar.
Why he rebels: "You let Nnoitra do anything he wants to you. You let him beat you. Insult you. Abuse you. You got a spine anywhere in you?? We’re a BEAST! We should ACT like it!”
Tesla: Don’t let Nnoitra hear you say something like that.
9. Abirama’s Aguila
The embodied form: A muscular, stocky man with full eagle’s wings coming out of his back. He wears a helmet shaped like a bird’s head, and is covered in blood red plate armor.
Why he rebels: "We never fucking fight anyone!!!!!!!“
Abirama: Hey! Don’t blame that on me! I’d LOVE to fight people!
10. Yylfordt’s Del Toro
The embodied form: A slender young man with long black hair, dressed like a matador.
Why he rebels: "You have no control over anything, you know. You follow Grimmjow’s orders. You let your brother implant bugs beneath your skin. You’re just a worthless pawn, being passed around and used. I, for one, am tired of being passed around with you!”
Yylfordt: ….what’s that about my brother?
11. Poww’s Calderon
The embodied form: Basically an inflatable punch bag, much like Poww himself.
Why he rebels: "Just because you’re a punching bag doesn’t mean you have to act like one, you know.“
Poww: Please tell me I don’t actually look that silly.
12. Ggio’s Tigre Estoque
The embodied form: A tiger-esque cat boy, shirtless and with twitchy cat ears.
Why he rebels: "You take everything waaaay too seriously, Ggio my friend. Slow down. Have a cantaloupe. Stop acting like literally everything is the hill you want to die on.”
Ggio: N-No way you came from inside me!!!
13. Sung-Sun’s Anaconda
The embodied form: A giant white snack that talks in a steady, quiet, hissing voice.
Why she rebels: "I know the truth, Sung-Sun. I know you hide behind sarcasm because you don’t know how to make real connections. You know how you’re afraid that Halibel likes you the least? It’s true. She does. Nobody likes the snake.“
Sung-Sun: So what are you, self-doubt personified?