This thing has been out of print for like, 26 years and some of us want to make chubby classic pikachu so uh... I figure it's okay to share bc it's kinda hard to get your hands on the remaining physical copies.
Bonus points: Aelith made some embroidery/applique files for it too
This is FREE, please don't pay for the pattern.
Only the EMBROIDERY is paid.
Remade by AeilithArt so that we could use the pattern without like, destroying it. It's not exact since it's trace, but it's p much the same
pet peeve is when you look up fashion references from a specific era and you keep getting modern day '[era]-inspired' fashion like NO i want authenticity damn it. i can see your 2020 photo quality and your 2020 hair and your 2020 makeup. youre not fooling me.
hello i'm a historical fashion researcher and i have a lot of experience looking up things! this is a very widely experienced irritation and you're definitely not alone in this, but i am here to share everything i know!
so, ways to get around this:
turn off AI results. they're literally nonsense to us
don't use pinterest because the sources/provenance is often hard to trace
a standard internet search can be okay, but museum collections are the top tier (list of collections below this list)
instead of broad terms like victorian, regency, tudor, renaissance etc. try using the decade you're looking for. if you're not sure of what decade it is but have a vague image in your head, look on the fashion history timeline and just jump around until you find it. but even changing to e.g. 19th century will give better results than victorian
including terms like womenswear/menswear, daywear, formal wear, evening wear, court dress should increase the value of your search too
including "fashion plates" in your search can give you a nice impression of the intended silhouettes of the era. some of these might be a little stylised but will show you what was considered in vogue
for pre-fashion plate eras or things like makeup and styling, you'll have to look at portraiture or manuscripts. these are harder to actually find what you're looking for, but searching museum collections and limiting results to specific date ranges will be your friend
when looking at art, do bear in mind sometimes artists would paint fabric extra flow-y to show off their skills. it might not have been exactly like that in terms of fabric weight or drape. so, a pinch of salt required!
if you find something on image search where the provenance is dubious, reverse image search and you might find a source! i've been able to trace random pinterest images to real sources, but this does take a lot of time and effort and is often not worth the headache
some online resources and museum collections:
fashion history timeline is an invaluable resource if you're trying to get a feel for everything and should be your first port of call. it'll also link to good examples
the met has a vast number of extant examples of clothing, as well as fashion plates
costume institute fashion plates is a subcollection of the met for fashion plates (1800s-1922)
v&a also has many extant garments, fashion plates, and incredible articles on clothing and aesthetics. read the details of the objects because they'll often reveal a lot about the piece
lacma is good for C19th-20th pieces
nypl digital collection for photographs
national portrait gallery or similar for portraiture, or literally any museum in your country that has historical art
national museums scotland can be useful situationally but might be oddly specific
stout style history is a great collection for finding image references for fat people wearing historical clothes. survival bias of a lot of museum pieces tends towards smaller clothing that couldn't be repurposed, but this aims to counter that. it's not sortable, but is still a really nice resource
wikimedia commons is surprisingly handy! and the images, if you should need to link/repost them, are public domain
auction websites sound like a funny one to recommend. some won't have mannequins and some will. just look up historical garment auctions and you'll find some!
anyway, i hope this has been a good place to start for anyone interested! there are probably some i've missed because there are so many museums across the world and i don't know about all of them or can't remember them. but these are the ones i've used the most! (my specialisation/jobs i've had to research for have only really been in western fashion, so my resources reflect that)
Wikipedia has a list of fashion museums. Unfortunately, the page itself is only available in German, but the introductory paragraph is very short and after that, it's organised by country, and then it's a simple list. If you click on a museum's article, the website is usually linked in the overview table.
For anyone confused about why this "sweet ad" is actually evil:
ring is passing the surveillance they collect to ice
ring is using these ID features to search for/identify people that ice wants to deport/kidnap/disappear, & using it to spy on Americans in general.
This ad is the company's gross & sneaky attempt to appeal to humans' kindness [ I'll be helping people find their pets!" ]
They are trying to trick more people into buying this tool that will be used as surveillance on people living in the USA
AND~!!!
also probably trying to trick people into turning on features/settings that will make it easier for them to pass information to ice and other hostile governmental authorities
Don’t forget that Ring also announced a partnership with Flock at the end of last year, which uses AI surveillance cameras to track your license plate and share that information with law enforcement (again, including ICE).
