I am currently sewing up the bodice of this dress and I am trying to understand how the drawstring works. Specifically I am trying to understand whether there are two or four pieces of drawstring?
From the instructions I have inserted drawstring through the button hole and channel in the front piece. The instructions read "Insert two narrow cotton tapes through the button-hole, let the tape stick out about 3/8” (1cm) at the sides."
After this, it has you sew the front piece the the bodice lining and in a following direction it reads: "Secure the tapes with some additional stitches."
There is also a channel created on the back piece for a drawstring with an opening to the back of the dress. At this part the instructions read: "At the back piece only, sew a tunnel from the right side with a back or prick stitch parallel to the neckline edge (d). Insert tapes and fix them at the shoulder seam securely."
What I'm failing to understand here is when it says insert tapes does it mean insert the same tapes that are going through the channel in the front piece, or to insert two new tapes?
In either case I'm not really sure how long the tape pieces would be? The pattern provides total yardage but doesn't provide estimated lengths for the specific uses of the tape.
I originally cut two that were a couple inches longer than half the neckline thinking they were going to go from the front to the back. If there are going to be 4 tapes, 2 starting at shoulder seam to the center back and two starting at front seams to the center front then how much longer should they be than the channel they are running through?
I know I can always cut them shorter but I'd rather not have waste if I can avoid it and also still don't feel confident about the two pieces vs. four!
Thank you to anyone who can give me insight! Also I know I tend to use 100 words when 20 could have sufficed :)

Hi everyone,
I am a newly graduated fashion & apparel design student hoping to get my brand off the ground within the coming year. I have very good sewing skills myself but have realized I simply won't have the time to sew the items I sell, as well as do marketing, registering my business, social media, e-commerce stuff, shipping, etc. I am interested in finding a manufacturer to help with production and wanted to see if anyone knows a place that could fit the bill.
I mostly make camp shirts and jackets, both of which I have made and trued patterns for. The kicker is I primarily upcycle, so my designs can incorporate many different fabrics into the same piece - think of a button-up shirt where the yoke is one material, the sleeves another, the front pieces another, and the pockets and collar another. I don't usually patchwork together scraps smaller than pattern pieces, but I know some manufacturers may not like the idea of working with such medium pieces of fabric rather than full meterage.
Does anyone know of any low-MOQ manufacturers or one-off manufacturers who would be able to do something like this? In the US/Canada is preferred, but I would also be open to manufacturers abroad so long as they are ethical & sustainable.
Thanks y'all! :-)

Hi everyone,
I am a newly graduated fashion & apparel design student hoping to get my brand off the ground within the coming year. I have very good sewing skills myself but have realized I simply won't have the time to sew the items I sell, as well as do marketing, registering my business, social media, e-commerce stuff, shipping, etc. I am interested in finding a manufacturer to help with production and wanted to see if anyone knows a place that could fit the bill.
I mostly make camp shirts and jackets, both of which I have made and trued patterns for. The kicker is I primarily upcycle, so my designs can incorporate many different fabrics into the same piece - think of a button-up shirt where the yoke is one material, the sleeves another, the front pieces another, and the pockets and collar another. I don't usually patchwork together scraps smaller than pattern pieces, but I know some manufacturers may not like the idea of working with such medium pieces of fabric rather than full meterage.
Does anyone know of any low-MOQ manufacturers or one-off manufacturers who would be able to do something like this? In the US/Canada is preferred, but I would also be open to manufacturers abroad so long as they are ethical & sustainable.
Thanks y'all! :-)

I am going to a black tie ball late July and was thinking this would be perfect as a floor length dress in a winter wonderland themed colour. The only issue I have is my tattoo on my left shoulder I would like to be covered up as it’s for a private school function and a bit more conservative. Any suggestions on how to add straps or even an alternative dress pattern to make. I am intermediate at sewing have made bras before and sew a lot of my daughters party dresses.
https://www.tammyhandmade.com/rose-cafe-bustier-dress-sewing-pattern-review/

I'll try to keep this brief but I have a lot to say and I tend to ramble. I (20F but 19 at the time) have been broken up with my ex (20F) for almost a year now. When we first ended things I felt SO MUCH RELIEF I was in almost a euphoric state for the first week or two. I knew she was extremely toxic but didn't care to question it because I was just so happy to never have to see or speak to her again but quickly that wore off and I realized just how terribly she treated me. In the past month or two it's starting to get to me again after a few conversations with close friends where I told the stories of things she did to me, hoping to have a laugh at the absurdity but underneath realizing just how much she put me through. I still can't accept that it was truly mental or emotional or verbal etc. abuse. I guess I just want somebody to tell me if I'm victimizing myself, or if my mental illness is making me delusional if I was the real abuser the whole time, or if we were both toxic (all her words). I just wanna list off some of the things she did, partially for myself to lay it all out and partially to ask everyone here if I'm the problem or if she was just toxic w/o being "abusive". I'm avoiding specific details because I don't want anyone I know to stumble upon this and know it's me so apologies if theres little context but here it is:

• biggest one on the top: when we first got together I had just gotten out of a relationship and was struggling metally. I had been in therapy for a while before we met and started mood stablizers soon after we were together. she constantly would use this against me to tell me i'm crazy, that my mental illness was ruining our relationship, that i was "a disease", that I was just like her crazy ex etc.
  
