Sunnyelfs - Sunny Elf - Tumblr Blog

Kristina: Are you sure you don't want to use one of the family's rings? Here's the one your grand-grand father proposed back in 18-

Wilhelm: No, I'm fine, I've already found the ring.

*the ring in question*

"hey why are all the barrier garments like linen shirts or chemises or combinations going away?"

"oh we have more washable fabrics now! you don't need to worry about sweat reaching your outer clothing when you can just chuck it in the washing machine!"

"cool!"

[100 years later]

"so uh all of those new washable fabrics are leaching microplastics into our water, and the constant machine-washing wears garments out faster. they're also not really sturdy enough to be mended, so we keep having to throw them out and now the planet is covered in plastic fabric waste that will never break down. also it turns out that the new washable fabrics hold odor-causing bacteria VERY well. so could we get those barrier garments back please?"

"sorry babe linen now costs $100000/yard and since it's been so long without them, nobody knows how to adapt barrier garments to the current styles anyway"

"..."

"maybe try this new $50 undershirt made of Special Sweat-Wicking Plastic Fabric! :) :) :)"

This froggy brooch, along with the color of the jacket, makes me think about Wilhelm wearing different brooches for his public appearances.

I'm sure brooches are considered more feminine accessory (cuff links are still more common for men), so it would also be something slightly rebellious.

Writing about witchers and thinking about sources is so...

On the one hand, we have books and first two games. Canonically, Geralt is poor af. You're frantically saving money to buy those damn books so you can at least finish quests. That 5k jacket feels like the most luxurious thing ever.

On the other, TW3 Geralt is buying another armor stand for Corvo Bianco. Just to make the place nicer. Just because he can.

Something something gif set of Loustat IWTV dancing together at the Mardi Gras ball and kissing each other like they’re the only two people in the room as everyone gasps and looks on in shock beside a gif set of Britin Queer as Folk dancing together at Justin’s prom and kissing each other like they’re the only two people in the room as everyone gasps and looks on in shock idk

Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

To understand my completely unnecessary desire to redesign a musical that is over twenty years old, you have to understand that Romeo et Juliette is my Roman Empire. Long explanation under the break.

I wanted this design to be an homage in the silliest way possible.

I really leant into the sensibilities of original costume designer Dominique Borg, who used contemporary colour and technique and applied it to historical (or pseudo-historical) silhouettes.

Broadly, I wanted the Montagues to feel English in their shapes--Elizabethan doublets, high necklines, and ruffs, in homage to Shakespeare and the source text. They're all leather, denim, silver hardware--a little bit punk with status.

The Capulets would be deeply Italian Renaissance in their silhouettes, in reference to the setting of the play. They're all velvets, lace, chiffon, satins, and gold hardware--giving them an airiness of the Mediterranean while still allowing some drape here and there.

I wanted each family to have a slightly more broad palette than most versions afford them--which is why the Montagues have a smattering of green and magenta while the Capulets play with some soft yellows and lavenders.

The ball scene is largely Arthurian in inspiration--just because I took the idea of "what would the 1500s consider vintage and costume-y in the same way we think of the Victorian era" and ran away with it. There's also some silly Y2K nonsense because I rewatched the "On dit dans la rue" music video and thought "What if the Capulets threw this big Arthurian affair with full elegance and the Montagues cobbled together some gay club outfits circa 1998 fits out of a suit of armour."

FINALLY, I wanted Roméo and Juliette to take on elements of each other's family's style and colours for the end of the play--because to be loved is to be changed.

So here is a breakdown of my choices for each of the looks.

Un Jour: Here we see Roméo in his base look. It's a two-tone patent leather double with multiple zipper details. The peplum is criss-crossed zippers. The wings over the shoulder seams are edged with zipper teeth. The ruff detail at the neckline is also edged with zipper teeth. He has along zipper across the front of his boot like he's trying to be the next Sailor Moon. I don't know y'all. I went a little feral with trying to figure out all the places I could put zippers in.

Juliette is the most juvenile looking in Un Jour. I imagine that in this scene, she's being dressed by her family instead of her own volition.

She's in an asymmetrical, empire-waisted gown that is likely a brocaded or printed silk. Her chemise is a sheer lavender georgette or chiffon that peaks through the lacing at the shoulders and along the upper arms. She has a velvet choker and velvet belt and a heavily stoned velvet headband. Her hairstyling (it would have to be a wig, it would be NUTS to not make this a wig) is an homage to the open-weave Juliet caps that were similar to nets worn in the period on hair. Italy was, fun fact, one of the few countries where women didn't cover their hair during the renaissance.

L'amour heureux: As I explained above, Roméo's outfit is so silly. The wrap around glasses. The one arm of armour. The sheer, stoned period shirt. The gold brocade on the trousers. The pearl earring. The many, unnecessary belts. Bless this mess. It's also a cheeky little nod to Baz Lurhmann's Romeo + Juliet.

