Fashion Designs and Illustrations (Dates written at the end of posts reflect when artwork was created, rather than posted)I also have a ko-fi! https://ko-fi.com/madebymaryssa
A truth window (or truth wall) is an opening in a wall surface, created to reveal the layers or components within the wall. In a strawbale house, a truth window is often used to show the walls are actually made from straw bales.
Handmade dress made from BERGPALM Duvet cover and pillowcase(s)
This dress was originally made because I needed something to wear to a panel on incorporating ethnic and cultural dress into lolita fashion (affectionately nicknamed the "lolita x cultural appropriation panel").
You can't really tell based on the photos (because I keep wearing stuff on top) but the bodice has a functional pianjin that closes with six pankou.
The design inspiration is a mix of early Republican-era qipao, Angelic Pretty's Shanghai Doll OP, and Victorian Maiden's Wild Strawberries OP. I wanted something that was very obviously inspired by traditional qipao, but at the same time still made sense with the rest of my classic lolita wardrobe.
The collar and bodice shapes were based off of the "China Overdress" pattern in Otome no Sewing Book 13. The pianjin closure was self-drafted based, as were the sleeves. The skirt was just a giant gathered rectangle.
The bias binding was made by following Claire Yixuan Zhang's tutorial. The pankou were made loosely referencing this tutorial but mostly winging it (and tbh you can tell).
Like suggested in the title of the post, the fashion fabric for this dress was a Bergpalm duvet cover set that was in the discount bin at a local Ikea. The lining fabric, bias binding, and pearl buttons are all leftovers from past projects.
Overall, I'm pretty pleased with how this dress came out.
If for no other reason than I have worn it more than once already, which is more time that any other lolita dress that I have ever made in the past. But no I think the dress is cute and it's comfortable to wear in the summer.
There are a bunch of little fit issues that I'm not super pleased with. The two vertical pankou don't stay aligned. The way the sleeves are set into the armscye is sloppy. And the bodice wrinkles at the side seams due to a combination of cutting issues and the armscye likely being cut too high. But I think they're not super noticeable, so who knows if I'll ever get around to fixing them (I won't).
[realistic painting of a well-used red boxing glove on a wooden table in front of grey brick wall, with a crocheted white lace doily draped over the glove]
Alisa Shea, ‘A Feminine Touch’, 2021
Watercolour on paper, 35 x 50cm
[Video by astroauroran. A woman in a black dress and white wimple looks into the camera. There is a wall of irregularly-sized bricks behind her; sometimes the edges of her clothing blurs in a way suggesting this is a filter.]
"I'm not here to criticize the younger generation. I'm just saying, they're not making laundresses like they used to. New girl joined our team last week, accidentally forgot she had to spot-clean wool, and started crying over it.
Listen, when I first started, I accidentally put a silk sheet in with the linens. Did I lose myself in sorrow? No. I simply found a visiting knight who was getting a little to handsy with everyone around here, I led him into the laundry room, and then I pushed him into the boiling linen water.
I swore before the local clergy that he threw himself in and took the silk with him. His estate paid for the silk, and the girls and I had one less problem to deal with.
Listen, if you're gonna be a laundress at the lord's house, you just gotta make problems disappear."