A fine brilliant yellow Spitalfields brocaded silk robe à l'Anglaise, circa 1750,
Woven with brightly coloured large scale oriental poppies, posies and swags, the ground figured with arabesques and wine silk spotted cartouches, the robe with linen lining to bodice, pleated front robings, double tiered engageants with bows, the hem lined in fine yellow silk; with matching petticoat front panel trimmed with pinked furbelows; and a stomacher trimmed with rosettes and braid
A little while ago I attended Timeline Medieval Festival and as a last minute addition to my kit I made a simple open-front black wool hood. Here I am wearing it in this photo with some awesome WWII re-creationists.
It was always my intention to make this hood a lot fancier, and this week I had some time off! I started by trying my hand at some embroidery, which is something I haven’t done before but always wanted to. I figured it was better to start off simple, and this was the result. I took this to my nieces christmas carols and sat on the ground hand stitching. I got a lot of interested looks and questions. :)
Next I used the wool hood as a pattern to cut out the green linen lining. I also removed my temporary leaf fastening.
I used a sewing machine for the inner, un-seen stitching, but all of the exposed stitching is mostly hand sewn. I pinned the wool and linen together and got busy.
Hand stitching along the bottom seem of the hood:
Hand stitching along the front seem and around the face. Time-wise, all this stitching took me watching Hot Fuzz, Shaun of the Dead and an episode of Teen Wolf ;P
Next up, cloth buttons made from the same black wool. You can see my step-by-step pictures of this process here. At this point I’m basing the design more on 14th century styles (plus I really like super long liripipes.)
And here is the mostly finished product after all of the buttons were sewed on!
I lightly sewed the button holes using my machine to get the consistent shape and spacing because the holes are all so close together. Then I went over the stitching by hand for reenforcement and aesthetics.
Aaaaand that’s about it! I’m super happy with the outcome. The hood is both warm and comfortable, but not too hot that I couldn’t wear it in summer - I specifically used thin wool and linen for this reason. The colours are mostly based on the Melbourne HMB team, but I’ll end up taking it to Bicolline as well. I’m super excited to get more into embroidery too.
She is the broken Beach Fossil
brain picked, hands dry
What a fucking weird time
to be anything at all
what a weird time to be alive.
She is a videographer
with scattered graphs
lining her linen
every shift at night
crunches back at her
“You don’t know a god damn thing Cheyenne, just try and do what what’s right.”
the causes for her self sabotage
pelt down in a mirage
of teenaged angst
that She cannot seem to let go
pitiful music plays
powerful baby girl emotions
peak at an all time high
the lows are cutting down
to her bone marrow
Tomorrow is only ever the new today
practically is a speciality
Her impulsivity pulls away
prayin’s always just been
a way of sayin’
people fear what they know best
psalms and methodical words
become our security blankets
in the face of our own unrest.
Is she getting into heaven?
There is no fucking way.
When judgement day comes
She’ll be too busy
being concerned with her self vanity
She so vehemently denies-
No one wants to admit their insecurities
in the eyes of the beholder
even though they always told her
to look past the face in the mirror
but unconventional beauty
that’s not so beautiful
stands out in her mind
as a gold mine
for criticisms and judgements
She cannot bear
She’d rather spend her grocery money
on products built on capitalism, commercialism and cruelness
made for her to never feel good enough
She will never feel good enough
with a father
who kept a vacancy sign
staked outside the entrance
of his disjointed mind
Was he incapable
or could he just not take the time
to put down the various bottles
Each one could be an entry free
To admit him
into group circles
that accomplish nothing but
self-pity riddled with
excuses and sob stories
gradually added to
of fucked up psyches
For her it’s just another night of
hiding his car keys
She is in love
like everyone else
But all it is, is broken bottles
and an incapacity
She is wasting her time
on wasted autocorrect
that cannot correct
that hang high and dry
in static air
She is a good distraction at best
with a laugh that could end wars
It clouds judgements
all of which she covers
under covers at night
inspired by a red light
are what fucks with her head
when she knows
the best option is always to go to bed
it is trendy to hate herself
so she does
She reads about motorcycle maintenance
to maintain her pseudo intellect
but when it comes down to it
there are no organic thoughts
to collect from her head
that is always talking at her
She is psychotic
and her killer
will be herself
Because she’s never known stability and
She never will.
England, Great Britain (possibly, made)
Scotland, Great Britain (possibly, made)
ca. 1800 (made)
cotton, chenille and silk thread, pleated, hand-sewn, hand-embroidered,
and later machine stitched, and with linen pockets and lined with satin
This ensemble is
typical of men’s court dress at the end of the 18th century. Although
the most formal style of dress worn, it was not the most fashionable. By
1800, rich fabrics and embroidery were no longer in style for men’s
suits. The standing collar, curving coat fronts and waistcoat style are
also old fashioned, representing the cut and shape seen in the 1780s.
However, the requirements of court dress kept alive the textile and
embroidery industries of the 18th century. The embroidery for the coat
and waistcoat were done first, in the areas where it was required for
the finished garment. Although made of different fabrics the coat and
waistcoat share the same embroidery design. They would have been sold
together by a silk mercer, then taken to the tailor to be made to fit
I made a corset for my mage character. It’s not done yet, but there are a few in-progress photos I’d like to share.
I took a tudor corset pattern and changed it to suit my needs. It is shorter than it’s historical counterparts, since I have to be able to move around in it a lot. I also made the upper edge pointing upwards to enhance the ArtDeco feel of this costume part.
I used linen cloth for the lining and rattan for the bones. The outer layer is going to be brocade.
The corset originally was going to have cording as well as a front clasp, but breathing proved really hard in this. So I decided to exchange the cording for 10 cm wide elastic straps. So It is more like a fake corset now.
Meditation (1913). Edgard Maxence (French, 1871-1954). Watercolor and gouache hightlights.
Maxence has specialized in the evocation of past ages, ages of piety, resignation, and hope. The ancient adjustments are familiar, the top hennins prepared, the white linen caps, and surcoats lined with ermine. Here, the woman puts down the book, perhaps a Bible, and meditates.
Special limited edition soundtrack set to commemorate Mark McCoy’s DEVOURING GHOST exhibition, available exclusively from Slowboy Records in Germany.
• Custom heavy duty black linen and velvet lined box with white foil stamp lettering, spine text and silk pull to remove contents
• Two black vinyl LP’s encased in heavy-duty uncoated “tip on” jackets
• Offset 12" x 12" art print set featuring all 9 works from the exhibition, Mark McCoy portrait, and complete lyrics composition housed in custom silkscreened folio and stamped in a black wax YA logo
• Signed and numbered double-sided silkscreened card
Limited to 100 copies
Youth Attack #93/Slowboy #23