• another huge one! she insisted on extravagant expensive gifts then later expected unquestioned obedience because of it. when i caught on to this and began denying gifts it would cause arguments
  
  • i identified as bisexual at the time which she constantly used against me. if we were ever in the presence of men, even if i didnt interact with them, she would get mad and either give me the silent treatment or start an argument about it. when i expressed multiple times that I may not be attracted to men she would get angry because it proved to her how "easily impressionable" i am
  • constant lies. about things my friends or even my mom had said allegedly about me (they never did), about things that she had or hadn't done, she would even tell lies to my friends and mother about things that I had allegedly said about them (i never did) even right in front of me but she was so convincing to everyone around us that I seemed like the liar no matter how much i denied or explained
  • insults! mainly about me but also my friends and family
  • always wanting a reaction so that she could then point to me as an abuser. e.g: screaming at me and throwing things until i removed myself into a seperate room where she followed me and recorded me without my knowlege as she taunted me until I yelled at her to leave me alone, then played back the recording to show me how poorly i talk her
• she told me so many times that my majors were not as difficult or as important and I "couldn't possibly understand" how much more effort and intellect it took for what she studied (we're both in college and I'm literally a double major!! if that matters)
  
  • told me she was embarrassed of me because my interests and hobbies weren't "resume-worthy"
  • belittled my morals and values, the things i thought were important whether they were big things or small, and my plans for the future
  • controlling to an INTENSE degree. e.g: getting upset with me because i wouldn't let HER floss MY teeth or threatening to break up with me because I wouldn't hide my stuffed animals in the closet when she came over
  • laughed and called me things like pathetic unstable when i would try to tell her certain things she said and did were hurting me. was just all around very cruel and mericless with her words to the point where I seriously think she was nearly incapable of empathy
  • she told me things about myself as if they were fact. this one is hard to explain but for instance: "you just let your s/o's walk all over you" or "youre just not a hard worker". it was said so causally and matter of factly that it wasn't even an insult just an absolute truth she had observed
  • things she admitted to before we broke up: when i opened up to her about my ex and things i went through as a child she later admitted that she was happy that i was "weak" and would tolerate poor treatment. she admitted that she would poke and taunt and yell her own mother until she got the reaction she wanted so that she point out "how crazy she was acting". she admitted to reading my journal the first time she came over to see the excerpts of my ex and, again, figure out just how badly she could treat me.
  • I do want to say that she never actually hit me or physically assualted me but she would often imitate in the moment that she was about to (partially because she wanted to hit me, and partially because she knew it would trigger me because I was abused as a child, again she admitted this part)
  • in arguments: deflected, shifted blame, gaslit, yelled, threw things, hit nearby objects, etc. these arguments would go in circles for hours with the topics ending up miles away from what the intital point was. things typically went from "that didnt happen" to "it did happen but i didnt mean it" to "i meant it but you deserved it". even when I gave in that wasn't enough, she would just leave and ignore me for a day or two
  • she often wouln't take accountability and instead would try to psychoanalyze why what she did upset me, blaming it on my childhood or my ex but never on her actions
  • profuse apologies afterwards. she always promised to stop and to go to therapy but that never happened. somehow she was able to do this without ever actually acknowleging that what she did was wrong
  • i won't go into detail but when it came to bedroom activites there were a few rare times when consent was ... unclear. especially near the end when she was often insistent that I would drink more (she was sober)
  • when i caught on to these patterns by calling her out for fake apologies, gaslighting, lying, manipulation, not taking the bait by reacting, sticking to my boundaries, not letting her deflect in arguments etc. she would throw full temper tantrums. screaming crying throwing herself on the ground type of tantrums. I was so drained at that point that all i could do was just sit and watch and wait for her to stop
  • her poor mom had gotten it for 20 years before me. she told me multiple times to get out of the relationship but i never listened. I hope shes doing well but i'm afraid that checking up on her might invite my ex back into my life

i'm sure that when i post this i'll think of a million more things but this is what i could think of off the top of my head sorry its so long. Writing this all out its so clear that this wasnt normal but i still constantly question whether im just erasing my own hand in it, refusing to acknowlege all the harmful things i did or how i somehow forced her to be this way, if i truly am just so delusional that i made all of this up because i want to be a victim, if i was the one who abused her first, if its my fault because i stayed and let it happen. and if none of those things are true then what do i do from here? I'm moved on and so insanely happy to be single and never have to interact with her again but i'm realizing more and more how much it has affected me.
tldr: my ex gf fits a ton of the criteria for an abuser but i still question whether i am making it up and/or if im the actual abuser just manipulating the situation for my own gain. if i'm not the abuser then how do i accept it and not be affected by it anymore?

