dark vibe ，rich Punk fashion design: Leather jacket, black, tailored cut. Ripped denim jeans, dark wash, slim fit. Studded belt, silver, thick. Band t-shirt, faded black, loose fit. Combat boots, black, heavy sole.

prouddryad144

dark vibe ，rich

Punk fashion design: Leather jacket, black, tailored cut. Ripped denim jeans, dark wash, slim fit. Studded belt, silver, thick. Band t-shirt, faded black, loose fit. Combat boots, black, heavy sole.

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I want corset modern tredy dress

I want corset modern tredy dress

I want avintage classy coret dress in a modern unique classy trendy vintage and makd it with sollar hineck and volume sleves and bodycon dress with ruffles down make sexy and classy

I want avintage classy coret dress in a modern unique classy trendy vintage and makd it with sollar hineck and volume sl...

Corset

Corset

Make a peplum with full sleeves and puff on it with shalwar

Make a peplum with full sleeves and puff on it with shalwar

crea un blazer che abbia delle spalle appuntite e delle borchie lunghe oppure delle spine che possono essere anche di un altro materiale sulle spalle ad imitare la deve definire la vita, deve anche essere molto imponente, audace avere un revers appuntito, aguzzo e una collo cilindrico, tipo armatura o per colare

crea un blazer che abbia delle spalle appuntite e delle borchie lunghe oppure delle spine che possono essere anche di un...

Create 3 different palazzo pants made with 20% Ankara and 80% plain material

Create 3 different palazzo pants made with 20% Ankara and 80% plain material

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jacket ，fashion，brand luxury

jacket ，fashion，brand luxury

dark vibe ，rich

dark vibe ，rich

Sailor trousers MASTER BLOCK – FRONT (CAD FOUNDATION) SILHOUETTE & PROPORTION High-rise waist (natural waistline) Straight grainline, perpendicular to hem Wide straight leg from hip to hem (not flared, not tapered) Full-length leg (hem at ankle level) WAIST & OPENING (NEUTRAL) ☐ Straight waistband (separate piece) ☐ Waistband height: standard tailored depth ☐ No visible fastening (internal closure placeholder) ☐ Centre front line drawn but no fly detail (This allows sailor flap, lace-up, or hidden zip to be overlaid later) FRONT SHAPING ☐ No pleats ☐ No darts ☐ Hip shaping resolved through side seam ☐ Clean front panel POCKETS (REMOVED IN MASTER) ☐ No pockets drawn ☐ Pocket notches NOT included (All pockets added via overlays) HEM ☐ Clean straight hem ☐ No cuff indicated MASTER BLOCK – BACK (CAD FOUNDATION) SILHOUETTE & PROPORTION High-rise back waist Straight leg mirroring front width Full-length hem BACK SHAPING ☐ Centre back seam ☐ Back waist dart OR shaping integrated into CB seam ☐ No yoke POCKETS (REMOVED IN MASTER) ☐ No back pockets ☐ No pocket placement marks WAIST ☐ Straight waistband continuation ☐ No belt loops

Sailor trousers MASTER BLOCK – FRONT (CAD FOUNDATION) SILHOUETTE & PROPORTION High-rise waist (natural waistline) Strai...

Sailor trousers MASTER BLOCK – FRONT (CAD FOUNDATION) SILHOUETTE & PROPORTION High-rise waist (natural waistline) Straight grainline, perpendicular to hem Wide straight leg from hip to hem (not flared, not tapered) Full-length leg (hem at ankle level) WAIST & OPENING (NEUTRAL) ☐ Straight waistband (separate piece) ☐ Waistband height: standard tailored depth ☐ No visible fastening (internal closure placeholder) ☐ Centre front line drawn but no fly detail (This allows sailor flap, lace-up, or hidden zip to be overlaid later) FRONT SHAPING ☐ No pleats ☐ No darts ☐ Hip shaping resolved through side seam ☐ Clean front panel POCKETS (REMOVED IN MASTER) ☐ No pockets drawn ☐ Pocket notches NOT included (All pockets added via overlays) HEM ☐ Clean straight hem ☐ No cuff indicated MASTER BLOCK – BACK (CAD FOUNDATION) SILHOUETTE & PROPORTION High-rise back waist Straight leg mirroring front width Full-length hem BACK SHAPING ☐ Centre back seam ☐ Back waist dart OR shaping integrated into CB seam ☐ No yoke POCKETS (REMOVED IN MASTER) ☐ No back pockets ☐ No pocket placement marks WAIST ☐ Straight waistband continuation ☐ No belt loops

Sailor trousers MASTER BLOCK – FRONT (CAD FOUNDATION) SILHOUETTE & PROPORTION High-rise waist (natural waistline) Strai...

