5 Gadgets For Building a Winter Suit of Armor

Executive summary about Suit of Armor by Brando
1. WarmX Electric Underwear: WarmX's line of undergarments feature special conducting thread woven directly into the cloth that keeps you warm using power supplied by lithium-ion batteries.
2. USB Slippers: Like the kneepads, these slippers will keep your feet nice and warm when plugged into a USB port.
3. Aevex Gloves: Like the Ardica Jacket and the WarmX Underwear, these gloves keep your hands warm using battery power.
4. USB Eye Warmer: If you really want to get crazy with this suit, these USB-powered eye warmers will keep your eyeballs warm at the expense of your vision.
5. USB Shawl: What good is a flamboyant super suit without a cape? It's worthless, that's what. Plugging in this USB heated shawl should do the trick.

CMC Powered Combat Suit
The CMC Powered Combat Suit is a terran armored exoskeleton developed by the Cirion Multinational Corporation. Depending on a suit's material state and the user's experience it could take three to twenty minutes to suit up. A more involved method involved the suit being constructed from prefabricated parts around the user, seemingly sealing the user inside.

The following known CMC models exist;
A. Pressurized Power Suit
The Pressurized Power Suit was issued some time before the CMC-300 and -400 series became prevalent. Edmund Duke was once issued a Pressurized Power Suit.

B. Standard Marine Powered Armor
Marines are issued various versions of the CMC Powered Armor suit. These suits share the following features:
1. A Needle Gun can penetrate the suit, however.
2. Salvage System: Should the suit's arm be breached, the suit seals it off in a tourniquet. Structural support.
3. Visor System: Lights flicker on the interior of the visor's rim acting as a basic guide. Green, yellow and presumably red feature, keeping the user informed of the suit's integrity.
The suits raise the wearer's height by a full foot and can improve a gunner's aim.

C. CMC-200 Powered Combat Suit
The CMC-200 Powered Combat Suit was used in the 25th century. Limited life support.

D. CMC-300 Powered Combat Suit
The CMC-300 Powered Combat Suit is the much improved successor to the CMC-200. Improvements over its predecessor include:
1. Advanced NBC shielding.
2. Full life support.
3. Integrated communication system.
4. Lockdown System: Used to stabilize wounded soldiers and prevent a shorted-out suit from misfiring.
Overall, the suit is a marked improvement over its predecessor.

E. Command Suit
The Command Suit is a variant of the CMC-300 and features an enhanced portable comm system.

F. CMC-400 Powered Combat Suit
The CMC-400 Powered Combat Suit is an upgraded version of the CMC-300.

G. CMC-660 Heavy Combat Suit
The CMC-660 Heavy Combat Suit is the standard issue suit of Firebats. Possessing the same features as the CMC-300 model, it features special systems to protect its user from the plasma and flame wielded. In terms of armament, the CMC-660 features wrist mounted Perdition Flame Throwers.

Clothing of Norman Women in the Late 11th and Early 12th Centuries

Executive summary about renaissance women clothing by Sarah Doyle

First though, we have to consider the problems of looking at manuscripts for evidence of female clothing. During this period the majority of manuscripts were still illustrated by monks. Since the women of the time were not biblical characters, the assumption will have to be made that they are wearing the clothing of the highest ranking members of society. We can also ask whether monastics would have seen women wearing the latest fashions? We, therefore, have to be very careful when using manuscript evidence for ascertaining women's fashions.

Dresses were relatively fitted and had long droopy sleeves. Aelfgyva wearing a relatively close fitting dress with quite long sleeves and a standard wimple. Unfortunately, though the tapestry doesn't show us much in the way of detail. However, from other manuscripts we can tell that the sleeves were often lined in material of a contrasting colour and turned back to display this. There was, however, a wide variety in the length of sleeve. Whilst talking of sleeves I must point out that there is no evidence at all from this period for sleeves with knotted ends.

For some reason, possibly the change in ruling class, there are very few manuscripts dated to the period between AD1066 and 1100. For example, I have found illustrations of mantles right through until the late 12th century. Equally, the hood wimple, which appears in most pre-Conquest manuscripts, seems to continue until about the same date.

During the 12th century it became quite fashionable to have an open wimple leaving the neckline visible. This style, like the hooded wimples, doesn't seem to have a wimple band to hold them in place, so, presumably, they would have been pinned to a cap which is not visible. However, on closer observation the decoration on the "girdle" seems identical to the decoration around the hem and sleeves of the dress. Luckily, one manuscript has survived which shows us one method of drawing in the fabric. This very clearly shows us the long droopy sleeves, the underdress with tight sleeves, and the side fastening. There are other ways of making a fitted dress however. I've made a reasonably fitted dress from woollen cloth which is quite stretchy. Alternatively small loops could be used which would be laced together. Here the loops were probably used to pin a cloak to the dress underneath. The loops were reinforced at the back of the fabric to ensure the dress could take the extra strain. To utilise this method I believe that you would have to make the dress so that it fitted snugly over the bust and then use the loops to pull in the waist of the dress. There is a later pattern from Greenland showing a dress made in at least 10 panels of material, but this dates from the late 13th so we can pretty much discount it for our period of interest. However, a lot of the manuscripts show a lot of material in the skirt so you would at least need extra panels in the side of the dress and probably at the front and back as well. Patterned linen would have been popular as would finely woven fulled woollen cloth. In conclusion then what can we say about the clothing of Norman women? We can say that for special occasions, e.g. visiting court, she would have worn a semi-fitted dress with long droopy sleeves and a head covering. However, for everyday use and when working she would have worn a slightly less fitted dress with less droopy sleeves. We also have very scant evidence for belts, and this type of dress actually looks fine without one.

