PInk Magic! https://www.inprnt.com/profile/tealdeal/
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@pterodactylichexameter
PInk Magic! https://www.inprnt.com/profile/tealdeal/
Every once in a while I think about the fact that @mollymauk-tealeafs (AKA HIGHFAELUCIEN FOR ALL U ACOTAR PEOPLE) and I have been dating for almost a year and a half and are in the gayest relationship ever thanks to SJM of all people and I lose my shit
This is some college AU gold
AND THEY WERE ROOMMATES
oh my god they were roommates
I loved your cruel prince fic! Your writing is so elegantly descriptive and artful thought out! I hope you write more of Jude and Cardan. Maybe even a follow up to wrong in the dark???
Thank you!! It’s always a possibility that I’ll write more of them, but I’m in the middle of campnano right now with an original wip (HADES AND PERSAPPHONE) so chances are it’ll be after the end of the month. Feel free to send requests though!
Wrong in the Dark
Literally just Jude/Cardan throne smut
Jude doesn’t know how they got here, just that it’s past time anyone should be in the reception hall—even Cardan—that they shouldn’t be alone together, and they most certainly shouldn’t be kissing.
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Wrong in the Dark
Literally just Jude/Cardan throne smut
Jude doesn’t know how they got here, just that it’s past time anyone should be in the reception hall—even Cardan—that they shouldn’t be alone together, and they most certainly shouldn’t be kissing.
Lucien and Elain from Acotar.
Prints at my Society 6 page.
On a Wing and a Prayer
Nesta and Cassian fanart
I started this project right on the heels of these gold and black tutus, and much of the design is the same. They’re all the same base pattern with an eight layer net skirt and eleven piece b…
New blog post up about the lead Handel costume! I go through the design and sewing process for how to make something like this
Although one of the last finished, these were the first tutus I started for the Tribute to Handel ballet this spring! There are two of them, both identical, for the Pas de Trois role partnered with…
New blog post about the process behind making these tutus. Is there a more dramatic combination than gold silk and black velvet? Probably not
The Cruel Prince: Costume Analysis
There’s always something raw and untamed about Holly Black’s fair folk books and the fashion is no exception. Black’s fair folk are (eponymously) cruel, maniacal, and oh so entertaining. Her costumes are just as rich as her characters. They embody the variety, the elegance, and the literal timelessness of the fair folk in a way that can only manifest in fashion.
One great way Black gets the overarching variety that creates a richness to fair folk culture is the sweeping chain of declarative statements that often open a large crowded scene. Take for example, this description relatively close to the opening of the book:
“There are dozens of Folk here, crowding around the entrance to the vast throne room, where Court is being held–long-nosed pixies with tattered wings; elegant, green-skinned ladies in long gowns with goblins holding up their trains; tricksy boggans; laughing foxkin; a boy in an owl mask and a golden headdress; an elderly woman with crows crowding her shoulders; a gaggle of girls with wild roses in their hair; a bark-skinned boy with feathers around his neck; a group of knights all in scarab-green armor.”
The noisy, colorful scene describes the range of Folk throughout the room, in the interactions between them (the goblins holding up the ladies’ gowns or the crows crowding the elderly woman’s shoulders), and in the variety of materials: tattered wings, gold, feathers, roses, bark, or scarab green armor. Individually they’re compelling enough but put them all together and you see more than just the objects as individual items.
This visual diversity carries over into the vast array of dresses Jude encounters over the course of the book. Let’s start with Liriope’s dress that Jude borrows from Locke’s home.
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As part of my mom’s costume company, I’ve been working what feels like endless hours on the costumes for a production set to Handel’s Water and Fireworks music. We recently finish…
New blog post up! I go through the details of this 18th c men’s ballet jacket, commissioned for a classical ballet Homage to Handel
what this fandom needs
more f/f
What fandom, you ask? All of them. There’s not enough in any fandom.
I made the mistake of rereading a regency au nessian WIP and im having Strong Inclinations to finish writing it
Costume Analysis: acomaf Edition, Part II
Welcome to Part II of my acomaf costume analysis. If you haven’t read part I, you can find that here, and if you’re all caught up, let’s get ahead to the good stuff below!
We’ll start off with the piece of costuming that drives me the most batty in the entire series. Feyre’s dresses! They’re not all that different from what she wears at the spring court and they’re also typical of SJM.
HOW TO DESIGN A SJM DRESS:
Choose one of each:
fitted or flowy?
Hair loose and falling around her shoulders so her love interest can swoon or pinned up and crowned?
Chiffon or undetermined fabric that’s not silk?
Showing off just her waist or showing off her “womanly figure” as a whole?
Now choose a color and gem directly related to her love interests tastes or style!
Congrats, you now have a SJM dress.
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Costume Analysis: ACOMAF Edition (Part I)
Subjectively the best constructed book in the acotar series, A Court of Mist and Fury follows Feyre as a Newly Minted fae and her bargain with Rhysand, the high lord of the Night Court. There are a lot of similarities costume wise to book one, and you can find my post about the costumes in acotar here. I’ll only be addressing the new elements and characters, but the same root problems are present, just manifesting in different ways, which I’ll continue in a second part.
Feyre’s garb as Tamlin’s fiancee are practically identical to SJM’s ill-conceived attempts at fae fashion from acotar. It’s just a lot of chiffon and spring colors, which really, isn’t that original as far as the fae genre goes. There’s absolutely nothing revolutionary about putting your spring bride in a floaty pink dress.
Then again there’s always the argument that it doesn’t have to be revolutionary. There are plenty of romance books that rely heavily on tropes and are perfectly successful at it for their intended audience. The audience doesn’t come for the worldbuilding, they’re there for the romance. And acomaf ultimately leans towards this genre more than the fandom would like to admit.
So where does SJM go wrong?
My analysis of the acotar series in particular takes a ~new historicist~ perspective simply because it’s a text and not a film; what we read is up to interpretation. How we see the costumes, the appearances, depend largely on our own preconceptions about what everything already means. Even just using phrases like “fine jewelry” rely on what we already perceive as “fine.” And obviously, I don’t expect her to wax poetic about what every character is wearing. But if you’re going to describe that the jewelry is fine, why not just describe what’s “fine” about it? Is it that it’s made out of gold? Silver? Is it encrusted with jewels? This passes onto the costumes too. Feyre wears flowy dresses. Rhys is similarly limited to dark clothes. In avoiding specific details, or even describing details that we might consider familiar, SJM limits her audience to what they already know and picture with the assumption of “fine jewelry.” What’s the point of developing a fantastical world if the clothes look perfectly, well, human?
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