I picked up sewing about a year ago in a serious way. I do have some problems though that not even people I paid to help could explain to me in a way that I can understand. I do have problems understanding things without step to step on how to or just more in detail and I cannot for the life of me find a more explaining in more detail way. Both really help.
Making Patterns
I have such a hard time with patterns. I want to make my own. I know I have to make a bodice and everything like that. I know I have to get my measurements or the other person measurements, but... how would I apply those measurements onto the bodice pattern I need to make? Also, how would I turn the bodice into something like a corset or shirt or another pattern rather than just the regular bodice pattern for a shirt. I also have done patterns myself but with the help from someone else which I really want to do this myself. In the future, I want to make corsets, skirts, dresses, and other things like that. That is why I want to figure out the whole making patterns thing because I want to create my own designs instead of buying a pattern. Also, because I have my own measurements and maybe want to create for others. Especially because I want to create outfits for the renaissance fair for both me and my sister. Yeah, I guess the biggest factor is putting my measurements into making a pattern and making the pattern into something like a corset or dress and I'm not sure how to do that.
If there is any advice, tips, or videos of any sort that could help me figure this out I'd really really would appreciate it because that is the reason I stopped sewing because I want to sew something I really really like instead of a pattern and so I can make my own designs.
Much love, thank you. <33

Hi. I want to make a database of all my patterns, but not just knitting. Sewing, quilting, all of it. Just so I stop buying the same patterns more than once. Has anyone ever done this? What did you use?

I'm a literal rookie and a student. So, I got myself a handheld sewing machine because they're supposed to be "easy" and portable.
But I just noticed that there's no way I can refill my bobbins once they're done. I tried looking for videos but all the videos suggested using an actual machine, which i dont have. Is there a trick to refill my bobbins with only my handheld machine?
Also, do I have to sew things from the outside? I tried sewing on a fabric remnant and I got confused when I saw the thread patterns being the "nicer" one from my pov.
Is there anyone with a handheld sewing machine that can help me with these problems? Im fed up with it for today. I think I have more questions but these 2 are the ones that I think are really important atm. Thank u in advance.

I'm making a dress (Seamwork Bobby, my phone is being a pill about pasting links) out of a double layer knit polyester knit fabric. I think technically it's a Liverpool knit, though it looks more like a double layer gauze than the examples of liverpool knits I see online. The fabric store just called it a double knit....which as a knitter I think has a completely different construction.
Anyway, the dress doesn't have a specific stretch percentage, though it does have you stabilize the (lined) neckline with seam tape. My lengthwise stretch percentage is ~40% and my selvedge-to-selvedge stretch is a lot more, like 75%.
I decided the fabric draped better when the grainline was crosswise. So I cut everything running selvedge to selvedge, not cut end to cut end. Because the pattern never called for a stretch percentage, I thought I would be safe. I lined the bodice in a lightweight jersey cut the "right" way. Now I'm second guessing. I have constructed the bodice (minus the elastic waist) and am putting the four panel skirt together. My tricot stay tape is annoyingly sew-on, and I do have some medium hold non-woven fusible interfacing. I can also go out and get different tape.
Option 1: it'll be fine, the dress isn't intended for heavy wear. The shoulder seams and neckline are already taped. (Pattern only specified taping the neckline)
Option 2: Go back and line the side seams of the bodice in stay tape or interfacing. Leave the skirt alone
Option 3: Stay tape the bodice side seams and skirt vertical seams
Option 4: If you do 3, the hem is still going to sag. Stay tape that too.
Option 5: ??
If it matters, I've been doing all the vertical seams and the shoulder seams with a four seam serger. The neckline was a zigzag.

This is an expansion of a recent post and also incorporates some ideas from this theory (by u/ndependent-Design17). Throughout the series the reader is repeatedly reminded that "only death can pay for life" — that magic, especially powerful magic, comes at great cost.

"Only death can pay for life, my lord. A great gift requires a great sacrifice.”

Davos, ASOS
This phrase or variations of this phrase are repeated by Melisandre, Mirri, etc. at various points throughout the series. That which follows is a highly speculative theory on the nature of the cost of magic in the series. Specifically, that souls are central to the exercise of magic and can be used as magic currency.