Get rid of your Ring camera.
Agencies that use Flock can request that Ring doorbell users share footage to help with "evidence collection and investigative work."
hi, this is your gentle reminder and PSA: there are ELECTIONS happening in November 4th. PLEASE GO VOTE. Trump is the most unpopular he has ever been, but does that mean your average independent, or republican will vote for a dem this time around-likely no- they probably will just skip the process entirely if they don’t have a candidate they feel strongly about. this is why i’m asking YOU SPECIFICALLY to make sure to go vote. and i don’t wanna hear any doomerism shit about how voting is a waste of time bc of whatever, guys voting is the last of anything we have it is clear most of these people who represent us do not actually care, HOWEVER trump currently has the house, senate and courts and making it even slightly harder to do anything or having a large enough group to speak out against what he’s doing will help hundreds of thousands of people in the US. now more than ever is it important to make sure that they know that we do not stand for this
The League of Women Voters, a nonpartisan nonprofit, runs the vote411.org site. You can give the site your address and it will tell you where your polling place is, what races or referendums are on the ballot, and give you the profiles of each candidate (as supplied—or not—by the candidate themselves).
You can even go though the ballot at home, make your choices, and then print out a cheat sheet to take with you to the polling place.
It’s super accessible and one of my favorite sources for information on local elections.
Hey i’m a fashion design student so i have tons and tons of pdfs and docs with basic sewing techniques, pattern how-tos, and resources for fabric and trims. I’ve compiled it all into a shareable folder for anyone who wants to look into sewing and making their own clothing. I’ll be adding to this folder whenever i come across new resources
Updated just now with new hand sewing resources (mainly buttonholes) and textbook pdfs on fashion history, fashion illustration, and thinking through designs!
Call script because phone calls are harder to ignore than emails:
"Hi, I'm calling to tell you that the reports you received of sexually abusive content on Steam and itch.io are fraudulent and were made by religious extremist groups.
As a [insert company] customer I'm expressing my discontent and requesting that you rescind your demands to these platforms."
A quick resource round up if you need yarn and shopped at Joann
I don't remember all of Joann's brands, so forgive me if I miss one, but here's everything I can think of that either will help you buy stuff you've used or give you a new place to look for yarn.
Yarnspirations will have everything for Red Heart, Caron, Patons, Lily Sugar 'n' Cream, Bernat, Aunt Lydia's, and Coats & Clark. (I made a post about this yesterday but don't want to skip it.)
Lion Brand's website will have any Lion Brand you need.
Plymouth yarn is one of those companies that shows you what they have but then you have to look at their shop list to find it.
Yarn.com is a huge yarn selling company with a lot of options, including Plymouth.
Creative Yarn Source is a website where you can get Omega-brand threads and yarns. I don't know if Hobby Lobby still carries Omega, but they did 15 years ago (I made a terrible vest [my fault; not the yarn] right before we moved to PDX). Lots of thread sizes and colors.
Knitpicks has size 10 and size 3 thread in a bunch of colors. It's called Curio. It's under laceweight. For a good acrylic worsted, I recommend their Brava. I also prefer their Dishie to Sugar 'N' Cream just because I like how it softens up a bit more.
We Crochet is actually just Knitpicks but aimed at primarily crocheters rather than knitters. They don't one-to-one on yarn options, which bothers me, but I'm sure it's based on what crocheters buy most often vs. what knitters buy most often. That site also has some extra brands on it, too.
If you need to sub a yarn, yarnsub.com is literally just that. They have a whole rating system. I've used it several times to source similar or replacement yarns.
Hobbii has always been a great resource for me, but if you are looking for an exact yarn, it's not going to be what you need. It's a Danish company, so shipping takes a little time, but every yarn I've gotten from them I've really liked. Their "Friends" line has stuff I would definitely consider workhorse sort of options.
Wool and the Gang has a website where you can buy directly from them.
Big Twist yarns has a website, but it just sends you to Amazon to buy, so here's the link to the page of it from Craftz brand. You can use this same link to get the Easy Peasy yarn for Woobles.
