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
This is gorgeous and now I feel bad for not noticing the embroidery while watching the show.
Angelina Jolie had a double mastectomy, in case you hadn’t heard. How dare she remove those ticking time bombs from her chest, amiright? Like, hasn’t she learned by now that her body is public domain and we all get to vote on what she does with it? Sheesh, how selfish can ya get.
two millennials are barreling towards adulthood at 95 miles per hour. one of them has been coated with the most extravagant paint money can buy, but their steering apparatus is locked up until that coat’s paid off; the other’s breaks have been ripped out mid-trip, the thief yelling, “what, did you think you were entitled to these?” over their shoulder. half the tracks have been torn away to build second, third, and fifth garages for trains that are no longer running. solve for x.
tell me again how the song goes — i’m so inadequate i might forget. if we’re not informed enough then we’re apathetic morons, but if we’re too informed we’re oversensitive reactionaries; if we think we deserve more then we’re narcissistic cutthroats, but if we’re happy where we are then we’re passionless layabouts. if we’re making money then we’re materialistic automatons who only care about stuff and don’t value the important things in life, but if we’re broke then we’re disgusting, spoiled children who expect everything in life to be a handout. if we spend too much time with technology then we’re antisocial, soulless zombies who spell the end for human interaction as we know it, but if we spend too much time together we’re a dangerous, unstable element who should get real jobs already. we’re a disgrace; we’re a embarrassment; we’re a mistake; we’re a disappointment; we’re not what you wanted, however you slice it, and all of it’s our fault, right? right? oh, god, am i getting the melody wrong?
here’s what i propose, everyone who wants to open their twenty-four-hour news cycles or their pork-barrel mouths, who wants to use their filthy fucking hands to tear this generation a new one: you try it. you come up with a picture of the generation you seem to want: one that’s neither apathetic nor engaged, one that’s neither ambitious nor content, one that’s neither rich nor poor, one that’s neither technologically connected nor interpersonally involved. don’t forget to factor in the variables — the years of economic instability; the globalization of everything from communication to art; the hugely stratified individual experiences we’ve had based on things like race, sexuality, gender, and socioeconomics, on things that come with whole histories of systemic bullshit; the overwhelming burden of student debt that so many of us face; the fact that hindsight is 20/20. you write the formula for the millennial that will shut you the fuck up about all the things we should be and aren’t, about all the ways we’ve failed you, and then you bring it to me. i promise you, i will try it. anything for a little peace and quiet, right? anything to stop hearing it everywhere i go: that voice saying that, at twenty-three, i might already have flunked out of life.
(both millennials crash, spectacularly and yelling for help, into the station that never built a platform for them to pull into. onlookers stand by and shake their heads, wondering about the deplorable state of trains today. that’s what happens when nobody does the fucking math.)
Twerk your way to freedom.