1. establishing the concept of the soul

Oh, to be sure, there is much we do not understand. The years pass in their hundreds and their thousands, and what does any man see of life but a few summers, a few winters? We look at mountains and call them eternal, and so they seem… but in the course of time, mountains rise and fall, rivers change their courses, stars fall from the sky, and great cities sink beneath the sea. Even gods die, we think. Everything changes.

Bran, AGOT
What happens after we die? Is there some part of us that lives on or do we simply cease to exist. These are fundamental questions that are essentially unanswerable in life but not in ASOIAF. The reader is given a point-of-view account of death in the prologue of ADWD. After unsuccessfully attempting to steal the body of Thistle, a wildling spearwife, Varamyr dies and briefly becomes a disembodied consciousness:

The white world turned and fell away. For a moment it was as if he were inside the weirwood, gazing out through carved red eyes as a dying man twitched feebly on the ground and a madwoman danced blind and bloody underneath the moon, weeping red tears and ripping at her clothes. Then both were gone and he was rising, melting, his spirit borne on some cold wind. He was in the snow and in the clouds, he was a sparrow, a squirrel, an oak. A horned owl flew silently between his trees, hunting a hare; Varamyr was inside the owl, inside the hare, inside the trees. Deep below the frozen ground, earthworms burrowed blindly in the dark, and he was them as well. I am the wood, and everything that’s in it, he thought, exulting.

Prologue, ADWD
Afterward his "spirit," or soul, is eventually transferred into a body of wolf and he begins his second life. This event, and the process of skin-changing more generally, appears to involve projection or transfer of a soul from one body into another. The process of projecting or transferring souls to either animal vessels or the weirwoods is central to the magic of the Children of the Forest.

“Someone else was in the raven,” he told Lord Brynden, once he had returned to his own skin. “Some girl. I felt her.”
“A woman, of those who sing the song of earth,” his teacher said. “Long dead, yet a part of her remains, just as a part of you would remain in Summer if your boy’s flesh were to die upon the morrow. A shadow on the soul. She will not harm you.”
"Do all the birds have singers in them?"
“All,” Lord Brynden said.

Bran, ADWD
After death a "shadow on the soul" of the Singers remain in the crows. The soul of Orell is also described as living on in the body of his eagle after his death.
This process appears to take two forms: the soul can be temporarily projected from one body into another (e.g., as happens when Bran skin-changes into Hodor) or can be permanently transferred as is described in the separate examples above.
These transferred souls merge with their recipient, at least to some degree, and may decay over time:

"The wolf is part of you from that day on, and you’re part of him. Both of you will change.”
Other beasts were best left alone, the hunter had declared. Cats were vain and cruel, always ready to turn on you. Elk and deer were prey; wear their skins too long, and even the bravest man became a coward. Bears, boars, badgers, weasels … Haggon did not hold with such. “Some skins you never want to wear, boy. You won’t like what you’d become.” Birds were the worst, to hear him tell it. “Men were not meant to leave the earth. Spend too much time in the clouds and you never want to come back down again.
...
"They say you forget," Haggon had told him, a few weeks before his own death.
"When the man's flesh dies, his spirit lives on inside the beast, but every day his memory fades, and the beast becomes a little less a warg, a little more a wolf, until nothing of the man is left and only the beast remains."

Prologue, ADWD
Bran is provided with similar warnings about the danger of spending too much time in Summer's skin by Jojen.
The Bran that appears to Jon-Ghost in the vision in ACOK is also likely the lingering soul of a non-contemporary Bran, contained in the weirwoods and communicating from the future.

The weirwood had his brother’s face. Had his brother always had three eyes?
Not always, came the silent shout. Not before the crow.
He sniffed at the bark, smelled wolf and tree and boy, but behind that there were other scents, the rich brown smell of warm earth and the hard grey smell of stone and something else, something terrible. Death, he knew. He was smelling death. He cringed back, his hair bristling, and bared his fangs.
"Don’t be afraid, I like it in the dark. No one can see you, but you can see them. But first you have to open your eyes. See? Like this." And the tree reached down and touched him.

Jon, ACOK
There is more information about this in the Time Traveling Bran series. Briefly, the version of Bran in this vision does not appear to be contemporaneous because likes the dark, is able to open Jon's third eye, smells of death, etc. (This is well outside of the scope of this theory however.)

2. shadow magic requires souls

As above the reader is repeatedly reminded throughout the series that "only death can pay for life." What is specifically being sacrificed, though? Is the magic being fueled by the blood of the sacrificed or by something else?
To answer this let us examine one of the most concrete example of magic in the series, the use or exchange of Stannis Baratheon's "life-fire" in order for Melisandre to manifest the shadows used to kill Renly Baratheon and Courtney Penrose.

