@dimplesandfierceeyes / dimplesandfierceeyes.tumblr.com
grief is so crazy like what if i forget what her laugh sounds like. does she know i loved her. i miss her so much. i catch myself doing things she used to do. i wish i could call her. i miss her so much. i do a crossword puzzle. i cry while washing the dishes. does she know i loved her? my heart feels like a hummingbird. i miss her so much. what if i forget what her laugh sounds like. what if i forget.
i talked ab this feeling in therapy yday and my therapist asked me, “would it really be so bad if your memories changed? if they softened and faded or looked different over time? why does that frighten you so much?” and i said, “i don’t want the love to disappear.” and she looked at me for a long moment and then she said, “it won’t. it doesn’t work that way. even if the memories soften or change, it doesn’t mean the love does. that love keeps going backward in time, forever, because you love her still. all is not lost.” i just thought i would share that in case it resonated w anyone else too.
Visit Norway!
Take me away, soft Norwegian travel butch
He's super excited for Pat's Birthday Bash on the 23rd April and he can't wait to see what everyone is making for Pat too!
You can join in the fun with anything you like! Whether it's fic, art, edits, gifs, fabric crafts, blackout poetry - whatever you enjoy doing! Your only rule is it's got to be about our favourite green flag: Pat (Naphat) Jindapat.
Want to join in but want some more info? Sign up here!
jim henson, frank oz & don sahlin showing off how to make various characters with a “whatnot/anything” muppet, 1969
Oh, okay. I see. You think this has nothing to do with you. You go to your closet and you select out, oh I don’t know, that gaslight gatekeep girlboss meme, for instance, because you’re trying to tell the world that you think modern feminism has been co-opted by corporations. But what you don’t know is that that meme is not from Instagram, it's not from Twitter, it's not from Tiktok, it’s actually from Tumblr. You’re also blithely unaware of the fact that in January 2021, Tumblr user missnumber1111 posted, "today's agenda: gaslight gatekeep and most importantly girlboss." And then I think it was a-m-e-t-h-y-s-t-r-o-s-e, wasn’t it, who reblogged it with an image of the phrase edited over a piece of "Live, Laugh, Love" wall art? And then gaslight gatekeep girlboss showed up in the feeds of eight different Twitter repost accounts. Then it filtered down through Instagram and then trickled on down into some tragic “alt side of Tiktok” where you, no doubt, fished it out of some clearance bin. However, that meme represents millions of notes and countless Tumblr users and so it’s sort of comical how you think that you’ve made a choice that exempts you from Tumblr when, in fact, you’re wearing the meme that was selected for you by the people in this room. From a pile of “stuff.”
To The People I Pass On The Train At Night - Jordan Bolton
My first book ‘Blue Sky Through the Window of a Moving Car’ is now available to pre-order! Get it here - https://smarturl.it/BlueSky
[id]
yellow background and white text reading: To The People I Pass On The Train At Night
A person with short brown hair a red collared shirt does the actions that the text describes. Text reads: After 9 hours of taking orders and making coffees and cleaning
Person is now wearing a grey coat and does the actions the text describes. Text reads: I lave the cafe and walk down the street, up the train station steps and onto the waiting train then slump into the nearest window seat and look out at the empty platform where I see an advert for burger and fries.
Images show what the person is thinking of as text reads: I think of the pasta waiting in my fridge and the TV I will watch when I eat it and I think of my comfy bed ready for me to collapse into, and the long lie-in I can have tomorrow when I won't need to be anywhere.
Following images show what the text describes, especially different silhouetted people in different coloured windows of a darkened apartment building. Text reads: Then I hear the train whistle and I watch the platform slide away and be replaced by the city's buildings where I see you in lit-up windows, - the other people living other versions of now. How strange it is that each of you has a version of today, that each of you has a full life, a childhood, memories, thoughts and feelings, likes and dislikes, and yet, to me, you are just a fragment of a figure passing by in the dark.
Silhouetted image of the first person sitting on the train looking out the window. Text reads: just as I am to you.
Images of the windows fade away until they are very fall and people are no longer distinguishable. Text reads: I remember once, as a child, doing this train journey with my dad, and I remember him telling me that, on a clear night, you cansee the lights of this city from space except from up there, he said,
Aerial shot of the city from space rendered in black and gold. Text reads: all of the lights appear connected.
[end image id]
Friedrich Wilhelm Hirt (German, 1721-1772) - Sleeping cat
[a screenshot of a tweet from Scott Westerfeld, @ScottWesterfeld
If every incel somehow got a girlfriend, the net violence in the world would only go up. Because guys who think like this are violent to their girlfriends.
It’s not their singleness that is dangerous; it’s the way they think about women.]
We were all so wrapped up in dad jokes that we forgot grandpa humor
grandpa humor is dad jokes aged like fine wine
Loose/faulty engine mount. Possible frame or driveshaft damage.
Actually if you look closely you'll notice it is just having a littol sneef.
This is what happens when you’re still on tumblr as an adult, you start reblogging shit like this
Second mockup of my Robe à l’anglaise and I’m??? So happy???????
Just gotta scoop out the armscye a little but the wrinkles at CB are from the lack of straps so i’m super stoked with the fit!!! Maybe gotta take out just a smidge from center back right before it curves out over the false rump
Quite possibly my most sparkly dress to date! I had plans to attend a Victorian weekend at the end of February, which included a Saturday night ball. Having precisely zero ballgowns, and wanting to go 1870s natural form for the event I started digging around for inspiration and fabrics.
