Kei Lin Sama avatar

Kei Lin Sama

Last online 3 years ago


Joined: 23rd Apr 2011

Completed costumes: 9

Photos uploaded: 53

Progress journals: 86

Events attended: 8

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Wigs are my least favourite thing to make. I really hate how hairy they are. The fibres get everywhere. Does it ever get any easier?

A Mortal Heart
(Diablo III short story)

Diablo, the greatest of the Prime Evils, was finally defeated by six heroes of legend: a barbarian, a demon hunter, a wizard, a monk, a crusader, and a witch doctor. The mighty heroes dispersed to protect people in cities all over Sanctuary and get on with their lives. Many years later, they reunited to have a few pints of mead in Tristram’s pub and share their news.

Maghda was serving drinks. Much reformed after starting her own coven and leading many to their deaths, she turned her hand from brewing foul potions to brewing the finest mead in all of Khanduras. She brought yet another round of drinks to the heroes’ table, quietly handing out the tumblers and goblets (except for the barbarian, who had ordered his beer in a bucket).

The wizard sipped wine from her goblet and said, “The times I spent with you all were the best times I ever had. When we fought the Evils side by side, at the peak of our powers.. that was the best feeling in the world. My years of honing my mind in Xiansai paid off and I could command time and space. I held the primal elements of nature in my two hands and rained fire and ice upon my enemies! But what use is that, with no enemies left to fight? I’ve scarcely touched a book since our victory.”

By the time the wizard finished speaking, the barbarian had drained his bucket of beer and had ordered something a little stronger. He burped quietly and agreed with the wizard, “I returned to my tribe in Mount Arreat, after we defeated Diablo. I used to relish pushing my body to its limits when I trained to combat the demon forces. But now, the training regimes have no meaning. Once, I fought Diablo in hand-to-hand – and won! How could I, after that moment, go back to mere training? I left my tribe and traveled over Khanduras, looking for good food and drink, and telling my story as I went. I wanted to return to my people, but it shames me that I’ve gone soft. I couldn’t let them see me now.”

The monk reached over and patted the barbarian’s beer belly. “If you did a bit more weight training, you’d soon be back in shape. I understand how you feel about your tribe; I can’t go back to my people either. But it would take more than a few weeks of training to redeem me. Everywhere I go, everything I see, makes me angry. My agility never left me, but inner balance is lost forever! A monk is only a monk if he can master himself, yet I can’t control my own temper!” And he trembled with rage at the very thought.

Not all of the heroes were dissatisfied with their lives. The witch doctor had made a remarkable transformation from the scruffy and unkempt savage he had once been. Now, he wore a magnificent cape of feathers and his mask was encrusted with gemstones. His cane was topped with a solid gold skull and he even wore shoes. “I keep company with Covetous Shen, these days. We talk to the spirits together. And both share a passion for fine jewellery!” he cackled. “By the way, I do not see that crusader.. Where is he?”

The demon hunter stopped picking her nails with the tip of a crossbow bolt. “The crusader? He’s far too good to be drinking past midnight. He’s probably in bed by now.” She glanced around the table and smirked softly, “You’ve all let yourselves go. You’ve all gone soft and become lazy. There is always a choice, but the only one of us who’s maintained their discipline is me.”

The monk locked eyes with the demon hunter. “Let’s go adventuring as we once did before. I’ll show you I’m as fit as I ever was.” The demon hunter didn’t blink, but she smiled slowly at the challenge. “You’re on. Who else has some fire left? Let’s explore the tomb at the centre of the Desolate Sands”


A great serpentine skeleton lay coiled around the tomb. At the centre, inside the gigantic skull, was the entrance. The heroes camped outside for the night. The demon hunter shot a boar for their dinner and the wizard set a roaring campfire. The barbarian and witch doctor argued over the best way to cook it. The barbarian insisted on a roast, while the witch doctor advocated a healthy stew (and got his way). The next morning, they all peered into the tomb’s entrance. It was a straight drop into the darkness, with no stairs or ladder. The monk and the demon hunter rigged up some climbing ropes and prepared to lead the heroes into the cavern below. “I’m not going in there”, said the barbarian. He was by far the heaviest of the heroes and did not trust the ropes to hold him. He watched the monk climb down first and then the witch doctor. Finally, he said, “I’m staying up here to guard the camp” and refused to go further.

