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Trois Quarts

A little less eccentric, but still positively goth-couture would be this concept of creating two cut-variants of a black-wool knee-long coat-design, portraying the corporate goth look into generally agreeable daywear.

Three Quarter Coat, rich winter variantThree Quarter Coat, embelished inter-season variant

The first, the warm winter version, is to be fashioned from a wealthily woven cashmere, tailored portraying a minimum in seams and embellishment, letting the material manifest its worth, leaving the coupe limited to: a by inset-pocket connected sideseam and frontal dart, transposed backseams and a high standing collar; with stitchings reserved for marking the fly-closures gracing the coat’s front, sleeves and backsplits.

The second, makes for a thinner inter-season variant, taking a visibly ribbed knit to be diversely oriented in cutting its disassociated pieces, using the material’s nap to provide a strong sense of direction; straight in separated side panels, biased in front and back, crossways in frontal box and collar; a slightly wasteful cut carrying a continuation of lines, bringing the coat’s worth to equal the value of its doppelganger.

Sarabande Primary Outfit

Sarabande II, Primary Outfit

The Rider Vest

Rider Vest sketchWhether it is accompanying the previously made basque or becoming a standalone piece in a greater project, this short vest is to continue the streamlined design of rising seams creating a cascading hemline, repeated by intermittent cross-thread layers.

The result, personalized with a shoulder-construction analogues to the Floorvest‘s, ought to be compatible with a multitude of styles, as well as easily augmentable with future additions.

Sunday’s Primary Outfit

Sunday’s primary outfit brought my own items together with some very enamoring pieces I purchased over the years.

Sunday's Primary Outfit

Starring a floor-length leather coat, built around a twelve-piece, with rings and straps decorated, bodice, enabling fitting snugly while producing a massive broadness falling down the legs, instantly setting the overall appearance of the outfit, maintained by the likewise decorated three-piece tailored sleeves rounded off in a point covering the lower hand; this coat is worn open, restrained only by a central closure-chain exposing a mere strip of skin.
The undergarments continue the trend by being limited to a set of wide leather pants and elbow-length button-closed gloves, only visible through the subtle opening of the coat, yet enough for allowing vision of the bare chest to reach up to the throat where the coat’s standing neck-tie connects the ferocious grey-fur collar covering most of the upper chest and shoulders.
Topped off by a most enchantingly forged crown, dispersing a fragmented mirror glow, reflected by the glossed-plate girdle and majestic pair of silver rings, the outfit’s condensed appearance is reimbursed by the headpiece elevating beset the already confrontative ivory horns whilst retaining the voluptuous blue shaded hair to reveal large portions of the face, imbued with dark-blue shades delineating the deep purple eyes.

BW-Version

The Black Shirt

The Black Shirt, open collarThe Black Shirt, front with jabotThe Black Shirt, sleeve back

The original black shirt was my first experiment at elaborate shirt-making and was based upon a regular box-placket shirt-body with side-insets providing a perfectly tailored fit. The in the shoulder and wrist-seams gathered sleeves are tied down in mid-biceps with a fixated ribbon, supplying a slight puffed effect, and are elongated from the wrist onwards by bias-tape trimmed ruffles.

Most notable is perhaps the accompanying circle-cut jabot, by accordio-folds fixated within a strap re-placeable under a secluded layer in the shirt’s collar, and which is like the ruffles, also finished by matching black satin bias-tape.

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