Wryson’s Eternity

by: Shehanne Moore

As a huge fan of Shehanne Moore’s spirited, independent female characters in her period romance novels, this book has been long awaited.

“If it is worth having, it is worth waiting for.”Oscar Wilde

Oppressed & beaten by a beastly husband (Baronet Byron Jones), Lady Jones flees. To afford her vagabond lifestyle, she engages in petty thievery, lying, sleeping in forests and dealing with the less than savoury.

I now realize the hat is scripted black.

As she uses her coat like a tote bag for her nicked loot, I figured a man’s frock coat would have large pockets and the roominess required.

Shehanne – I just love the coat and hat. So her. I do love you calling her coat the ‘nicking coat.’ The woman lived rough for a bit.

ResaThen one day, she haps upon a deserted cottage; where Gil Wryson haps upon her.

Shehanne – And that was it, but she had to like the wee life she’d set up for herself in Pencliff enough not to bolt and go back to the awfulness of life on the road. AND everything…even the way the mail worked and money worked with regard to banks in these days– all the things that made her life so difficult on the run– fitted..

The Ball & the Gown

In terms of defining what Eternity might wear, I looked at the out going Georgian era and the incoming Regency era.

Resa I was tortured waiting! Was the ball in, or out? Why did you end up putting  the Ball in, and how did it serve the story?

Shey – … Okay Resa, well the simple answer to why I put it in, having decided for her to leave beforehand,  is YOU. Yeah, there you go. I thought about the fact that I’ve a ball or a dance/party, or a feast/dance  in quite a few books and these are tied with pivotal  moments in the plot.  

I also thought if she leaves  after saying she’s going, then he is going to find it hard to forgive her–they have somehow come together in the planning and prep for  this ball. And she has  a huge reason to quit while she’s ahead here in terms of news she gets that very day. But then I thought of you and the beautiful gowns you have designed for my ladies down the years and I thought what is a book without a ball and what is a ball without one of your gowns?

My first thought of the ball gown.

 Shehanne -I also thought when it comes to Wryson ever forgiving her, when it comes to  her thinking, she just might have  got something in the bag, with regard to  ‘the future?’ Him too. ’Well? That ball then sets up everything in terms of her state of mind as she goes to tackle what she must  tackle. It paves the way for how she is only paying half attention to what she really needs to have her eyes fully on because she’s let something into her life she can’t let in.    

Shehanne – It let me trowel on a bit of passion and anguish and quite a mess, shall we say, regarding what happens next? Things she feels responsible for, secrets she is going to have to keep, things about herself,  she doesn’t know she can overcome.   SO yeah, I think sticking to my original plan would have been wishy washy.

ResaWhen her ball gown was first spotted in Gonetta’s, before I read on to any description of the gown, I immediately saw the green one in my mind. 

Shehanne – OOOOHHHHHH… the one Wryson had to pay from Gonetta’s cos she’d have nicked it otherwise.

ResaYES, the one Wryson pays for – BUT – it is the image I got in my mind (being a costume designer) before I got to the parts where you describe the gown – a backless cream gown. . Can you believe how different our visions are? What do you think about that? 

Shehanne – I think it is great actually that the visions were different. It said to me that you were really picturing her–and green is a noted color she wears. I imagined  she was drawn to the shop  and it reminded her of past balls, even if the main one she remembers was the night she got pitched into a Turkey oak, after first chucking herself at the man she loved.


--this is backstory before Wryson lands on her doorstep--

It reminded her of not living  hand to mouth on the road. So she wandered in and got herself a fitting with the intention of   dancing  on her own in Dark Falls--which we know she does-- in that gown.

Alas it defied her nicking abilities. But she probably told herself she could maybe nick the dosh. She’s very good at NOT getting things done too. But being her she probably got fitted for more than one.

So it was kind of deliberate on my part not to describe the gown at that point, because she is also capable of going there and nicking some other  gown off a rail of made but not paid for gowns.

ResaI honestly like your gown better. What do you think about that?

Shehanne – What can I say but awwww…. truly, and you know a description can always be changed in a book.

ResaWell, I am thrilled you had a ball. It is a pivotal bit, and if it was a movie, the big money beauty scene. Of course the carriage bit is the big money stunt scene.

Shehanne – Alas, I always see book scenes as movies. One of my fav freelance regular writing gigs ever was for girl’s comics for DC Thomsons. YOU HAD TO WRITE IN STORYBOARDS. YES!! So many frames per episode, dialogue/thoughts and instructions to the artist only on each frame. Always end with a cliff hanger.