Premier Yarns has a website where you can buy directly from them.
Herrschners carries a bunch of different yarns, and if you like kits, that's a lot of their business.
Something I see a lot, with people who are new to sewing, is a lack of understanding of the grain of woven fabric, and why it's important to cut out pattern pieces the way the pattern tells you to in relation to that grain.
The grain runs parallel to the selvedge edges of the fabric yardage, and is physically made up of the warp yarns that run the length of woven fabric, that the weft yarns are...well, that those yarns are woven around to make the fabric.
Because the warp yarns have to withstand the shuttles, carrying the weft yarns, passing back and forth across them repeatedly, the warp yarns are generally stronger than the weft yarns.
This means that, if you cut something perpendicular to the grain that is intended to be cut parallel to the grain, then the direction of the soft yarns and the direction of the sturdy yarns will be swapped, and the piece won't hang like it's supposed to.
Furthermore, the warp yarns need to be more stable, while the weft yarns, since they're traveling back and forth while being woven, are more flexible, which often results in a subtle stretch across the grain--from selvedge to selvedge--that can make a noticeable difference in how the finished item fits, especially if it's in any way fitted. There is almost never stretch along the warp/with the grain.
I so often see people new to sewing doing things like folding the fabric so the cut edges are together, which results in cutting the pattern pieces from the fabric across the grain instead of with the grain (not to mention doing potentially unwanted things to the nap and print direction.) Folding the fabric so the selvedges are together is usually what's directed in pattern cutting layouts, with the pattern pieces laid out parallel to the folded edge and selvedges, along the grain.
It's also common to see new-to-sewing people laying out the pattern pieces in all directions (usually jokingly called tetrising), to maximize the efficiency of fabric usage. This can easily lead to a finished item that doesn't quite fit right, even if you've used that exact pattern with that same kind of fabric before, and, without understanding the role of grain, it will seem completely random as to why it didn't work this time.
I know that a lot of the things sewing patterns tell you to do seem fussy and unnecessary, but they really do have their reasons!
it's funny although a little exasperating how artists designing "princess" or medieval-esque gowns really do not understand how those types of clothes are constructed. We're all so used to modern day garments that are like... all sewn together in one layer of cloth, nobody seems to realize all of the bits and pieces were actually attached in layers.
So like look at this mid-1400's fit:
to get the effect of that orange gown, you've got
chemise next to the skin like a slip (not visible here) (sometimes you let a bit of this show at the neckline) (the point is not to sweat into your nice clothes and ruin them)
kirtle, or undergown. (your basic dress, acceptable to be seen by other people) this is the puffing bits visible at the elbow, cleavage, and slashed sleeve. It's a whole ass dress in there. Square neckline usually. In the left picture it's probably the mustard yellow layer on the standing figure.
coat, or gown. This is the orange diamond pattern part. It's also the bit of darker color visible in the V of the neckline.
surcoat, or sleeveless overgown. THIS is the yellow tapestry print. In the left picture it's the long printed blue dress on the standing figure
if you want to get really fancy you can add basically a kerchief or netting over the bare neck/shoulders. It can be tucked into the neckline or it can sit on top. That's called a partlet.
the best I can tell you is that they were technically in a mini-ice-age during this era. Still looks hot as balls though.
Coats and surcoats are really more for rich people though, normal folks will be wearing this look:
tbh I have a trapeze dress from target that looks exactly like that pale blue one. ye olden t-shirt dress.
so now look here:
(this is a princess btw) both pieces are made of the same blue material so it looks as if it's all one dress, but it's not. The sleeves you're seeing are part of the gown/coat, and the ermine fur lined section on top is a sideless overgown/surcoat. You can tell she's rich as fuck because she's got MORE of that fur on the inside of the surcoat hem.
okay so now look at these guys.
Left image (that's Mary Magdelene by the way) you can see the white bottom layer peeking out at the neckline. That's a white chemise (you know, underwear). The black cloth you see behind her chest lacing is a triangular panel pinned there to Look Cool tm. We can call that bit the stomacher. Over the white underwear is the kirtle (undergown) in red patterned velvet, and over the kirtle is a gown in black. Right image is the same basic idea--you can see the base kirtle layer with a red gown laced over it. She may or may not have a stomacher behind her lacing, but I'm guessing not.