The heroes explored the tomb cautiously. It had been many years since they had been in such a dangerous place. A small shaft of light glimmered from the entrance, but it did little to illuminate the vast cavern and the carved passages, so the heroes had to carry a torch each. Corridors branched out and branched again. No monsters appeared, but they were in great danger of becoming disoriented and lost, so the witch doctor made sure they travelled carefully and systematically, drawing out a map as he went. Everyone was glad to do this, except the demon hunter. She sneered, “This is unbearably slow. I’m going on ahead to find the deepest chamber and its treasure.” Nobody tried to stop her, for there was something about her arrogance that repelled them.

Up at the surface, in the heroes’ camp at the entrance of the tomb, the sun was beating down. The barbarian had drunk a good deal of wine the night before and was sleeping soundly. He did not hear the band of imps, led by a cruel and ruthless shaman, until they crept up and surrounded him. “Rakanishu!” cried the shaman, and they all attacked him at once. They overwhelmed the barbarian – he was too weak and they were too many. Abandoned by his friends and unable to muster his once mighty strength, the Barbarian met his mortal end.

Meanwhile, the wizard, witch doctor and monk had explored much of the cavernous tomb. They reviewed the map the witch doctor had drawn, and the wizard did some calculations in the sand. “The enchantments we’ve seen lead me to believe that the mana of this building is concentrated.. here!” she announced, pointing to the east side of the tomb. Her companions were impressed and they travelled to that location immediately. Sure enough, there was a concealed passage that took them to the lower levels of the tomb.

After many hours of traversing the narrow passages of the tomb, the three remaining heroes encountered its guardians. A dozen powerful Horadric mage spirits awoke. The heroes’ presence had triggered the re-animation of the remains. It was far from the epic battles the heroes fought in the past, but when the angry spirits were vanquished, the wizard, witch doctor and monk were all exhausted. They broke open a small locked chest and brought out the treasure. The wizard was bitterly disappointed. “This is it?” she cried, “This treasure is ugly! I don’t want any at all!”

The monk was instantly put out by her disdain for their endeavours, even more so because her words were true – the contents of the box were a poor reward for the effort and risk they had taken in coming to this place. “It’s not like you did any of the work”, he snapped. The wizard left in a bad temper, determined to leave immediately.

The witch doctor and the monk tried to divide the spoils peacefully, but there were only three items and everything they tried led to a dispute. The monk became too angry and the witch doctor too greedy to settle the matter amicably. “Look”, said the witch doctor, “There are three pieces of treasure and two of us, and I have the map so I’ll divide the treasure. This one is yours and these two are mine. You’ll have to accept it if you want to get out of here without getting lost.”

At this, the monk lost his temper and attacked the witch doctor. “You think you’re so clever”, the monk snarled, latching one hand around the witch doctor’s throat and wrist-locking him with the other. “But you’re no match for me, so you’ll do as I say. Now give me the map.” The strength left the witch doctor, and he gave a tiny nod – for the monk’s grip was unrelenting. The monk relaxed his grip as the defeated witch doctor handed him the map, but in that moment of distraction, the witch doctor’s mind unleashed a bitter curse. Calmly, the witch doctor collected the map and the three treasures, and started to make his way out of the tomb.

The monk’s body had been transformed, he knew that. He didn’t have arms or legs, and was very much smaller than his previous size. Unable to move faster than a crawl, unable to make a noise, he watched the witch doctor’s heels grow more distant, step by step, and the circle of light disappear. Never to regain his human form, the monk was unable to escape from the tomb and met his mortal end.