Back in London

ResaHere are the drawings, for court & carriage! The full skirt outfit would have already been in her closet before she escaped. The other, would be a new dress, the latest Regency fashion.

Shehanne – Yes, I forgot she has a fancy new coat for the court scene, her ‘other’ fellah having had enough of her special one.

Shehanne – It is what I imagined… Fashionable, dressy because she would need to be both and not look like  a ragbag.. There is the bit about Billy having taken her famous coat —obvi she left the cottage in that coat and he would have seen to it that she got some decent clothes  in London. And yes the first would have been the kind of dress she’d have worn to balls before and during Byron.

Inspirations

ResaSo I was inspired to draw Eternity in a metaphoric sense. I had thought “Hair of flames” because what comes out of her mind and mouth is so fiery, literally, but this came out of me. Did I capture her in that metaphoric sense?

Shehanne –  You have captured her perfectly. You always have the sense of my ladies but she’s off the scale in many ways.

She’s wild, she’s free, she’s guarded, she’s bruised, she’s moody, she’s mouthy.  She walks tightropes when it comes to functioning. She is her own worst enemy, Above all else she is a survivor and it has been of some horrific things. She is really very difficult and you have amazingly captured all of that.  Wryson is of course not in the best of places himself, but even if he was he’d still be emotionally confused by her.

ResaYou recently posted about Mary Eleanor Bowes, the great-great-great-great-grandmother of Queen Elizabeth the Second. At 11, she was left the richest heiress in England, between 80 and 120 million in today’s terms.  Twice married, she was beaten, burned and more by her husbands.

Shehanne – I thought I’d blog a little of some of the inspirations cos I started as I aye do, with no plot just the idea of picking up the woman who makes a very fleeting, at a distance, appearance in “O’Roarke’s Destiny” and setting her in an abandoned house cos I love abandoned houses.

“Suppose she is sitting there and passing herself off as whatever and then Wryson turns up and says it’s his house,” I thought. Then I obvi had to suss it out from there and I also thought at that point of the dreadful hubby and the unhappy countess.

Read about Mary Eleanor Bowes on Shehanne’s blog

Shehanne – Despite a descendant marrying into royalty and giving birth to Elizabeth 2nd, the story is not THAT well known. But it is interesting on so many levels. I primarily used the violent hubby because I needed a reason for Lyon to have a hold on her.

ResaYou built a strong, feisty female character, in a time where women had no rights. It’s inspirational.

Shehanne– You are right re: the lack of rights. I gather that Mary was not sympathized with because of the lovers, because of a lot of things she did and it was something that she actually got a ruling in her favor.

About Shehanne Moore

I christen all my characters with care. I actually love thinking of what their name is going to be.

Wryson’s Eternity is available on Amazon. Just click on the book cover and go there!

Shehanne – I did do a play list for the story… it is a bit long, possibly the longest I’ve done for a book play list.

ResaIt’s a fab Play List. If anyone cares to listen just click on the enhanced drawing of Eternity on the right, and it will take you there!

From Shehanne’s Play List!

🌟🌟I have read all of these fab Shehanne Moore Books. 🌟🌟 Just go to an Amazon anywhere, to find them!

Tissot – 2

This is the painting that lured me to the exhibit.

The Convalescent -1872

This young woman’s housecoat, patterned yellow pillow and tropical plants were introduced to Europe via colonial conquests in the southern hemisphere.

Juxtaposed to these items that signify the speed of travel, trade and fashion are the middle class woman’s long slow hours of recuperating health.

The Seasons

Tissot drew on the art historical tradition of women and natural cycles; ie. young women and spring.

Ippitsusai Buncho (Japanese, active 1765 – 1792), Kabuki. Segawa Kikunojo in female role of Ohatsu in“Yoni Osaka Nitsuino Myoto”

The elongated form, and stylized blades of grass in the foreground shows the influence of Japanese woodblock prints.

Spring Morning (1878)
Spring (1878)

Limiting the number of prints to a plate (which adds value through scarcity) was unusual prior to the second half of the 1800’s.

The simplest way to cancel a run is to rut the metal plate with deep lines.

PRINTS MADE BEFORE & AFTER PLATE CANCELLATION
Summer (1878)
October (1878)

“He also depicted women in current fashions, presenting them as both timeless and contemporary.”

Despite the racial diversity of Europe at the time, Tissot’s artworks focus on white women.

The Thames

This image of a naval officer cruising the polluted Thames River with 2 women (Must be prostitutes!) was deemed “thoroughly and willfully vulgar”by a critic.

The Thames (1876)

The British saw this as immoral French art, which included Impressionism.

Emigrants (1880)

Tissot captured the global flow at bustling ports along the Thames.