Shadows only live when given birth by light, and the king's fires burn so low I dare not draw off any more to make another son. It might well kill him."
Melisandre moved closer.
"With another man, though... a man whose flames still burn hot and high... if you truly wish to serve your king's cause, come to my chamber one night. I could give you pleasure such as you have never known, and with your life-fire I could make..."

Davos, ASOS
According to this explanation, the cost of producing these shadow appears to have been part of his "life-fire," or soul. The shadow is specifically described as having the shape Stannis supporting this. Whether this applies to other types of magic — specifically blood magic or fire magic — is less clear but shadow magic very much appears to require the use of souls.
This type of exchange is also directly referenced in the story of the Night's King provided by Old Nan:

A woman was his downfall; a woman glimpsed from atop the Wall, with skin as white as the moon and eyes like blue stars. Fearing nothing, he chased her and caught her and loved her, though her skin was cold as ice, and when he gave his seed to her he gave his soul as well. (Credit to u/DigLost5791 for this reference.)

Bran, ASOS
Stannis is described by Davos afterward as follows:

The look of him was a shock. He seemed ten years older than the man that Davos had left at Storm’s End when he set sail for the Blackwater and the battle that would be their undoing. The king’s close-cropped beard was spiderwebbed with grey hairs, and he had dropped two stone or more of weight. He had never been a fleshy man, but now the bones moved beneath his skin like spears, fighting to cut free. Even his crown seemed too large for his head. His eyes were blue pits lost in deep hollows, and the shape of a skull could be seen beneath his face.

Davos, ASOS
Asha later describes Stannis as appearing life a "man with one foot in the grave."

What little flesh he’d carried on his tall, spare frame at Deepwood Motte had melted away during the march. The shape of his skull could be seen under his skin, and his jaw was clenched so hard Asha feared his teeth might shatter.

Asha, ADWD
These descriptions seem appropriate for a character that has lost part of their "life-fire" or soul.
Throughout the series Stannis is forced to make a series of increasingly difficult decisions. The most significant of these decisions regards the fate of his nephew, Eric Storm. Melisandre repeatedly urges him to "give [her] the boy," presumably to be burned, but is rebuffed by Stannis.

“I know the cost! Last night, gazing into that hearth, I saw things in the flames as well. I saw a king, a crown of fire on his brows, burning… burning, Davos. His own crown consumed his flesh and turned him into ash. Do you think I need Melisandre to tell me what that means? Or you?” The king moved, so his shadow fell upon King’s Landing.
"…what is the life of one bastard boy against a kingdom?”
“Everything,” said Davos, softly.

Davos, ASOS
Is the life of this bastard boy worth the lives of millions that would die if the Others break through the Wall? Making a deal with the devil and literally selling his soul in pursuit of some greater good seems very appropriate for his character, thematically. The description of his flesh turning to ash in this vision is representative also supports this interpretation.

3. blood and fire magic

As opposed to the creation of the shadows described above, we are also provided an example of so-called blood magic in the leech burning ritual.

“Give me the boy, Your Grace. It is the surer way. The better way. Give me the boy and I shall wake the stone dragon.”
...
Melisandre bowed her head stiffly, and said, “As my king commands.” Reaching up her left sleeve with her right hand, she flung a handful of powder into the brazier. The coals roared. As pale flames writhed atop them, the red woman retrieved the silver dish and brought it to the king. Davos watched her lift the lid. Beneath were three large black leeches, fat with blood. The boy’s blood, Davos knew. A king’s blood. Stannis stretched forth a hand, and his fingers closed around one of the leeches.
“Say the name,” Melisandre commanded.

Davos, ASOS
Following this ritual all of the mentioned individuals do die but do so as the part of separate conspiracies (e.g., Robb Stark is betrayed by the Freys and Boltons, Joffrey Baratheon by Littlefinger and the Tyrells, etc.) which were already in place. It is left intentionally ambiguous by the author but it does not appear that the ritual meaningfully contributed to their deaths.
The creation of the shadows is said by Melisandre to have required part of Stannis' "life-fire" or soul. Could it be that the leech burning ritual was unsuccessful because blood alone is not sufficient as a sacrifice?
These forms of magic are frequently described in the community as "shadow magic" and "blood magic." These concepts — "fire and blood" and "flame and shadow" — are highly associated with one another in the text:

“Shadow?" Davos felt his flesh prickling. "A shadow is a thing of darkness."
”You are more ignorant than a child, ser knight. There are no shadows in the dark. Shadows are the servants of light, the children of fire. The brightest flame casts the darkest shadows."

