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A silent lullaby....

curl left 28thday ofJulyin the year2014 curl right
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thebeautyofcorsetcraftsmanship:

(via Ariadne’s Thread)
A beautiful underbust corset design by the late Christine Wickham from Ariadne’s Thread or agirlfromdownunder.
What a magnificent shape this tight lacing corset displays in its design! One can only imagine how lovely the curves of the woman, who might wear this type of body shaper, will be enhanced.
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thebeautyofcorsetcraftsmanship:

(via Ariadne’s Thread)

A beautiful underbust corset design by the late Christine Wickham from Ariadne’s Thread or agirlfromdownunder.

What a magnificent shape this tight lacing corset displays in its design! One can only imagine how lovely the curves of the woman, who might wear this type of body shaper, will be enhanced.

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thebeautyofcorsetcraftsmanship:

STAYS & BUSK 17th Century 
Info from the V&A Museum:
Front lacing stays and busk of pink watered silk, lined with linen and fully boned. All the outside edges of the stays are bound with pink silk grosgrain ribbon. The sleeves are made separately and laced into the armholes with pink silk ribbons and points of tinned iron. There is a band of back-stitched embroidery at the neckline and armholes and a line of couched thread at the waist. The separate busk is boned vertically and horizontally, at the top, and completely bound with pink silk grosgrain ribbon. 
[Stays] These front lacing pink silk stays have a high back cutting across the top of the shoulders, with a decolletage and a long pointed waist in front. Below the waist there are 11 boned tabs with silk gussets between them. The stays consist of three shaped pieces on each front, two side back pieces and two centre back pieces. The shoulder straps, each with an eyelet, extend from the back and attach with a ribbon through an eyelet on the front. The sleeves are wide and cut straight, extending to below the elbow. They attach to the corset with three ribbons each through thread eyelets. Four ribbons decorate the centre back tab. The stays are backed with linen and stitched with pink silk thread to make compartments of 4 to 5 mm width for the whalebone. Above the boning at the front, the fabric is reinforced with decorative stitching. The seams are reinforced with cross stitch and covered on the right side with pink silk grosgrain ribbon. The upper and lower edges of the stays are edged with pink silk grosgrain ribbon, as is the armhole. At the lower edge, there is a pink and green silk grosgrain ribbon underneath the pink one. The sleeves are lined with pink silk taffeta. The thread eyelets are made with buttonhole stitch. The ribbons are made of pink silk taffeta and retain their original tinned iron points. 
[Busk] The pink silk busk is in the form of a curved ‘T’, edged with pink ribbon. It is made of pink watered silk backed with linen and stitched with pink silk thread into 40 compartments for the whalebone, running vertically. The centre bone is 8mm wide with two of 7mm either side, alternating with strips of 4 mm wide. The lengthwise boning ends 3.5 cm from the top edge, which area is filled with 7 horizontal compartments of whaleboning. The busk is edged with pink silk grosgrain ribbon.
Given by Miss C. E. Gallini
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thebeautyofcorsetcraftsmanship:

STAYS & BUSK 17th Century 

Info from the V&A Museum:

Front lacing stays and busk of pink watered silk, lined with linen and fully boned. All the outside edges of the stays are bound with pink silk grosgrain ribbon. The sleeves are made separately and laced into the armholes with pink silk ribbons and points of tinned iron. There is a band of back-stitched embroidery at the neckline and armholes and a line of couched thread at the waist. The separate busk is boned vertically and horizontally, at the top, and completely bound with pink silk grosgrain ribbon. 


[Stays] These front lacing pink silk stays have a high back cutting across the top of the shoulders, with a decolletage and a long pointed waist in front. Below the waist there are 11 boned tabs with silk gussets between them. The stays consist of three shaped pieces on each front, two side back pieces and two centre back pieces. The shoulder straps, each with an eyelet, extend from the back and attach with a ribbon through an eyelet on the front. The sleeves are wide and cut straight, extending to below the elbow. They attach to the corset with three ribbons each through thread eyelets. Four ribbons decorate the centre back tab. The stays are backed with linen and stitched with pink silk thread to make compartments of 4 to 5 mm width for the whalebone. Above the boning at the front, the fabric is reinforced with decorative stitching. The seams are reinforced with cross stitch and covered on the right side with pink silk grosgrain ribbon. The upper and lower edges of the stays are edged with pink silk grosgrain ribbon, as is the armhole. At the lower edge, there is a pink and green silk grosgrain ribbon underneath the pink one. The sleeves are lined with pink silk taffeta. The thread eyelets are made with buttonhole stitch. The ribbons are made of pink silk taffeta and retain their original tinned iron points. 