This print highlights the artist’s expertise in capturing nautical scenes.

Tissot had an infinitude for portraying women in ambiguous situations.

This emigrant woman leaving a ship with her baby makes one wonder where her journey will lead.

Souvenirs of the Siege of Paris

This collection recounts Tissot’s time as a sharpshooter with The French National Guard during the Franco-Prussian War (1870 – 1871)

Foyer of the Comédie-Française, Recollection of the Siege of Paris (1877)

Tissot’s images of dead or ailing men depict specific historical events and locations. They were viewed by Victorians as accurate reportage.

La Frileuse

Kathleen Newton (1854 – 1882)

Kathleen Turner was a young Irish divorcée and mother, who lived with Tissot in London until her early death at 28 from tuberculosis. Tissot often used her as a model.

Tissot’s prints were affordable, attracting middle-class and international buyers. His Victorian themes were adored and his prints circulated the globe, amassing the artist a small fortune.

The Women of Paris

Following the death of Kathleen in 1882, Tissot returned to Paris.

Tissot exhibited 15 paintings and a corresponding print series of modern Parisian women from different social classes, each accompanied by a short essay by a prominent French writer.

Critics panned the show as behind the times. They claimed he painted “the same Englishwoman” repeatedly.

“Following the critical failure of his exhibition, Tissot never focused on the theme of modern womanhood again.”

Shop Girl (circa 1884)

Photos taken © Resa McConaghy – January 7, 2025

Art Gallery of Ontario, Toronto, Canada

Source material – Art Gallery of Ontario

Lilac Fan Dance

A storm of uneasy was roiling within me.

All of the AGMs had a dedicated Art Gown, except Dale.

The only way to quell the turmoil was to whip up a gown. I figured four, five months tops.

Seven months later, Lilac Fan Dance was dreaming out of the Art Gowns atelier window.

The ruffly lace tail had become a total diva during its construction. What figured to be done in 3-4 hours took 3-4 weeks.

It was the same time consuming issues I’d encountered making the fans for Diane Lane in “The Big Town”.

It began with an 80’s floral print fabric draped on Judy. Surrounded with acetates, a sheer and lace harvested from “Atlantis Mermaid Love-In”, inspiration struck .

The harvested lace was not enough to fulfill my idea, so old lace curtain scraps were painted with acrylics inherited from my F-i-L. The dates on the tubes were from the 1990’s.

Once dry the paint was heat set, the lace cut into creative shapes and randomly gathered. The 3d lace pieces were strewn behind the gown, and it was evident backing yardage was required.

A strip of white curtain sheer left over from Belle Grâce was blotch painted with the remainder of the purple paint.

TA DA! Lilac Fan Dance – dedicated to Dale – A Dalectable Life

Suddenly, the day became dark and filled with the peal of Thunder.

Memories flooded in and I could see…

Diane Lane waiting on my front porch. She’d come to check out her fans.

Romanticized by the idea of the Burlesque circuit, Lilac Fan Dance built a fan out of peach blossoms from Dale’s peach tree on Tim’s magic tree sanctuary.

Unable to dance due to that she had wheels instead of legs, no arms of her own and no head,

…. she borrowed some of Mae West’s jokes and did a stand-up.

Happy with her time as an entertainer, but tired of life on the road, Lilac Fan Dance returned home.

“Positive thoughts generate positive feelings and attract positive life experiences. You only live once, but if you do it right, once is enough.” -Mae West

OUTTAKES

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Lilac Fan Dance © Resa McConaghy – 2024

Peach Blossom pics © Timothy Price from Off Center Not Even

The Vi-Queens

Welcome dahlings! Inspired by Vikings, northern lights and all things “land of the midnight sun”, Art Gowns presents a twist of creation, “TheVi-Queens”. 

Here to host our Vi-Queen telecast, her mic custom made to look like an ax, is Art Gowns own glorious Art Director, Rebecca Budd. Take it away RB!

Thank you RR! I’m lovin’ my new maxrophone. It’s made to talk your head off! Each AGM Vi-Queen will model her gown in a regal gold picture frame made out of all recycled materials.

First into the frame is Gigi. A red velvet gown, gold lame cape and black with silver metallic faux fur keeps her warm during days of all night.

Marina is the god’s musical muse in a blueberry dyed gossamer cotton gown. Her head piece features a hammered gold diamond with an olive tree decoration.

40 layers of tulle help Holly float into the frame. Wide strips of blue NOS ultrasuede tapered at the waist lets lacing shape the overskirt. Trumpet sleeves and a macrame choker are held in place by vintage gold buttons.