Davos, ACOK
I speculate that these are different expressions of the same concept; that all of these fall under the general umbrella of fire magic and share common principles. "Fire consumes and in the end there's nothing left."

4. dancing shadows

The tent was aglow with the light of braziers within. Through the blood-spattered sandsilk, she glimpsed shadows moving.
Mirri Maz Duur was dancing, and not alone.
...
No, Dany wanted to say, no, not that, you mustn’t, but when she opened her mouth, a long wail of pain escaped, and the sweat broke over her skin. What was wrong with them, couldn’t they see?
Inside the tent the shapes were dancing, circling the brazier and the bloody bath, dark against the sandsilk, and some did not look human. She glimpsed the shadow of a great wolf, and another like a man wreathed in flames.
“The Lamb Woman knows the secrets of the birthing bed,” Irri said. “She said so, I heard her.”
“Yes,” Doreah agreed, “I heard her too.”
No, she shouted, or perhaps she only thought it, for no whisper of sound escaped her lips. She was being carried. Her eyes opened to gaze up at a flat dead sky, black and bleak and starless. Please, no. The sound of Mirri Maz Duur’s voice grew louder, until it filled the world. The shapes! She screamed. The dancers!
Ser Jorah carried her inside the tent.

Daenerys, AGOT
The introduction of shadow magic in the series is provided above with Mirri Max Duur. Following this ritual Drogo is described as a lifeless husk:

"He seems to like the warmth, Princess," Ser Jorah said. "His eyes follow the sun, though he does not see it. He can walk after a fashion. He will go where you lead him, but no farther. He will eat if you put food in his mouth, drink if you dribble water on his lips."

Daenerys, AGOT
It has previously been speculated that Mirri "reverse skin-changed" Drogo (e.g., "strength of the mount go into the rider, strength of the beast go into the man."). The description provided is less consistent with a horse soul inhabiting a human body than it is with the complete or near-complete absence of a soul. It appears more likely in retrospect that Mirri sacrificed part of Drogo's soul to summon the shadows and likely as a means to kill Daenerys' unborn child.

“The stallion who mounts the world will burn no cities now. His khalasar shall trample no nations into dust."

Daenerys, AGOT

5. reanimation

If "only death can pay for life" and souls are used as a form of magical currency how does one explain the reanimation or resurrection process?
There is a paucity of information on the reanimation of the dead in the series. The resurrection of Beric Dondarrion, for example, appears to be different in fundamental ways from that of the wights or Cold Hands. (We are potentially given a point-of-view account of this process if you accept that Victarion died in ADWD.)

“Thoros, how many times have you brought me back now?”
The red priest bowed his head. “It is R’hllor who brings you back, my lord. The Lord of Light. I am only his instrument.”
“How many times?” Lord Beric insisted.
“Six,” Thoros said reluctantly.
“And each time is harder. You have grown reckless, my lord. Is death so very sweet?”
Arya, ASOS

There is no immediately identifiable magical cost for these "kisses of life," at least at first glance. Thoros later tells us that he breathed part of his "flames" or soul into Beric:

“That first time, his lordship had a hole right through him and blood in his mouth, I knew there was no hope. So when his poor torn chest stopped moving, I gave him the good god's own kiss to send him on his way. I filled my mouth with fire and breathed the flames inside him, down his throat to lungs and heart and soul. The last kiss it is called, and many a time I saw the old priests bestow it on the Lord's servants as they died." (Credit to u/watchersontheweb for providing this quote in the initial thread.)

Arya, ASOS
Thoros is also described as appearing very different after performing this ritual several times in a way that is not entirely dissimilar to the changes in Stannis’ appearance referenced above.

“Here’s the wizard, skinny squirrel. You’ll get your answers now.”
He pointed toward the fire, where Tom Sevenstrings stood talking to a tall thin man with oddments of old armor buckled on over his ratty pink robes. That can’t be Thoros of Myr. Arya remembered the red priest as fat, with a smooth face and a shiny bald head. This man had a droopy face and a full head of shaggy grey hair.
...
“Thoros of Myr. You used to shave your head.”
“To betoken a humble heart, but in truth my heart was vain. Besides, I lost my razor in the woods.” The priest slapped his belly. “I am less than I was, but more. A year in the wild will melt the flesh off a man. Would that I could find a tailor to take in my skin. I might look young again, and pretty maids would shower me with kisses.”

Arya, ASOS
Thoros attributes these changes to his renewed devotion to the Red God and spending "a year in the wild" as above although he is not exactly forthcoming with Arya about the resurrection process. It is also likely that he does not entirely understand what specifically is being exchanged here.
Later he describes Beric giving the "kiss of life" to the corpse of Catelyn Stark:

“The Freys slashed her throat from ear to ear. When we found her by the river she was three days dead. Harwin begged me to give her the kiss of life, but it had been too long. I would not do it, so Lord Beric put his lips to hers instead, and the flame of life passed from him to her. And… she rose. May the Lord of Light protect us. She rose.”