Carefully following his map, the witch doctor found the exit of the tomb. The climbing ropes still hung as they had been left, and he prepared himself for the climb. As his hand gripped the rope and pulled, something heavy slammed into him and knocked him off his feet. Dazed and in pain, he heard the smooth voice of the demon hunter. “How could you, so slow and unprepared, discover the tomb’s secret before me? Nobody is stronger or faster than I..” Her voice was calm but bitter.

“I see”, whispered the witch doctor, “You didn’t find it at all. So you gave up and laid a trap at the exit to catch the ones who did. Well you caught me. Let me go and you can have all of the treasure.”

The demon hunter considered his offer for a moment and was silent. The witch doctor struggled, but there was something restraining him. His torch had gone out and he couldn’t see anything at all. Understanding dawned upon him. The demon hunter didn’t want the treasure. She wanted revenge for her wounded pride, and to silence the sole witness to her failure. He was starting to frame a reply, when he felt movement nearby, and one of his pouches was searched and emptied. “What do you want? Tell me and let’s talk,” the witch doctor offered. He heard the quiet creak of the rope above him. Then after a while, a soft thump. She climbed out and cut the rope, he realised. He called out, but there was no response. Trapped and alone, the witch doctor met his mortal end.

The wizard wanted to get out, but without a map, there was no chance. She didn’t remember the way out, and wandered the corridors until her torch ran out of fuel. She used her glowing staff as a to light the way, but she was soon out of mana. Lost in the endless darkness and echoing corridors, the Wizard met her mortal end.

The demon hunter climbed from the mouth of the tomb and took in the scene of the barbarian’s last battle with hardly any surprise. She inspected each of the three treasures she’d taken from the monk. The first two were mere trinkets, but the third was a magnificent smoky gemstone. Crouched in the shadows, she could see it was lit by a red glow from inside. Of course, she thought.. that’s why this jewel was protected by Horadrim. Diablo was never to be eradicated from this world. He could only be contained, and this was his prison.

She thought to herself, “There is only one person worthy to guard this dangerous seed of evil and prevent it from falling into the wrong hands. I shall protect it!”

(the writing ends here)

The scrolls were tea stained and cooked on my electric hob to make them look old and musty. Those caps on the scroll ends? Those are buttons!

The writing is a short story about some Diablo III heroes

The gold diamond beads were applied to give a dragon scale effect.

My main goal with this costume was to produce something comfortable and packable. Even the armour sections had to fold flat and be resistant to breakage. I chose to make the shoulder pads out of embroidered fabric instead of something like Worbla to make the costume soft and easy to wear.

Created a stencil with freezer paper and applied gold paint!

The fabrics are from kimono scraps and an old silk sari I snapped up on Ebay.

It's taken a while to put this list together, but I was determined to record everything I bought in order to make Hana. Here is the overview. You can see a breakdown of each costume section in the journal entries below!

Costs of materials used to make Hana's wig

All the fabrics, paints and embroidery costs

Includes costs of new tools bought

Here are the scores for all the Eurocosplay 2014 contestants. I'm joint 9th with two of my favorite costumes - Ezio Auditore (Assassin's Creed) and Deathstroke (Batman)!

Made giant tall shoes out of papier mache... and tested them today. Here I am standing in them! Thanks, Nesabi, for helping me practice!

Really happy with it! Light and comfortable to wear, easy to dance in, folds up small.

The first uchikake (the outer kimono) was really heavy and I'd made several mistakes while making it. Here's progress on the second attempt!

Hana's obi is so heavy that I had to make a harness to keep it in place

I've been really dissatisfied with my fabric choices and finally decided to do something about it. My first attempt at Hana's blue kimono was made from standard cheap cotton. It was the wrong colour. I also messed up the collar. Rather stupidly, I had also decided it make it in the Hikizuri style, which means the kimono is longer than my height and trails on the ground - hikizuri kimono are beautiful, but not a good choice for London MCM Expo.