Posing in her second costume change of the evening, RR graces a claret velvet gown with hammered gold breast cups, arm bands and belt buckle. Detached trumpet sleeves complete the ancient look.

Shey, still in Goth recovery from losing her beloved to a puppethood prisonership, poses in a pale moss green silk bias cut gown. A gold coin hip belt, gold arm band, headband with gold medallion, asymmetric gloves and gold tipped spear perfect this powerful Vi-Queen.

Dale’s faux feather boa will keep her warm when night is nigh. Her fishtail gown’s metallic bustier is of repurposed lurex, and the fishtail’s feathers are  from the same fabric scraps as the boa.

RR’s final outfit of the evening is another fishtail gown: skin tight with lace-up corset style bodice & lurex inserts. 

🌺 Her  floral shawl, a  gift from Princess Blue Holly, has a one time unknown magic feature! 🌹

Rupert wielding 2 steak knives, Drac with blood red talons of steel & Etagloc smoking a massive nicotine spewing cigar with a fire ball heater advance threateningly.

Without hesitation, RR  whips open her enchanted shawl. The floral print turns into a hundred thousand real flowers of all sizes, sundering the golden frame apart.

The mystical flowers bury Belezza, her evil puppets and the entire film crew in a floral potpourri.

The AGM V-Qs & RB are encased in midnight sun protective spheres created by the shadows of petals.

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RR looks into her Tangle-Heart, and watches Belezza & the puppets retreat into Otherworld. The AGMs remain trapped in protective spheres and the crew has evacuated the studio.

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Princess Blue Holly & Rene Rosso characters © Resa McConaghy & Holly Rene Hunter -since 2019

Music selection by Holly Rene Hunter

🌕 Holly – House of Heart🌖 Shey – Smexy Historical Romance 🌗 Gigi – Rethinking Life 🌘 Marina – Art Towards a Happy Day 🌑 Dale – A Dalectable Life   🌒 Rebecca – Chasing Art 🌓

🌔 Flower & tree photos © Timothy Price Visit Tim’s blog 🌕

The Gift

Hello dahling Kat!  We’re here to say ThankYou for the wonderful gift of old fabrics, starting with a 40 pound box, that showed up in the mail one day!

Look! I just have to drape them over and around me, and it looks like a gown. Still, several gowns have been made largely out of the gifts you’ve sent.

Here to tell all about the creations is AG’s Art Director. Take it away Rebecca!

Thank you, Rene! Not only has Kat sent enough fabric to cover a few elephants, I’m standing here wearing and holding vintage clothing, scarves, pillow shams, lace and such that she has tossed in.

Check out the cat walk! Art Gowns Model Shey looks like one of her romance novel heroines in her dedicated Art Gown, Jade.

Jade is crafted from yardage of a chartreuse-esque poly silk-satin of sorts, 2 vintage decorator pillow shams & many metres of reclaimed ribbon.

On the runway, Μοντέλο Art Gowns Marina, models Belle Grâce. Belle Grâce, Tim’s dedicated Art Gown, is made from a mid-weight satin in pink & 2 shades of gold, with white curtain sheers. 

AGM Holly, in Spring Rhapsody, holds the tail as she walks. The copper satin of the gown is strange… possibly upholstery goods, and is somewhat heavy. Spring Rhapsody is topped with a vintage pillow slip, and adorned with various cut cloth bits, scraps of fine lace and vintage gold buttons.

On this occasion, Holly has written a poem especially for Kat.

Modèle de robes d’art Gigi found out how much Kat adores the Chicklets. She sends a message!

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Displaying the main fabric for what will be her dedicated Art Gown, AGM Dale knows that there’s a lot to do to finish it, but that it is well under way!

And now back to RR for a parting message!

Thank you Rebecca! In closing I’m leaving these songs for Kat; one for being a mush head and one for fun.

Princess Blue Holly & Rene Rosso characters © Resa McConaghy & HollyRene Hunter – since September 2019

Chicklets art © Georgiann Carlson

Visit the AGMs on their blogs – Marina – Art Towards a Happy Day / Holly – House of Heart/ Dale – A Dalectable Life / Shey – Smexy Historical Romance/ Gigi – Rethinking Life

Visit Timothy Price from Off Center Not Even

Need a reminder, or to catch up? Click on the above poster!

Get ready for the next fashion show when Bezella and her evil puppets will take on Princess Blue Holly!

Midnight Nightingale

One enchanted evening I was inspired to make a performance Art Gown for the spellbinding Soprano, Charlotte Hoather.

She embraces the concept that Art Gowns are hand sewn from off cuts, repurposed clothes, curtains, table cloths, etc. and NOS (new old stock).