Brienne, AFFC
Notably, this process produces a reanimated Catelyn (a.k.a. Lady Stoneheart). The soul of Beric, or at least whatever is left of his soul at this point in the series, is consumed in order to resurrect Catelyn and not transferred.

6. cold shadows (wild speculation)

The terms "white shadows," "pale shadows," and "cold shadows" are repeated used to describe the Others. The Others are also highly associated with ghosts — the spirits or souls of the dead bound to the earth. (The forrest in which they are introduced is literally called the Haunted Forrest.)

The Others made no sound.
Will saw movement from the corner of his eye. Pale shapes gliding through the wood. He turned his head, glimpsed a white shadow in the darkness. Then it was gone. Branches stirred gently in the wind, scratching at one another with wooden fingers. Will opened his mouth to call down a warning, and the words seemed to freeze in his throat. Perhaps he was wrong. Perhaps it had only been a bird, a reflection on the snow, some trick of the moonlight. What had he seen, after all?
“Will, where are you?” Ser Waymar called up. “Can you see anything?” He was turning in a slow circle, suddenly wary, his sword in hand. He must have felt them, as Will felt them. There was nothing to see. “Answer me! Why is it so cold?” It was cold.
Shivering, Will clung more tightly to his perch. His face pressed hard against the trunk of the sentinel. He could feel the sweet, sticky sap on his cheek. A shadow emerged from the dark of the wood. It stood in front of Royce. Tall, it was, and gaunt and hard as old bones, with flesh pale as milk. Its armor seemed to change color as it moved; here it was white as new-fallen snow, there black as shadow, everywhere dappled with the deep grey-green of the trees. The patterns ran like moonlight on water with every step it took. Will heard the breath go out of Ser Waymar Royce in a long hiss. ...
The Other slid forward on silent feet. In its hand was a longsword like none that Will had ever seen. No human metal had gone into the forging of that blade. It was alive with moonlight, translucent, a shard of crystal so thin that it seemed almost to vanish when seen edge-on. There was a faint blue shimmer to the thing, a ghost-light that played around its edges, and somehow Will knew it was sharper than any razor.

Prologue, AGOT
This is again highly speculative but it seems reasonable to consider that these cold shadows are not "ice demons" or "ice zombies" but are in fact ghosts, the spirits or souls of men that are bound to the earth through magic by the Children of the Forest. (The textual evidence of the creation of the Others by the Children has previously been discussed at length in the community in separate posts.) "Fire consumes, but cold preserves."
This would explain several of the unusual characteristics of the Others described by Tormund:

“Tormund,” Jon said, as they watched four old women pull a cartful of children toward the gate, “tell me of our foe. I would know all there is to know of the Others.”
The wildling rubbed his mouth. “Not here,” he mumbled, “not this side o’ your Wall.” The old man glanced uneasily toward the trees in their white mantles. “They’re never far, you know. They won’t come out by day, not when that old sun’s shining, but don’t think that means they went away. Shadows never go away. Might be you don’t see them, but they’re always clinging to your heels.”
...
Tormund turned back.
"You know nothing. You killed a dead man, aye, I heard. Mance killed a hundred. A man can fight the dead, but when their masters come, when the white mists rise up… how do you fight a mist, crow? Shadows with teeth … air so cold it hurts to breathe, like a knife inside your chest … you do not know, you cannot know … can your sword cut cold?"

Jon, ADWD
A reasonable interpretation of this information is that the Others are present during the day, at least in some capacity, and are only able to assume corporeal form at night.
The Others are also described as "going lightly upon the snow" which would also supports the idea that they are ghosts:

“The white walkers go lightly on the snow,” the ranger said. “You’ll find no prints to mark their passage.”

Samwell, ASOS

7. conclusions

This highly speculative theory attempts to reconcile several seemingly disparate concepts in the series related to magic, namely the actual nature of magical sacrifice ("only death can pay for life") and shadows or shadow magic. More specifically, I suggest that souls are the primary magical currency and can be consumed using fire magic to summon shadows, create glamours, etc. I also speculate that similar processes took place during Mirri Maz Duur's shadow-binding ritual in AGOT and during the repeated resurrections of Berric Dondarrion in ASOS. I further suggest that the Others are ghosts, the spirits or souls of the dead bound to the earth.
EDIT: edited several times to address formatting issues

This is an expansion of a recent post and also incorporates some ideas from this theory (by u/ndependent-Design17). Throughout the series the reader is repeatedly reminded that "only death can pay for life" — that magic, especially powerful magic, comes at great cost.