My new fabric is from a bolt of lilac kimono silk that I snapped up for a bargain on Ebay. It has some stains at the edges (hence the low price) but I'll be able to paint over any defects.

I am using glutinous rice paste as a resist medium. It's closer to the traditional Japanese silk painting techniques, and it has a nice antique look. The lines are a little softer and smoother, and the colours are more subtle than modern silk painting

When my costume was being judged at London Expo May 2014, the lovely judges gave me some tips to improve. One of their suggestions was silk painting. I've outlined the design using boiled rice paste as a resist medium. A huge thank you to TheKillingDoll and Mighty Odango!

Here is the first piece of shibori fabric I've made. It's about the size of a credit card. This is the best my poor camera could manage, so the quality isn't great.

This is my first attempt at shibori. It requires loads of patience and it's very fiddly!

Shibori is made by tying loads of tiny knots very close together. This is the best my camera could do with such a small piece of fabric

Feeling slightly mad. Decided to make my own shibori fabric. This type is called 'Kanoko shibori' and it is worn in many traditional hairstyles. It is supposed to look like this:

Here's the cute little makura I made. It has a pocket for my wallet and phone so I can carry them easily while wearing my costume. I had to slit open a spare pillow for the stuffing, so it's turned out a bit lumpy.

This is a makura. It supports the obi knot and makes it look puffy. I've decided to make my own instead of buying one. Here's what it's supposed to look like!

That little red triangle on Hana's neck is actually a turned collar (signifying that the geiko or oiran has a patron). Took me a long time to find out what it was!

Here's what I made to wear under my kimono. The collar and shoulders are as authentic as I could get them, but the waist hips are fitted so that the garment is easy to wear and not too restrictive

The nagajuban is an undergarment worn underneath a kimono. The collar and skirt are visible when fully dressed. Here are reference pictures I used when designing my underwear

I'm attempting to make my own Oiran geta out of papier mache. Wish me luck!!

The skin is made of cardboard and the inside is reinforced with wood glue and kitchen towel. This was supposed to be a mock-up but it's so sturdy that I've decided to finish it as if it were the real thing.

Several people have asked me about wig styling. Honestly, I don't know. I hate wigs. I hate the hairyness of them. The thing I've made isn't really a wig, it's a helmet. I never want to see another wig - for the next year, or at least until some of my hair has grown back.

RSpanner did this really lovely sketch of the doorway setup for my performance. As Hana steps through the doorway, two paintings will unroll showing the rainy street scene. Thanks RSpanner!

Thanks for everyone who gave their feedback on my performance ideas. Almost everyone wanted to see 1. The Mask or 2. Getting Ready.

I tested both of these and here are the results:

1. The Mask

A good performance for showing off the durability of the kimono, obi, and uchikake. However, this performance requires quite a few vigorous head movements, which didn't go well with the wig. Actually, the wig was fine, but my hair follicles weren't - I found tufts and tufts of hair in the wig clips.

The second difficulty was designing the mask to fit nicely over the wig. I think this one will be more trouble than it's worth.
Edit: Madmazda86 suggested magnets, which would be an excellent solution to this particular problem

The third problem was that many of the other skits for EC have involved some form of 'mime-fighting'. Most of those were better than I could ever hope to be. I decided that unless I could do this performance really well, it wouldn't stand out or be memorable.

2. Getting Ready

Definitely the easier of the two performances. This one is very much in character for an Oiran, and is likely to be unique and different from the other contestants' performances.

Slow and graceful movements make it much easier to manage the wig. I will have to train myself to be slow and graceful, since neither of those things come naturally to me.

There's a lot of scope to create an atmosphere using sound, lighting and set dressing

The main difficulty here is set dressing, since I have ambitious plans and I only get one poor stage ninja.

