“On my honor as a Lannister,” the Imp said, “I will not touch you until you want me to.”

It took all the courage that was in her to look in those mismatched eyes and say, “And if I never want you to, my lord?”

His mouth jerked as if she had slapped him. “Never?”

Her neck was so tight she could scarcely nod.

“Why,” he said, “that is why the gods made whore for imps like me.” He closed his short blunt fingers into a fist, and climbed down off the bed.

(via suicideblonde)

justbetsycostumes:

neimhaille:

oftheforest:

grimsperation:

Michele Caragher 

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

God, that embroidery is so gorgeous! I had no idea that third dress was so detailed after seeing it on the show… Amazing work.

I’m so glad her work is getting recognised! I’ve been so wanting a Game of Thrones in Detail ;) (Ummm.. the V&A has several costume books called “X in Detail- I have two of them but there are more). This is a really good example of how much is lost on screen so you do need to have all that texture in the fabric and surface treatments to make a costume look- for want of a better word- real. 

Her work is glorious, so many techniques and all seamlessly worked in and blended. Amazing blend of art and artistry.

My dream job, right here.

(via kidsyoudontcareabout)

feathersonaflume:

sass master

(via 87daysbefore)

Interviewer: Who do you think deserves the power at the end?

(via suicideblonde)

(via robot-tv)

Saved me? I saw my god’s house burn, there where I had healed men and women beyond counting. In the streets I saw piles of heads… the head of the baker who makes my bread, the head of a young boy that I had cured of fever just three moons past. So… tell me again exactly what it was that you saved?

(via bestivals)

• Lady Olenna: look everyone's a little bit gay
• Tywin: no they fucking aren't
• Lady Olenna: well maybe not at Incesterly Rock they're not

(via chel-ever1)

(via wakaflockazayn)

Brienne’s story is an adaptation of a traditionally male narrative, one that usually sidelines or victimises female characters. She swears fealty to a woman, as male knights swear to their liege lord, because she respects that woman’s strength, her bravery and her kindness. She goes on a quest to save the beautiful maiden, but not to marry her or benefit from the quest in any way, but to return her to her mother. Because she cares for Catelyn, and because it is the right thing to do. It is a story of a woman, rescuing a woman, for the sake of another woman. It is a rare story where the mother, the young girl and the shieldmaiden are all given equal weight and worth. Brienne, despite taking on many stereotypically male traits, is not “one of the boys” or in any way dismissive of her gender as a group. She does not fit into the role that society has assigned for her, but she does not disparage those who do. She uses her strength and her skill to respect and help other women in ways that most men in Westeros would never even think to attempt, because she understands, more than any other knight, that women are truly worth something as individuals.

(via cuntstitution)

(via warningdontreadthis)

I don’t distrust you because you’re a woman. I distrust you because you’re not as smart as you think you are.

(via queencersei)