I've kind of lost the plot now and I'm just showing you images, sorry. IN CONCLUSION:
you can tell she's a queen because she's got bits I don't even know the NAMES of in this thing. Is that white bit a vest? Is she wearing a vest OVER her sideless surcoat? Girl you do not need this many layers!
so you know that ballgown look that people default to when making "princess" designs
this is kind of the fashion equivalent of when an AI has been trained to approximate what art looks like without understanding what it's drawing or how physics work. A costume designer has general recollections of about how the dresses looked from art, and a lot of the art they're learning from is also romanticized revival recreations of earlier art, so things are getting pretty confused structurally.
(I have to blame Disney for a lot of the specific trends but to be clear this was already happening before Disney was born.)
You can probably recognize how the gestalt of the bodice evokes what would actually be two layers--a gown laced over an under-gown, maybe with a stomacher in the same color as the gown.
The skirt is the very distant legacy of a trend that starts around here, in the early 1500's:
deliberately slitting the skirt of your gown so that it shows a triangle of the under-gown peaking through.
You know what a farthingale is? it's this thing.
Reeds sewn into the skirt to give it that round bell shape without needing 100000 layers underneath. Unsurprisingly invented in Spain, where it's hot as fuck. This is also the era where the farthingale starts its evolution into the eventual hoop skirt. You see that wide "ballroom" shape in a lot of princess designs. Princess Peach is a classic example.
Farthingale becomes hoop skirt, and using basically the same technology (reeds sewn into the fabric for support) the under-gown/kirtle becomes stiffened and shaped.
Eventually you get to this very pronounced version of the "slashed skirt" shown in the left figure, below. You can see that the red skirt is probably part of a whole dress, because the red sleeves in the same fabric are visible under the outer gown. (you can also see the chemise at the edge of the neckline). They did have detachable sleeves back then, as a standard part of a gown, so the red sleeves could be pinned to the chemise instead of attached to the body of the gown.
>Right figure, you can see this shit is getting elaborate now. I think that's a white under-gown with a yellow gown and a burgundy overgown. The collar around her neck is actually a partlet, not connected to anything else, just tucked in and maybe pinned underneath the neckline. But they're starting to have separate skirts now, so it's also possible she's only wearing a yellow skirt with the overgown on top it.
At this point whalebone is coming into the picture in a BIG way, and that's when you start to get Tudor style boned gown/kirtles tight around the bust really taking off. Also boned sleeves, if you can believe that. The smooth flat conical bodice is the product of a boned kirtle, which will eventually become stays, which will eventually become a corset.
anyway by now we're fully out of the medieval period and into the early modern/renaissance.
look at this bad ass bitch, hat ON titties OUT, who is doing it like her
I went to the ren fair recently, which got me interested in the specific historical inspirations of common “Renaissance Festival” clothes and consequently bugged my sister about her research so hard that it made us miss our turn
One common outfit you see (thanks to Amazon) is this modern take on the kirtle
On the left: Amazon. On the right: a recreation of what people actually wore. You can see how we have the same basic concept with a very different execution. This is what you would call a kirtle.
Another common ren fair look is the outer-wear stays. Always with the un-collared billowy undershirt.
I want to draw attention to the lacing. Stands to reason that costumers now would use contemporary lacing rather than that of previous eras. But check out even the romantic depictions of clothing from the 1870’s below this. No grommets. That’s just pure fabric baby.
Very few renaissance era women ever wore anything exactly like the ren fair corsets. For one thing, cross lacing wasn’t common, and metal grommets were not accessible to normal clothing makers. For another, structured stays (or “bodies”) were underwear, not outerwear. (Apparently something more popular with English peasants than French peasants, who didn’t use them.)
Left: stays (underwear). Right: jumps (outerwear)
Stays are boned. Jumps are not. Stays/bodies were pretty expensive due to the craftsmanship, and a poor person would have budget for a single pair. You can imagine this investment was not as popular with women who did hard physical labor. Jumps got really popular in the mid-1700’s and largely replaced stays in working class fashion.
