daenystargaryen:

grimsperation:

Michele Caragher 

Embroidered details in Game of Thrones 

‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.

After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator. 

The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.

As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.

Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.

Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’

Text and images from  http://www.michelecarragherembroidery.com

fffffuck look at this all 

(via currentboat)

The Evolution of the Star Trek Uniform.

The red shirt / blue shirt / gold shirt uniforms are an undeniable classic: simple enough to look good on a small budget, and lacking in the kind of retro-futuristic details that might feel dated forty years on – not to mention that the colour coding can be very useful. The bright colours meant you could pick out characters on the small screen (very small in those days), and it’s easy to figure out that each shirt represents a different department: blue for sciences, gold for command, and red for security and engineering. The concept of the doomed “redshirt” security guy has stretched so far beyond a geeky in-joke that it’s even inspired a popular sci-fi novel - Redshirts by John Scalzi - and a fragrance (“Because tomorrow may never come.”)

The only downside of 1960s (or rather 2260s) Starfleet fashion was the dress uniform: shiny, ill-fitting, and involving more gold braid than anyone but Liberace would feel comfortable wearing. Captain Kirk’s was particularly embarrassing, featuring a lime green jacket and a scattering of futuristic “medals” that made it look like a child had crazy-glued cake decorations to Shatner’s chest. That caveat aside, the Original Series made Starfleet look cool. [READ MORE]

cthonical:

Dr. Lecter’s mesmerizing ties 
part I

GAV LOOK 

i’m looking i’m looking

(via pinstripesuit)