I ended up staring at a gold and white dress from The Age of Innocence film, and in my head it slowly transformed into a gold and black gown. I purchased a length of African George fabric, which is similar to sari fabric and has an embroidered hem, and a silk chiffon shot with a metallic pinstripe, and used some black taffeta and plain black satin from the stash to help supplement.
I started with a fairly simple skirt pattern from Peterson’s Magazine. This skirt comes from the 1877 edition of Peterson’s Magazine.
The initial draft was fine, but it seemed a bit slim over my very voluminous petticoat, so I compared the two patterns and ended up adding a few more inches to the center front and center back in order to fluff up the body of the skirt.
Once I was happy with the pattern, I cut the fashion skirt out of black taffeta, and the lining out of silver taffeta. Since I was flatlining the skirt, they would be treated as one layer while I worked.
I wanted to work out how the fan pleats worked in the back of the skirt, so I assembled the back panels first and futzed around with the pleats until I was able to make them work.
Then I went back and worked on the front of the skirt. I assembled the two front skirt panels, but left the skirt back on its own for the time being since it would be easier to embellish the front and back separately before sewing them together.
Before I began embellishing the front of the skirt, I added a 6-inch wide hem facing, which I stiffened with a layer of tarlatan. I wanted this so the ruffles at the hem would get a bit of support.
Then I moved on to making the ruffles for the front of the skirt. The plan was for one ruffle in black taffeta, edged with gold ribbon, and a wider ruffle of the metallic chiffon, also edged with ribbon.
The taffeta ruffle was first. The strips were cut, assembled, and hemmed, and then a 1/4-inch wide gold ribbon was stitched down along one edge.
Once all the pleats were in place, the strip was sewn onto the front of the skirt, and I moved on to making the chiffon ruffle. Because the chiffon was so slippery, I decided to give the entire length of fabric a light starch bath before even cutting anything out. It gave the fabric a bit more of a crisp hand, and kept the chiffon from creeping all over the place while I tried to work with it.
From there, it was basically the same process as before, except with way more spraying and pressing and pinning. The chiffon was very springy and didn’t want to hold a crisp pleat, and the ruffle was several inches wider than my pleating board, which required more steps to get the top and bottom edges to press cleanly. Eventually, though, I was able to get some nice, crisp, flat pleats into the chiffon.
Finally, I could start on the apron front. I cut a wide piece of my George fabric and draped it over the front of the skirt. I played with the positioning of some pleats to just give it a little bit of volume toward the bottom, and stitched those in place by hand once I was happy with how they looked. Then I cut two panels of the embroidered selvedge and used them as hip pieces that would frame the front panel.
Then it was time to return to the back of the skirt. The back panel finally got its hem facing, and then I started on the ruffles. The plan here was for two of the ribbon-edge taffeta ruffles, with a pouf of the embroidered satin up top, opening up in a fan that would end at the top edge of the hem pleats. So, more taffeta ruffles were made. Since the train is quite long, this ate up quite a bit of fabric!
To make the embroidered section of the skirt fan, I used the Peterson’s skirt pattern again, but I flipped it so the straight edge was against the finished hem of the fabric, and the curved edge was at the top. I also folded the pattern so that it was a good foot shorter, so it would lay right at the top of the ruffles and not obscure them.
I was a little stumped on what to do for the top half of the skirt back for a while. I didn’t have a lot of my embroidered satin left, and what I did have was in long, narrow cuts. I decided to make use of the remaining scalloped edge, and cut two 35-inch long pieces, which I pinned to the side-back seams and then pleated into a rounded shape. I had one 28-inch length piece left, which had no embroidered edges, so I placed that panel in the middle to give some additional fullness to the bustle pouf. It all turned out to be just enough fabric to make the back pouf, and I was very pleased with how it ended up looking.
At this point everything was just pinned together, so the next step was actually to carefully stitch this entire concoction together, which I did mostly by hand. Last but not least was to install a placket and waistband. Instead of going into the center back like I usually do, I put the placket/skirt opening on one of the side seams so it wouldn’t interfere with the bustle pouf in the back. The top edge of the back pouf extends a couple of inches over the placket and attaches with a snap, completely hiding the skirt opening.
I had been working on the skirt every spare moment hoping to give myself plenty of time to work on the bodice, but I still ended up in a time crunch, with only two weeks before the event to put something together. I decided that I wasn’t going to drape my own pattern, since that would require multiple fittings to get it just right, and instead decided to use Truly Victorian’s TV416, and just make a plain black satin bodice straight from the package. I did one mockup to adjust for size, since I know from experience that their patterns are always very wide in the shoulders and long in the waist on me, and then I dove in and began cutting out my final bodice.
I didn’t have any of the embroidered satin left which I could have finagled to give me plain bodice pieces, but I did have a bolt of black satin in my stash, so that’s what I ended up using. The two black colors are not quite a match, but luckily they’re close enough that it’s not super noticeable.
Even though it was a quick and plain bodice, I still wanted to construct and finish it well. There’s boning on the front darts, and I finished the top and bottom edges with a piped facing. I didn’t want to spend time making separate piping, so I sewed one edge of the facing in, placed some yarn between the facing and the seam allowance, and then stitched in the ditch to create the piping. And it worked well! Then I turned under the raw edge of the facing and hand-stitched it to the lining.
I did the bulk of the work on the bodice in the week leading up to the event, but, as is tradition, I was working on it at the last minute in the hotel room. I had to attach all the hooks for the closure and make all the thread bars, and I was sewing right up until about 10 minutes before we had to get ready and go!
But the dress was a success! I wore it to dinner and to the ball, where it performed beautifully while dancing.
This is the most satisfying story I've read in a long time