[Busk] The pink silk busk is in the form of a curved ‘T’, edged with pink ribbon. It is made of pink watered silk backed with linen and stitched with pink silk thread into 40 compartments for the whalebone, running vertically. The centre bone is 8mm wide with two of 7mm either side, alternating with strips of 4 mm wide. The lengthwise boning ends 3.5 cm from the top edge, which area is filled with 7 horizontal compartments of whaleboning. The busk is edged with pink silk grosgrain ribbon.

Given by Miss C. E. Gallini

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thebeautyofcorsetcraftsmanship:

CORSET MAKING Posted by mamimoi in Pattern Making
I like this idea of using a bra cup, the size that you usually wear in your own brassiere, and attach it to a dress form. 
One will still need the accurate bust measurements, and apply them to the pattern - and maybe the dress form as shown in this photo with sticky tape - but when fitting the corset on the dress form, it will all look much better and real than without the fake boobie attached.What do you think? Which aids do YOU use, to make the whole pattern to garment process a bit easier for yourself???
(via Pattern Making | mamimo99)
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thebeautyofcorsetcraftsmanship:

CORSET MAKING Posted by  in Pattern Making

I like this idea of using a bra cup, the size that you usually wear in your own brassiere, and attach it to a dress form. 


One will still need the accurate bust measurements, and apply them to the pattern - and maybe the dress form as shown in this photo with sticky tape - but when fitting the corset on the dress form, it will all look much better and real than without the fake boobie attached.

What do you think? Which aids do YOU use, to make the whole pattern to garment process a bit easier for yourself???

(via Pattern Making | mamimo99)

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gutsandgarters:


At the Dead Sea by VictorZamanski

Attention
bourgeoisdread
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gutsandgarters:

At the Dead Sea by VictorZamanski

Attention
bourgeoisdread

(Source: 500pxpopularnude)

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killjoyras:

nathanielemmett:

Harry Potter characters as Disney characters by Makani.

THESE ARE THE PERFECTEST VERSIONS OF THE HP CHARACTERS I HAVE EVER SEEN. 

(via cutie-witch)

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tropicalxsunshine:

For more tropical/summer pics follow me please☀️🍍
I NEED MORE SUMMER/TROPICAL BlOGS ❗️
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tropicalxsunshine:

For more tropical/summer pics follow me please☀️🍍

I NEED MORE SUMMER/TROPICAL BlOGS ❗️

(Source: -infuckti0n, via caledonian-vapour)

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asylum-art:

 Alain Bellino Art

Alain Bellino was born in Nice in 1955. In the 80′s, he discovered the world of metal and ornamentation. The ornament that is torn from its original support then becomes the very structure of his sculptures. Bronze ornamentations assembled by extremely precise welding are the base material. Weighted with the nobility of the material joined to their own history, they support a fragmented memory and they bring to the sculptor a precious help as well as a constraint. Alain Bellino gets special inspiration from the Renaissance period. Vanitas are one of his favorite themes, typical of classical sceneries. In his work of re-directing and re-assembling, which is both iconoclast and highly rigorous from a formal point of view, at the crossroads between past and future, Alain Bellino sublimates and rehabilitates the ornamentation.

(via gothic-culture)

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joanashino:

My hair is getting too long and heavy so it’s getting harder to make it super puffy and last all day :|
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joanashino:

My hair is getting too long and heavy so it’s getting harder to make it super puffy and last all day :|

(via theeverydaygoth)

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owljolson:

biomorphosis:

When you flip bats upside down they become exceptionally sassy dancers.

Just look at them

(via theeverydaygoth)

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