An elevated white tank that's fitted, good quality, has the label Maree by J down the bottom. Make it so it has a razor back style. And lace under the bra straps. Also want the bra straps to be a bit thicker for that more chic look with a thick but lower neck line. Make it so the material is Cotton elastane.

An elevated white tank that's fitted, good quality, has the label Maree by J down the bottom. Make it so it has a razor ...

An elevated white tank that's fitted, good quality, has the label Maree by J down the bottom. Make it so it has a razor back style. And lace under the bra straps. Also want the bra straps to be a bit thicker for that more chic look with a thick but lower neck line

An elevated white tank that's fitted, good quality, has the label Maree by J down the bottom. Make it so it has a razor ...

An elevated white tank that's fitted, good quality, has the label Maree by J down the bottom

An elevated white tank that's fitted, good quality, has the label Maree by J down the bottom

Suit conservative

Suit conservative

Suit conservative

Suit conservative

I want a black dress that looks elegant and vintage, it should be long and one leg appearing we could cover up the neck a little and add some sleeves and also I want a front decolte. You can make the dress shiny and add little details and patterns

I want a black dress that looks elegant and vintage, it should be long and one leg appearing we could cover up the neck ...

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Baggy jeans with dark brown dantele details combined with a top

Baggy jeans with dark brown dantele details combined with a top

Baggy jeans with dark brown details combined with a top

Baggy jeans with dark brown details combined with a top

I want a blouse in muted yellow colour with slitted puff with button sleeve, net an stone work on the front blouse area, neck shape round and a baby pink lehenga with mirror work

I want a blouse in muted yellow colour with slitted puff with button sleeve, net an stone work on the front blouse area,...

I want a blouse in muted yellow colour with pagoda sleeve and a pink lehenga with mirror work

I want a blouse in muted yellow colour with pagoda sleeve and a pink lehenga with mirror work

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; containment, protection, modularity, survival; and garments that shield, structure and endure. Rust dye

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; ...

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; containment, protection, modularity, survival; and garments that shield, structure and endure.

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; ...

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utili...

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utili...

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1...

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1...

I need a beige gold velvet kaftan with broccar open collar

I need a beige gold velvet kaftan with broccar open collar

Vestito lungo satinato stampa pois con pizzo su spacco.Lunghezza 120 cm.pois rossi su fondo bianco.pizzo rosso

Vestito lungo satinato stampa pois con pizzo su spacco.Lunghezza 120 cm.pois rossi su fondo bianco.pizzo rosso

Vestito lungo satinato stampa pois con pizzo su spacco

Vestito lungo satinato stampa pois con pizzo su spacco

I want yellow dress long.

I want yellow dress long.

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers. Add a slight design to the sash but make it thicker and more stiff. Make everything look traditional Yoruba style. And absolutely no flare at the bottom, no mermaid structure at all. Make the fan look more traditional with a fan shape and use the same fabric as the dress but make it more subtle with light embellishments. Make the sash structured and stuff with no flowyness. No flare or mermaid structure at the bottom of the dress at all

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers. Add a slight design to the sash but make it thicker and more stiff. Make everything look traditional Yoruba style. And absolutely no flare at the bottom, no mermaid structure at all. Make the fan look more traditional with a fan shape and use the same fabric as the dress

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers. Add a slight design to the sash but make it thicker and more stiff. Make everything look traditional Yoruba style. And absolutely no flare at the bottom, no mermaid structure at all.

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Indian lehenga skirt

Indian lehenga skirt

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers.

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

a red grey and white school jersey for matric written seniors class of 2026

a red grey and white school jersey for matric written seniors class of 2026

a red grey and white school jersey for matric written seniors class of 2026

a red grey and white school jersey for matric written seniors class of 2026

Oversized kids T-shirt Colour white With embroidery sun on the chest and black print under the sun ( sunny) On the back in the middle starting up embroidered sun and under the sun embroidered crab under the crab embroidered sea wave

Oversized kids T-shirt Colour white With embroidery sun on the chest and black print under the sun ( sunny) On the back...