A brief history lesson: clothes are ephemeral; we lose them as they are worn out, cut down, repurposed, and thrown away. Before modern anthropology and modern record keeping, it was difficult for anyone to know what anyone else looked like in the past or even a country away. Words used to refer to one kind of garment kept being used even as that garment changed in structure and purpose over time. Even after paper became common enough for printing art, it wore out fast and art was lost. References were hard to get.
What we think of as “peasant garb” is actually the product of a game of telephone that travels back from Romantic Revival art, and many of those (urban) artists got their idea of what rural peasants wore from opera costumes. The costumers working at the opera were not going out to the country side to take notes on what farmers actually wore, nor did they want to. Opera is show biz, you want it to be evocative, but not ordinary. Their costumes would have been based on what urban folks were wearing, with extra little touches like a shepherds crook to make it look “rural”.
Below: some mid-to-late 1800’s artistic depictions of peasants wearing improbably nice fabrics/clothes (probably a reflection of opera costumes). The painting of the peasant girl on the right is wearing more-or-less jumps.
You can see how the romantic art depictions of unstructured vests eventually inspired the “medieval revival” styles of the 1960’s/1970’s which lives on in the ren fair. Not only the neckline of the vest, but the style of undershirt with an open neck and billowy sleeves.
Compare (unstructured, laced, outerwear):
Nobody wore that in the 1400’s or 1500’s, but they wore things that looked similar at a glance. When 1960’s artists went back looking for early modern/medieval styles to replicate, they mostly had a hodge podge of this art to reference and extrapolate from.
The fact that a historical laced kirtle with an over skirt looks a lot like stays worn on the outside, probably made this confusing for artists. Undershirts of the 1500’s were collared and high necked, however, with tighter sleeves.(Below, 1500’s kirtle)
One last example of 1800’s romanticism, this time depicting a contemporary girl. Looks familiar, right? We’re back at the ren fair, if you take the bonnet off.
It does look similar to what was being worn in the 1800’s. Here’s a cartoon showing a working class woman in the 1870’s.
TLDR; what we think of as “Renaissance” or even “medieval” peasant garb is actually a remix of the working class clothes from the 1800’s, with some confused memories of the kirtle from older art thrown in.
Structured stays? 1500’s. The blousy no-collar undershirt? 1700’s. The cross lacing? 1800’s.
Anyway. This image of peasants has always been costume & fantasy. That’s why I think it’s kind of fun that it reaches a terminus in the anachronism and fantasy of a Renaissance Festival.
Analysis of clothing by Kenna Libes in this painting depicting colonial women in the late 1700’s. Not really related to what I’m talking about, but an interesting spot between two eras.
cannot believe we are having a whole discussion about "princess dresses" without talking about THEE iconic feature of the Princess Look, the conical hennin (Wikipedia)
I realize this is about the medieval era and not the early modern period but also, since we're talking about things that historically have layers that have been flattened into one piece for costuming purposes: THE FRENCH HOOD
most modern depictions in movies and film (even otherwise very accurate ones) make it a sort of headband/kokoshnik-looking thing with a veil at the back, like this:
while we're not 100% sure still how exactly a French hood worked, we can infer from documents and some paintings/sculptures from the time that it was probably more like a couple of hoods (as in cloth bags that go over the head, not just a veil) stacked on top of each other to create a layered effect:
an innermost one (the coif) made of linen to protect the more fancy layers from hair oils and dirt and to contain the hair, with perhaps a decorative ruffle,
a second one (the cap) that might be a different color, like red,
a third, longer hood with a contrasting lining that could be folded back (to both help keep it on the head and also to create a different look) and possibly a decorative trim,
and possibly something like a jeweled ribbon or decorative chain that could go on separately for extra glam
Side note on jumps v. corsets: jumps are VERY common with ACTORS at Ren Faires, especially those doing stage combat and physical comedy, bc they are comfortable and don't restrict movement. You'll see merchants and patrons more often in 'exterior corsets' but a lot of the cast, especially lower-class characters, will have jumps. Sometimes laced, sometimes just hook-and-eye up the front.
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