Paris label with date, richly embroidered by Lesage with gilt strip, gilt cord and sequins, blue and pink rhinestones, with three turquoise tinted metal star-burst ‘buttons’ with brass closure hooks, discreet pocket vents inserted at the hips, small shoulder pads, lined in blue silk
If you’re going to tell me that Gamzee Makara–the troll who carries around glittery special stardust to throw in their own face at periodic intervals–wouldn’t actively try to glue as many sparkly things to their face as possible, you’re wrong and I’ll fight you.
Tell us one fun fact about every member pls. two for uruha because hes too cute for just one ok thanks bye
Ruki: used to think that it’s a great idea to glue random shit to his face so long as said random shit has a reflective surface (sequins and rhinestones are one bad idea thing, but studs? really?)
Aoi: twitter is the source for great fun for him, but it has also been his very downfall.
once stated he doesn’t consider vocaloid music to be real music, which gave him a bit of a bashing, and he ended up quitting twitter later when he made the grave mistake of replying to trolls spamming him, which then led to out of control trolling and him taking a calming bath before deleting his account. not one to be stopped completely, he continued to tweet via others people by hanging out with fellow jrock friends who were willing to deliver his messages with their own accounts
Reita: mystery man. has a little beauty mark above his eye. it looks great when paired with dangerous eyeliner and not hidden by his hair. Also loves his best alien bro Uruha to death, considers Uruha’s birthday the ‘day of rock’ and often stayed up late to congratulate him via heresy blog.
Uruha: apparently afraid of heights? or he used to be. wrote ‘MY PAL’ on his black God of Rock-guitar because it is his best friend also Uruha: he’s great at running. once offered to help Sakai (their manager at the time) to get into shape, so they went jogging together, but Sakai couldn’t keep up the pace. After convincing Uruha to go on without him, Sakai commented that Uruha then, in his own words, ‘took off like an antelope’.
@addicted-to-nostalgia asks “What about specialized things like beading and embroidery on costumes? Are there people who do specifically that?”
Again, the short answer is: sometimes?
I know when you’re talking about things like Game of Thrones and probably other Really Embroidery Heavy movies/tv shows (and I haven’t worked formally on movies/tv yet, just made the occasional thing on contract but I would bet that their costume shop process is pretty much the same as the one I outlined for theater) they have an Official Embroidery Crew, so in that case yes, stuff does go to a completely different group of folks who specialize in just that.
HOWEVER, honestly, embroidery and beading often take a LOT of time, so it’s rare for a theater costume shop to decide to do a lot of them, because it’s the teams themselves that’ll do it, not a specialized person. More often than not, if you’re beading something it’s just little bits, like adding beaded fringe to a 20′s dress, or adding individual bead/sequins/heat set rhinestones to something for light bounce. This is where prebeaded fabrics (as much as they’re a pain in the ass to work with) make all the difference-the time it takes to crack the beads off and secure the ends through the seams is still less than beading the whole thing from scratch. Not that it *couldn’t* happen from scratch, just that it’s a big time and man hour investment.
As far as embroidery, it’s much the same-it’s another big man-hour investment, and at least with that there are generally other ways for theater to fake that embroidered look, because our audience is usually at least 20 feet away. Trim is used a lot for stuff to look semi-embroidered, I’ve definitely machine-free-arm “embroidered” things before, and honestly, even puff paint or Sharpie judicially used in a big enough house will read as embroidery. In the case of a small theater, yeah, sometimes you have to do it, and that again, usually falls to the person on the team with the most previous knowledge of it. My experience with adding embroidery has been mostly “this needs to look rustic or ethnic” or “we can’t see this so we need to outline it in something.” In the theater, if you’re trying to do a Big Embroidered Game of Thrones Dress, you’ll usually find a pre-embroidered fabric, cut the motifs you want out, and re-build it as a big applique onto the dress itself, like so:
(this is beaded flower fabric with a red mesh that’s been pinned to a Big Fuckoff Red Satin Skirt by our designer and now we have a student stitcher whipstitich that all on-much faster than doing it all by hand)
The order in which you add the embroidery/beading is also dependent on what it is/where it goes too. On Big Red Skirt there, we knew that the beading was going to have to overlap seams, so we put it on last. HOWEVER, it’s a lot easier to do beading/embroidery flat, so frequently we’ll try to do as much applique or embellishment work like this as we can before putting the garment actually together. (this of course also depends on what you’re adding, because a flat faux-embroidery applique is a lot easier to feed through the machine than big beaded flowers like the ones up there.
Deep blue set commission for Luts Delf old type in Elven style. The cut and fit was defined by the customer, and I was given a reference of the bead embroidery to create something in a similar style.
The set includes the shirt with embroidered chest, the coat with embroidered sleeves and the pants.
The fabric is stretchy and has a shiny celluloid thread woven into it. Silver beads of a various kinds, both glass and metallic, sequins and rhinestones create an intricate patten with rhytmic stylized floral motives.
This work is one of a kind by the customer’s request. But even if I wasn’t asked about this I wasn’t likely to repeat it, as I feel it’s something more than just a dollie garment.
• Woman’s Court Presentation Ensemble: Dress, Train, Slip, Headdress and Fan.
Gown designed by: Callot Soeurs, Paris, 1895 - 1935. Worn by Mrs. John B. Stetson, Jr..
Place of origin: France
Date: ca. 1928
Medium: Dress: silk and lamé with net, sequins and rhinestones; Slip: silk satin; Headdress and Fan: ostrich feathers