Charlotte lives in the U.K., and I wouldn’t be able to fit her. So, she sent me professionally taken measurements from an opera wardrobe department. I used those to make small adjustments to Judy.

Although I’ve made many gowns, and have history designing in film and television; presenting for stage is different.

Day shots were in natural light.  Night shots were lit. I can’t compete with stage lighting, especially overhead lighting. That would bring out the dazzle on the skirt’s circular tail, as it sits on the floor.

Midnight Nightingale is presented in a way I hope you can imagine what stage lighting could make happen.

I sent Charlotte a photo of an off cut of sequin fabric someone had gifted me. It was thrown on Judy with a stretch velvet piece, to show the germ of an idea. Called “Dragon Skin”, the sequins are variegated green/blue. Also, one can rub the sequins backwards and they flip to black. Funny, but once I got going, that novelty wore off.

A bustier shape was draped on Judy, then transferred to a paper pattern. That was used to cut the Dragon Skin. A decent yardage of 25 year old NOS plum acetate satin was pulled from the stash, and a 3 panel a-line(ish) skirt was cut. A full circle of $2.00/yd., 120″ wide liquidated black curtain sheer was draped on top.

The stretch velvet was used for the back & straps of the bustier. The thought was that it would be easier for fit and altering. A separating zip was inserted in the centre back. The gown’s finishes were designed to accommodate alterations.

Circles were cut out of the remaining Dragon Skin, and sewn onto the circular tail of the skirt.

A small bustle with a long thin nightingale tail, on its own waistband, is added separately to the top and skirt.

The gown can be worn with or without the bustle/nightingale tail. Teeny rhinestones (a gift from a friend) dot it and fill in between the sequin circles on the skirt’s tail.

Midnight Nightingale’s circular skirt tail can be hitched up, with or without the bustle/nightingale tail, for various effects.

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Visit Charlotte on her blog!

Last I knew, Charlotte was practicing to be a Coloratura Soprano. She may be there already. Below is a fantastic performance.

I’m totally in love when Charlotte sings and George plays piano.

Charlotte, her star rising, is in rehearsals for a new Opera, “Brontë“.

In three pieces, Midnight Nightingale is glamorous and versatile. Above, the top is shown with a vintage navy panné velvet skirt.

Art Gowns & Photography © Resa McConaghy

Since – November 2012

The Sad Café

The lush visuals and vivid sensations created by “House of Heart” ‘s  Sad Café  series have captivated me. One night, while listening to live music, I began drawing from my mind’s eye album. Holly picked prose & poems to go with the drawings.

I’m awakened by far off laughter drifting through the window of my flat above the Café. From there I can see the cobblestone streets filling with nighttime partiers dodging snow drifts piling along the curbside. My watch reads ten o’clock. Sinking slowly into a warm bath I rinse the scent of smoke from my hair with lavender soap. My skin smells of yesterday’s perfume mingled with the haunting presence of strong cologne and the sweet scent of sweat and rope. At the mirror I brush my hair and pull it back with a silver plated comb, slip into smoky seamed stockings and a clingy black frock. Making my way past the crowded bar I slide into my usual booth at the dark fringe of a deserted corner. I order a glass of red wine and wait.

The room is stifling with

deflowered souls.

The sad café tends its ghosts

but we are more than grateful to forget.

There are no secrets among these

desolate lovers disfigured by life.

We inhale circlets of smoke

that linger in the air and taste lips

dripping desire.

The night arches its back

to drunken angels so we dance

below stars that meet us halfway.

I’ve been here forever

hidden in fantasies,

dimly lit rooms where

moonbeams caper blithely

on the river Seine.

All of my memories are strangers

that come and go.

I want them to know

the smokey purple of lunar tides,

the bittersweet of Rose red.

They linger beneath lamp lit streets,

shadows on tiger paws.

I remember you

beside that serpentine

river of eels and smoke and lovers.

Your secrets held captive

inside a closed heart,

coaxing stars pressed

up against the sky.

Do you think of me?

I am still here where walls

ring with silvery mirth.

I am your souvenir,

a shadow of a woman

in rhinestone heels

A street light blinks off and on. At the window a moth relentlessly scours its edges in search of a way out.

Parting a juicy plum I lick the nectar from my fingers. Like sweet memories the pulp is delicious on my tongue. Beating its wing’s against the glass the moth falls exhausted to the sill, like my eyes.

I remember you. The sun slipping through your teeth. The ghosts of lovers, like birds, peering from behind your eyes, flaying their wings unable to escape.

Drawings © Resa McConaghy

Poetry & Prose © Holly Rene Hunter