Performance ideas - posted for feedback

Notes about Hana’s character:
Sometimes she is refined and elegant, but sometimes she has goofy moments
She loves to eat
She comes from a world of mystery, magic and spirits (similar to XXXHolic)
She fights with a sword
She looks and dresses like a girl, but is neither male nor female

1. The mask (energetic performance)

Hana enters the stage furtively and looks around to make sure nobody is watching. She reveals a demon mask she has hidden in her kimono sleeve and inspects it. With increasing tension and trepidation, yet unable to resist, Hana puts the mask onto her face. She is transformed into the demon and her folding fan becomes a sword. After an energetic martial display, she pulls the mask off and hides it again with a mysterious smile.
A darker ending – after pulling off her mask, Hana discovers that her face has been ruined (peeling latex mask underneath). She rushes to a mirror and stares at her disfigurement in horror and despair.

2. Getting ready for the evening (elegant performance)

Hana is kneeling on the floor putting the finishing touches to her makeup. She paints her lips and puts away her makeup box. Her uchikake (outer robe) is hanging on a frame. She slides it from the rod and puts it on. Hana then slips her feet into her okobo (tall sandals) and hitches up her robe. *sound effects of rain/thunder/lightning flash* She holds her hand outside and feels the rain. Her assistant passes an umbrella. Hana then proceeds out onto the end of the street with the stylised oiran walk (“oiran dochu”).

3. Temple duties (cute/goofy comedy performance)

Hana is carrying out her shrine maiden duties (sweeping the floor, praying). The is tired. *sound effect tummy rumbles* Stage assistant hands Hana a fish on a skewer, to Hana’s delight. She grills it over the temple brazier with apprehension and guilt – then eats it nervously. She resumes her duties

4. Tea ceremony (elegant performance)

Hana performs a tea ceremony with giant pantomime-sized implements

The lotus pieces were sewn onto the obi. The obi fabric is shot gold silk stabilised with interfacing and curtain bump. The silk has to have a supportive backing so that it isn't warped by the applique, and it keeps a flat shape.

The embroidered pieces were cut out. Curtain bump was ironed onto the pieces with vilene to stabilise the embroidered parts. The raw edges were folded under, and gold ribbon was added to highlight the edges

A formal obi has no bare space on the visible surface. I wanted to reflect this by painting a subtle water pattern between the lotus leaves and flowers. The design was painted in brown ink using a square flat brush.

I wanted this antique golden effect for the obi. This is a screen door, not an obi, but when I saw it, I was inspired!

I painted the gradient pink on the flowers and outlined the shapes with the heavy chain stitch. Stem stitch was used for the details

Seriously wow! This is very unexpected. There were so many good costumes that would have been excellent EC competitors.
I’ve decided to give it my best and polish up this costume to the highest standard I’m capable of. After interrogating TheKillingDoll, I have some idea of what to improve.

1. A good performance

Performing is my weakest skill and performance is critical at this level. The judges’ suggestion was to watch as many cosplay performances as possible, especially for competitions like WCS and ECG, where performance is weighted at 50%.

2. Unfinished bits

Several parts of the costume are tidy but not fully finished. Examples are the tips of the butterfly bun, where the inside of the bun is visible, and the back of the armour plates (which were unpainted). Here, I would fill the bun with something so that the inside can’t be seen. Phil suggested there should be something on the back of the armour plates – maybe a nice lining or a coat of paint, or even a simple design. The judges at the EC finals will have 15 minutes to inspect the costume, and they will scrutinise every inch. I will re-inspect my costume critically and look for unfinished sections to complete.

3. The wave-patterned obi

Painting golden waves on polyester chiffon was an experiment, and I wasn’t happy with the result at all. Half the paint came off in the wash, and in many of the photos it looks considerably cheaper than the rest of the costume. I have decided to use goldwork for the waves on the bow obi (demonstrated by Monkey ‘Goldenmochi’ in her panel), and a Yuzen silk painting for the trailing pieces. The judges suggested the silk painting, while I wanted to do batik or resist-dye, and Yuzen silk painting is a perfect combination of the two.