Juliette is, ostensibly, cosplaying as Guinevere or Lady Macbeth or Ophelia or any number of Middle Ages women. The ball is the Capulet's opportunity to really sell their daughter as marriage material so I wanted the look to feel bridal, hence the veil. I wanted to give reference to exaggerated surcote sleeves without actually doing them, hence the sleeve-into-glove and bow detailing with trails down to the floor. There is also a hint of yellow chemise underneath, which is actually just her Le balcon look underdressed for ease of the quick change (yes, I did think about this.) The dress is velvet with one panel of lace in-set into the underskirt. The bows are satin-face organza.

Le balcon: Romeo would change into his base again (during Le Poète). Juliette is in a simple yet totally impractical sheer chemise + slip combo. I wanted this soft yellow for this sequence because I always think about the lines "O she doth teach the torches to burn bright!" and "But soft! What light through yonder window breaks?/It is the east and Juliet is the sun" when it comes to describing her. The chemise would likely be a chiffon, while the slip would be silk.

Aimer: I say this with my whole chest--I hate how they changed the palette for Aimer in the 2010 production. I want my lovers soft and angelic and matching in this moment of union. Here we see a bit more of Romeo's lace shirt--his sleeves are laced like Juliette's in the first look. His doublet, trouser, boot combo are off-white leather in homage to the original production. Juliette's dress has a similar train length to her ball look (again, bridal) and we see the neckline creep up into a ruff (Elizabethan, rather than Italian). Lots of sheer net and lace with cream bridal satin as a skirt. Tiered sleeves. A little circlet on her head.

Le poison: Honestly? Just wanted her to have another outfit change before her death dress as a transitional choice. There's so much more of the purple in this look because it's going to take us into the blue elements of the final dress.

La mort de Roméo/Juliette: Again. To be loved is to be changed. Juliette has a dropped waistline, a high neckline and ruff, and a heart shaped cut-out detail (see: boob window). She's straight up in blue, and all the sweet and soft pinks of her youth are gone. Romeo has lost his high neckline, ruff, wins, and peplum in favour of a shorter Italian silhouette. He's asymmetrical (a call-back to Juliette's asymmetry) and all the edging detail is done in red. Mantua as a setting is patchworked, torn, and dirty, so I imagine the doublet is pieced together from scraps of jersey (so it's drippy and sad and hangs off him in a lovely manner).

when the broody one chokes up telling the sunshine one how much they love them 😭

I don't know who needs to hear this today but:

most adult women wore their hair up, on a normal day when going out in public, for most of western history from at least the late Middle Ages until the 1920s. even after that, wearing truly long, unstyled hair entirely loose was not common until the 1960s

not half-up. not in a ponytail. not braided with the braid hanging loose. at times trailing elements were involved, but the majority of the hair would still be pinned up. at times it was also a social norm that the hair would always be mostly or entirely covered when out of the house

and until around the early 19th century, little girls usually wore their hair up too, if it was long

when "putting one's hair up" became a specifically adult thing, around the 1830s or 40s, it was not related to marriage. it was something teen girls did around age 16 as a marker of social adulthood. even if she was unmarried, she'd wear her hair up. this attitude remained until the bob took over hair fashion in the 1920s, and even then, long hair was usually still worn up

obviously people can do what they want with their art but like. just. just please be aware of this

I have not reblogged so much Dracula fanart because the artist inadvertently made Mina and/or Lucy look uncomfortably young, hair-wise

They all sound intriguing but I'm gonna ask about Beauty and the Beast and Simon being the soul of the kingdom (yes, please...?)

Oh the second one is my favorite atm 🤭

I have a brief summary for this work (which, along with the doc name, will kill the intrigue):

Wilhelm follows his brother in his so-far-succesful war campaign against the southern kingdom. Rumor has it, the king of this country possesses a treasure of some sort, something that brings prosperity to his lands. The treasure is nowhere to be found, but in the dungeons of the castle they find a mysterious young man who was left there many years ago. Perhaps he may know something useful… 

Beauty and the Beast will be more or less classics, a curse, a prince and an unfortunate traveler. However, in this story the true love's kiss won't end the curse. It will take Wilhelm something else to break free. I have a summary for it as well:

Many years ago, the royal family suffered a great sorrow: they lost both of their sons. The eldest prince, Erik, died in an accident, and the youngest, Wilhelm, soon disappeared. There were rumors that he was dead, but his grief-stricken parents refused to admit it. The King and Queen left their home, where they had endured so much sorrow, and the abandoned castle is still considered cursed. 

Simon is not interested in superstitions and legends. He is merely seeking shelter from the weather that has caught up with him on his journey. However, he quickly realizes that he is not alone. 

Thank you for asking! Btw, at least three stories from the list will feature King Wilhelm, I know you will like it 👑

Wille really said I'm the best dressed at Hillerska. He was on fire.

Just look

And last but not least

WIP tag game

Well, no one actually tagged me, but I wanted to participate anyway ✌🏻

Rules: make a new post with the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet* or tell them something about it!

