work the runway!

2

This is what my dreams look like

Klance FASHION AU

  • Lance is a young twenties, rising fashion designer and was the youngest person to win some kind of “Project Runway” type competition show. He mostly designs urban, super edgy type of men’s wear, but sometimes he does crazy, italian vogue-esque formal wear too. People have called him a prodigy (which he doesn’t ever forget).
  • Keith is a new model, only because his older brother Shiro forced him to try it out. He mostly hates it, he’d rather be getting an art degree or something, but it’s not in the cards right now in his life. He does it for the money (at first), and to appease his brother who he hardly gets to see because he travels a lot.
  • Lance meets Keith at his fashion show, where apparently Keith is modeling for him. He’s pissed at first because Keith didn’t show up to any of the fittings. He ends up having to put him in the finale piece because it’s the only one left that will fit him properly. Once he gets him in the outfit though, it’s hard to think of Keith as anything other than a muse. He’s fucking gorgeous.  
  • Shiro knew Lance previously from a couple shows ago. Lance always hires him again and again because he’s hot. Shiro secretly wanted Keith to go to one of Lance’s show’s because he had a feeling they might really hit it off. He also had a feeling they could single handedly destroy the whole show in burning flames, but he was hoping for the first option.
  • Allura is a model who met Shiro at a show a year or so ago. They are a thing.
  • Coran is currently running his family’s fashion empire. Allura is his niece. They are super rich and live in a cool mansion.
  • Hunk and Pidge are Lance’s high school friends who support him in every way they can, even when he’s being annoying and frantic around show time. They are normal college kids studying engineering, however, Lance drags them around to his shows and brings them cool places when he gets the chance. Pidge likes to mess with the stuck up, old fashion designers who have a stick up their ass.
  • Lance likes to hide in their off-campus apartment in New York City when life gets too stressful and he can’t stand being in his design office anymore. Before he got a small office to work in, he would cover Hunk and Pidge’s apartment with his clothing collections because he would run out of space in his apartment. Pidge is still finding pushpins stuck in her pillows and such.
6

I’ll sign on every once in awhile to update, I just can’t be here on a regular basis.

So here’s a few highlights from Wondercon. Made a lot of lifetime friends, worked the runway, and wreaked plenty havoc. Thank you to everyone who made this experience one of the best weekends in my life.
Now for June! 😱

anonymous asked:

Do you practice your strut or does it come naturally?

do you know im not actually sure?? steve says that i didnt walk like that before the war–i strutted but very differently. which means that its a hydra thing, and i have no idea if they taught me to walk like that or if thats my most natural murder walk. i talked it over with clint and tony and we agreed that its hilarious to picture some hydra scientists working on developing the perfect runway murder strut.

we may never know, because i may never remember. but if you say the words ‘work it, soldat, work it’ in a heavy russian accent around clint or tony they will 100% laugh so hard they cry

10

Finally getting around to doing a follow-up of this post, and putting some detail shots in of my winning costume, as well as writing some details. 

My main inspiration for this look came from my love of mythology. The character is a completely original design, and is modeled from the Greek ‘Nyx’, the personification of the night. When designing this garment, I wanted it to have an ethereal, majestic feel, an otherworldly essence dripping with luxury and an awe-inspiring presence.

The dress is made from 100% silk satin, which was dyed from a peacock-blue ‘Royal’ to a more midnight-blue colour (more accurately shown in this picture) - it sounds completely pretentious to say, but the ‘Royal’ blue colour was too blue, and the ‘Navy’ was too black, so I had to find a colour I was happy with. The dress is hand-draped in a fluted column shape, backless and coming from the neck as a halter clasp. Gathered at the waist, it then falls open at the hips in a series of drapes, which is closed at the back with a back slit, allowing for movement.

The neck-piece is a wire construction soldered and shaped by hand, wrapped in gold organza and then covered and hand-sewn with glitter netting, its circular shape resembling that of a golden halo. French guipure lace was hand-dyed into a golden colour and then stitched on, decorated with imitation pearls and sequins to catch the light and give it a resplendent finish. The lace continues onto the collar, where scalloped lace (also similarly dyed) was sized with hat stiffener to keep its particular shape, but retain its fabric texture. The neck-piece closes using gold eyelets at the front and cotton tape, whose ends are then tucked inside the collar of the dress. The ends of the scallops are decorated with loops of gold chain, which are echoed into the 3-part neck brooch in the centre to hide the eyelet lacing.

The cape is attached to the inside of the neck-piece just above the shoulder-blades, and is made of a brushed Japanese satin to resemble the texture of the moon’s surface. Inspired by shot marble, I hand-textured the cape by foiling it intermittently with gold, inside and out. The cape attached to the model by being sewn to gold cuffs.

The belt is assembled together using a variety of jewelry findings, metal filigree and rhinestones wired and soldered together, as well as gold chain and faceted gemstones, including faux moonstones. It is sewn onto the waistband by hand, with the same beaded lace as the neck-piece continuing its flourish across the waist. The long, dangling chain at the front, inspired by Medieval girdles, continues the theme of the night sky by using the same moon pendant, tapering off into a double-sided brooch (matching the one at the neck). It is attached to the draped front of the skirt using a swing-catch to avoid too much movement.

Similarly to the belt, the circlet is also assembled together with assorted jewelry, gemstones and chain, hand-wired and soldered onto a metal frame. The theme is continued with the matching crescent moon pendant affixed to the center.

The gown is embellished with 7,500 rhinestones, in 2mm, 5mm and 9mm sizes. A few scatter at the neckline, but the majority are at the bottom of the hem, continuing upwards into a scattering gradient to simulate glittering stars.

The entire garment, from start to finish, took me a little over 7 weeks to create by hand. I suffered a lot of setbacks in realizing my design, including (but not limited to) the wrong shoe being ordered for my model to wear at the fashion parade, having to order more fabric and re-dye it (praying to match the original dye colour) due to a cutting error at the suppliers, and losing an entire week of work due to coming down with the Dreaded Lurgy - not to mention only being able to work on this garment outside of my 40-contact hours of school (plus homework) a week.

However, I’m pretty proud of my garment, and the fact that it won its category has me feeling immensely chuffed.

(ENORMOUS thanks to archadianskies, who suffered listened to my plights during its construction and offered advice along the way - you’re the best fashun friend ever!)