4. The undergarments

I’ve got a habit of wearing clothes under my costumes just in case anything slips. I hate showing my skin in cosplay, and I’m very conscious of covering myself up. I was wearing a t-shirt and shorts underneath, but they were visible through the costume. I am going to attempt more traditional undergarments for the finals.

Somehow I managed to break a toe during my escapades at May Expo. Not sure when it happened, but I noticed it on Sunday. It's purple, swollen, and lumpy!

A pillow that supports the obi. It is set in place by two worbla panels

This is the elasticated corset that keeps the obi tight on my stomach. I can breath comfortably while in costume. I decided on an obi harness because the obi is extremely heavy.

Kimono top finished. I chose to do the kimono in two halves so that I could put the obi harness underneath the top. I can get into and out of the costume without any assistance

Freehand painting of the wave pattern using the 'Blob-and-drag' method. This means the brush is heavily loaded with fabric paint and pressed onto the fabric. The water tension creates a smooth line.

I decided to mock up the pattern for the kimono in miniature. It helped to see how the painting on the panels would fit together

Finally I got some time to prop up the wig and take some photos. I still haven't been able to weigh it yet.

The bun is attached to the base by a ring structure, which extends its claws in all directions. The longer claws are curved using Worbla.

Made from a transparent takeaway box and a chopstick. This kanzashi has to look like the rest of the resin kanzashi, so I coated it in golden acrylic paint mixed with wood glue to get the same effect.

The stem is made from PVC pipe, coated with the same paint-woodglue mix

One of the circular casts glued to a chopstick. There are some dangling bits which clip on with magnets.

The costume is finished! It's massive... I wore the whole wig and it's neck-breakingly heavy. Tried to weigh it but it won't fit on my baking scales. I have created a monster.

I'll upload progress pics when I stop being lazy. Who reads this stuff anyway?

The wig is ready to be glued together permanently. It's currently in two pieces - the base and the butterfly bun. Tonight, they become one!

The kimono and obi belt are nearly done too. The uchikake is still putting up a good fight. I will post pictures of the fabric parts when I've finished documenting the hair.

Oiran combs arranged in parallel with the butterfly bun. It's taking shape!

The semi-circle you see at the top of the oiran's head is actually made of 3 combs arranged in a fan shape.

The sides, back, and butterfly bun are complete.

The back and sides of the wig are finished. Here's how they fit together

Here is the side view of the back of the wig. There's space inside for all my long hair.

I cut out the eri-ashi shape from funky foam and glued hair to the top. Then I attached it to the back piece of the wig.

Here's my idea for the back of the wig. Normally, the geiko or oiran draws a tapered stripe design using her white make-up to accentuate the nape of the neck. I don't think I can draw neatly on the back of my own neck, so I will make the shape with the hair (as shown in the reference pic). Note: the three-legged design is 'Sanbon-ashi', and the two-legged design is called 'Eri-ashi'.

A nice break from sanding resin and gluing hair to foam

Got tired of the wig

Edit: The petals were gradient dyed with serial dilution and spray bottles. The beaded decoration was very fiddly!

Here's the bit that anchors the hairpins to the back of the head

Here is the bit that attaches the bun to the wig. Made from Worbla and craft foam

Hair pins fan out from each side of the wig

The bun is attached to a ring-shaped support, which is fixed onto the wig base. Thanks Darkiekun!

Many thanks for the excellent wig advice from Freyarule, Darkiekun, Madmazda86, and Afireinsideirl. I put several comb clips inside the wig to hold it onto my hair. The top part remained on my head even when the bottom of the wig tore itself away under the weight of the kanzashi (the whole lot is approaching 2kg now).

I decided to make a robust base for the wig using corset bones and bias binding channels. Doesn't it look like a helmet?

Each of the combs slots into a socket made of Worbla. The comb assembly sits just in front of the butterfly bun

Here's the butterfly bun so far. Each of the hairsticks is anchored in its own socket made from worbla.