• V.AU (stands for Victorian AU which I'm already posting on ao3)

• Soulmates with bruises AU

• Witcherrr (there's like five docs with stuff related to this AU)

• Portraits

• August takes care of the horse

• EuroPapas

• Beauty and the Beast

• The Ritual

• That one where Simon is the soul of the kingdom

You can see the urge to put Wilmon in as many settings as possible

*please mind that my snippets will differ from the final version for sure, because I have a habit of rewriting chapters or certain scenes more than once

Well, well, what do we got here

These are the times in which legends are born or slain. DRAGON AGE: THE VEILGUARD | Release Date Trailer

#Welcome to the Loustat Youtube channel (insp)

This question has haunted me for a while now. I can't be silent any longer.

Do you guys think Simon watched Violetta as a kid? Did he like it? Did he bore Linda and Sara by singing all the songs from it? WAS HE ON TEAM LEON OR TEAM TOMAS?

Me: I can have a conversation that won't connect to my YR obsession

My auntie, showing her rose garden: this is Countess Diana Rose, named after Diana Bernadotte

Me: 👁👄👁 did you know-

When you adore the classy and elegant looks of the early 19th century but can't leave the Early Victorians alone.

'like dogs, Shianni'

female city elf origin is peak. you have no idea how much I want HoF to be in the new game and how sad I am that it's probably not going to happen

"More books. We should burn a few to warm our selves up a bit, I should think" 🤝 "Oh, so the southern peoples do read. I thought that was a myth."

Gosh I love taking the companions who don’t fit well for the quest

Young Emiel Regis. A spoiled, wild vampire. It's a old picture, but I'm not drawing yet, so I'll post it so my precious subscribers don't think I'm dead. I want to say a special thank you to all of you who subscribe and who (to my surprise, seriously) like my work. This is very unexpected and pleasant, because I'm not having the best time in my life right now, and the fact that you like my drawings and collages makes my life a little better. Thank you. You're all just suns.

Wilhelm said "we will go through this together" and then they didn't. The irony, Jimmy.

This story wasn't meant to be love-centred from the beginning. We know for sure it was Omar and their chemistry with Edvin that made creators change their minds, but in s3, it became obvious. It's not Wilmon story, it's Wilhelm's story. That's why it is the way it is.

But it had great potential, so I stand with "believe in Wilmon, just not in that canon".

I was a dedicated Wilmon stan from the moment I watched season 1, and while I am still a Wilmon 4eva! fangirl in that AU alt reality parallel universe fanfic realm, in the world of canon, season 3 not only killed that for me, it made me actively want them to break up for their own sakes as the healthier choice. And while I've written before about all of the little things in S3 that disappointed and undermined the story for me, it occurs to me now that it really comes down to one thing that is a problem in the series as a whole:

We never see Simon and Wilhelm successfully achieve anything together (other than orgasm). Except for the physical aspect of their relationship, they never work together as a team to reach a satisfactory conclusion that both are happy with. All there is is conflict around in, around, and between them. I can't think of one thing throughout the entire series that they accomplished by working together (again, other than sex).

There is the "But The Monarchy™️ is what causes all their conflict" argument. But, aside from the message/symbolism/allegory/ etc, what that just boils down to is parental pressure, obligation, responsibility, internal stress, public scrutiny, boundary pushing, and work - all things that are a part of life, even that "normal" life Wille craves. And Wilmon fails at addressing all of those. Also peer pressure, discussing difficult topics, full disclosure, anger management, camping, and dinner. Wilmon fails to successfully deal with any of those things.

In the Lake Scene in s3e6, Simon says that when it was just them it was good (which fits with how relationships can be given a rose-colored hue at the end). Except as the omniscient audience, I know that's not true! The drug conflict in S1, the rowing team bullying in S2, and camping fight in S3, none of those were about The Monarchy, they were about privilege and disparity and they were never fully addressed let alone resolved. Even if Wilmon did work when it was just the two of them, they can't exist in a bubble, no relationship can. If zero external conflict is what is required for Wilmon to work then it's doomed.

They are teenagers and this wouldn't bother me if the narrative of the show treated them like teenagers happy with the right-now instead of people making life-altering decisions and long-term commitments with such a cracked and unstable foundation.

Why should I believe that Wilmon will work as a couple going forward when Wilmon has never been shown to work as a couple in the past? I can't, I don't, and that's one of the things that really pisses me off about S3.

💖List 5 things that make you happy

(then put this in the askbox for the last 10 people who liked or reblogged something from you, if you like 💖)

Just realized I forgot about this ask 😭😭

1. Researching and getting to know something new, especially when it's funny

2. Beautiful nature

3. Being a passenger princess (I just love to sit there and look around)

4. Having someone to talk about anything

5. Successfully cooking foods that I found on socials

Bonus point for all the cute little bros, animals are the best gift to this world 💙

🛶💙🩵💚🩵💙 it's a love canoe! send this to all the blogs you love! don’t forget to spread the love!

Love you too 💙💙💙

JANE EYRE (2011) and IWTV (2022—)

Upd: I found my savior!!

Anyone's willing to beta read ch 3 of my Victorian Wilmon AU by any chance? It's nearly 8k words. I can only offer my big thanks 🥹

I need to get sure the whole text is making sense, mostly to check if there are any "lost in translation" mistakes. Criticism/any suggestions regarding the plot are welcome as well