Hats, Caps & Wimples

The basic hat, which can also be used as a helmet lining, is a fairly plain form-fitting domed skullcap hat. Phrygian hat is Anglo-Saxon specific, and is highly debated. Pointy hat is a very Viking style, particularly common on Gotland picture stones, and possibly a specifically Eastern style. Hauk's hat was made in two pieces, then the fur trim was added.

All good Christian adult women were encouraged to cover their hair in our period. Among pagan Vikings, married women covered their hair with a knotted piece of fabric.

Wimples and large flowing scarves were probably outdoor wear, as contemporary drawings often show them being worn over a lady's cloak. Indoors, women may have worn plainer and more practical caps.

Bridal Styles For Renaissance Wedding Gowns

Executive summary about renaissance wedding gowns by Rod Hoss
Opting for a perfect wedding gown is the biggest challenge, a bride encounters. Amongst the different styles of wedding gown, renaissance wedding gowns are usually popular picks. Although, stunning at looks, renaissance wedding gowns are hard to find. The designs most folks relate to renaissance wedding gowns are from the Victorian age to the Renaissance age. Other than white, the popular color choices for renaissance wedding gowns are Hunter green, and dark maroon.

Elizabethan Wedding Dress
The bride did not wear a white wedding dress, this was a later tradition. Velvet, satins and corduroy were costly and therefore worn by the nobility. The wedding garments belonging to the majority of brides were generally made from flax, cotton and wool. A shift would also be worn beneath the gown. The bride would wear flowers in her hair and they would also adorn her gown.

The Bridegroom wore his best clothes which consisted of a doublet, breeches, hose, box pleated neck ruff and a cod piece. Elizabethan men usually wore a short shift as an undergarment. Colours came in a variety of different shades: red, blue, greens, yellow, white, grey, black, orange and tan.

The tradition of wearing streamers, flowers and ribbons, called Bride lace, was followed by Elizabethans.

How to Choose the Best Clothing Colors for You

The right colors help you look younger, fresher and more vibrant.
1. Set your favorite colors aside. Just because you love the color orange, it may not be a flattering color for you.
2. Conduct a color draping at home.
3. Identify unflattering colors as you drape the clothes.
4. Note the colors that flatter your skin as you drape. Flattering colors even out skin tone, diminish blemishes and lessen the appearance of circles under your eyes.
5. Ask makeup artists to consider your skin tone, hair color and eye color as they help you find the best color pallet for you.
6. Take mental notes of the colors you are wearing when people compliment you.

Fitting Your Gown To You

Searching for the perfect wedding dress can be the most exciting part of the planning process. For most brides, the wedding dress is a symbol of their childhood dreams and hopes for a fairytale-like wedding.
Every bride is beautiful and exquisite. Like your entire wedding, your gown makes a statement, reflecting your personality and personal expression. Sophisticated? Classic? Traditional? Avant garde? If you have never fallen in love with a dress before, now is the time to start.
The first dictum is ask for help. The dress may be gorgeous, but you will never look right, if the lines are wrong. Great cleavage? Wonderful shoulders? A lovely swan neck? There is no petite bridal line. Designers just reduce proportions. A tiny girl should never be limited.
Options if you have large hips:
1. An A-line gown gives height, reduces width.
2. Calls for a hollow waist, beginning an inch and a half below your natural waist, camouflaging your heaviest part.
Thick waist? A princess waist works best. Heavy thighs are easily hidden beneath a full skirt. Same rule if you have a full derriere. Remember: Draw attention away from your flaws. A big bust need not be a problem if the bride chooses the correct designer. Many will customize a cup size.
Color plays a part. The rule is there are no rules. Lastly, never forget no one is a perfect size 6. Getting dressed is often an illusion. Feminine. Chic. Sensuous. Sophisticated. Timeless. Always beautiful. Memories last forever. If you know your body, finding the dress of your dreams becomes a snap. Invest time with a wonderful professional, and it's easier still.

Velvet Wedding Dresses and Other Things Renaissance

Executive summary about renaissance wedding dresses by Sarrah Beaumont
The point is to lend authenticity to what would have otherwise been plain wedding dresses that every bride would wear. Ideally, though, Renaissance dresses should be made of velvet with silver embroidery.
Of course, all the velvet wedding dresses in the world would count for naught without the perfect ambiance. If you can't have your wedding in a stone castle, and a Tudor-styled hotel, your nearest bet is a vineyard. Don't forget to put red, orange, and yellow flowers in wicker mini-baskets. Use wooden candle holders and white candles, too. The colors will complement wedding dresses superbly while the baskets, flowers, and candles will give the place a rustic look. Ale, and fruit juices will complement your food choice perfectly!