Progress is slow, but I have finally finished sanding all 25 pieces of tortoiseshell kanzashi. I used 12 grades of sandpaper: starting with grit 60, 100, 180, 280, 400, 600, 800, 1000, 1200, 1500, 2000, and ending with 2500. When the sanding starts, there's a soft and slightly sticky surface that clumps on the sandpaper. Once that was removed, I sanded the entire surface of each piece with the lowest grade evenly, then repeated with the next grade (and so on). If you miss a bit, the scratches will show through, and to get rid of them you have to start again from a coarse grade, which can be frustrating.

Here are all the tortoiseshell kanzashi, ready to be smoothed and finished. This was my first costume with water clear polyester resin. Polyurethane resin is a lot easier to handle than polyester, so I don't know if I would choose polyester resin again. The fumes are nasty (I bought a mask after the first attempt). My biggest difficulty was the viscosity of the heat resistant silicone moulding gel.

The golden amber colour effect was achieved by mixing brown and yellow acrylic paints into the resin just before pouring. It's a shame the colour is so inconsistent, but it didn't turn out too badly.

The glue has dried, so now I have two halves of the bun! Probably needs a trim and then some more hair..

The back of the butterfly bun is decorated with a 'Good luck' knot. The knot is tied from a golden curtain cord I spotted at a market!

Once the wefts were glued to the foam pieces, I stitched them together. Soon the glue will dry and I'll be able to fold the hair into that iconic Oiran butterfly shape

I really have no idea what I'm doing. As always, the best thing to do is make a mock-up and see what happens. The butterfly bow is made from black paper and card. The hairsticks are made from cardboard. I got the wig for a tenner, since I will almost certainly need more than one attempt to get the hair right.

I've decided to tackle the wig first and get it done before I start on the fabric parts. I just made some hair loops for the butterfly bun and the sides by gluing hair wefts to the foam pieces. Everything was going smoothly until I trimmed the excess hair. Now there's hair sheddings all over my room and it's gotten everywhere!

I bought a wig and started on the hair. This has got to be the most challenging wig I've ever attempted.. The butterfly bun at the back will be really heavy and the whole wig is just bristling with hair-sticks. I heard that bobby pins will keep a wig in place but it'll take more than that to keep this monstrosity on my head. If any wig experts are reading this, your advice would be very welcome!

Stage 2: trace the designs onto a white poly/cotton poplin with a tailor's chalk (colouring crayon works just as well).

The paints are Dylon Fabric Paints. I mixed the colours with Dylon Shade Creator, which gives a purer and finer shade than you can achieve by mixing the colours with white paint. If two colours are mixed with white paint (e.g. red, blue and white to create lilac), it tends to become murky.

After painting and drying overnight, the colours were fixed by ironing as hot as the fabric would allow (test it first!).

A few people have asked how I did the clouds.. The techniques were a bit unorthodox, but here goes..

Stage 1: sketch the designs onto paper versions of the garment panels, making sure the drawings match up at the edges of each panel.

This is what the corset looked like before I assembled it. Unusually for a corset, it doesn't have any bones - it only has vilene in the lining to keep its shape.

Of course, because it was made quickly and cheaply, it didn't turn out as well as I hoped. Cutting corners doesn't pay!

Here's what happened to the £120 budget for my Yuuko Ichihara costume.

I thought I'd keep a careful track of the materials and accessories I bought for this costume. The list doesn't include materials I had already in my bits box - thread, fastenings, wire, duct tape etc..

Kei Lin Sama went to Amecon 2018 (3 years ago)

Kei Lin Sama edited Gerudo woman (3 years ago)

Kei Lin Sama added 3 images of Gerudo woman (3 years ago)

Kei Lin Sama deleted an image from Gerudo woman (3 years ago)

Kei Lin Sama changed the icon for Gerudo woman (3 years ago)