"Only death can pay for life, my lord. A great gift requires a great sacrifice.”

Davos, ASOS
This phrase or variations of this phrase are repeated by Melisandre, Mirri, etc. at various points throughout the series. That which follows is a highly speculative theory on the nature of the cost of magic in the series. Specifically, that souls are central to the exercise of magic and can be used as magic currency.

1. establishing the concept of the soul

Oh, to be sure, there is much we do not understand. The years pass in their hundreds and their thousands, and what does any man see of life but a few summers, a few winters? We look at mountains and call them eternal, and so they seem… but in the course of time, mountains rise and fall, rivers change their courses, stars fall from the sky, and great cities sink beneath the sea. Even gods die, we think. Everything changes.

Bran, AGOT
What happens after we die? Is there some part of us that lives on or do we simply cease to exist. These are fundamental questions that are essentially unanswerable in life but not in ASOIAF. The reader is given a point-of-view account of death in the prologue of ADWD. After unsuccessfully attempting to steal the body of Thistle, a wildling spearwife, Varamyr dies and briefly becomes a disembodied consciousness:

The white world turned and fell away. For a moment it was as if he were inside the weirwood, gazing out through carved red eyes as a dying man twitched feebly on the ground and a madwoman danced blind and bloody underneath the moon, weeping red tears and ripping at her clothes. Then both were gone and he was rising, melting, his spirit borne on some cold wind. He was in the snow and in the clouds, he was a sparrow, a squirrel, an oak. A horned owl flew silently between his trees, hunting a hare; Varamyr was inside the owl, inside the hare, inside the trees. Deep below the frozen ground, earthworms burrowed blindly in the dark, and he was them as well. I am the wood, and everything that’s in it, he thought, exulting.

Prologue, ADWD
Afterward his "spirit," or soul, is eventually transferred into a body of wolf and he begins his second life. This event, and the process of skin-changing more generally, appears to involve projection or transfer of a soul from one body into another. The process of projecting or transferring souls to either animal vessels or the weirwoods is central to the magic of the Children of the Forest.

“Someone else was in the raven,” he told Lord Brynden, once he had returned to his own skin. “Some girl. I felt her.”
“A woman, of those who sing the song of earth,” his teacher said. “Long dead, yet a part of her remains, just as a part of you would remain in Summer if your boy’s flesh were to die upon the morrow. A shadow on the soul. She will not harm you.”
"Do all the birds have singers in them?"
“All,” Lord Brynden said.

Bran, ADWD
After death a "shadow on the soul" of the Singers remain in the crows. The soul of Orell is also described as living on in the body of his eagle after his death.
This process appears to take two forms: the soul can be temporarily projected from one body into another (e.g., as happens when Bran skin-changes into Hodor) or can be permanently transferred as is described in the separate examples above.
These transferred souls merge with their recipient, at least to some degree, and may decay over time:

"The wolf is part of you from that day on, and you’re part of him. Both of you will change.”
Other beasts were best left alone, the hunter had declared. Cats were vain and cruel, always ready to turn on you. Elk and deer were prey; wear their skins too long, and even the bravest man became a coward. Bears, boars, badgers, weasels … Haggon did not hold with such. “Some skins you never want to wear, boy. You won’t like what you’d become.” Birds were the worst, to hear him tell it. “Men were not meant to leave the earth. Spend too much time in the clouds and you never want to come back down again.
...
"They say you forget," Haggon had told him, a few weeks before his own death.
"When the man's flesh dies, his spirit lives on inside the beast, but every day his memory fades, and the beast becomes a little less a warg, a little more a wolf, until nothing of the man is left and only the beast remains."

Prologue, ADWD
Bran is provided with similar warnings about the danger of spending too much time in Summer's skin by Jojen.
The Bran that appears to Jon-Ghost in the vision in ACOK is also likely the lingering soul of a non-contemporary Bran, contained in the weirwoods and communicating from the future.

The weirwood had his brother’s face. Had his brother always had three eyes?
Not always, came the silent shout. Not before the crow.
He sniffed at the bark, smelled wolf and tree and boy, but behind that there were other scents, the rich brown smell of warm earth and the hard grey smell of stone and something else, something terrible. Death, he knew. He was smelling death. He cringed back, his hair bristling, and bared his fangs.
"Don’t be afraid, I like it in the dark. No one can see you, but you can see them. But first you have to open your eyes. See? Like this." And the tree reached down and touched him.

Jon, ACOK
There is more information about this in the Time Traveling Bran series. Briefly, the version of Bran in this vision does not appear to be contemporaneous because likes the dark, is able to open Jon's third eye, smells of death, etc. (This is well outside of the scope of this theory however.)

2. shadow magic requires souls

As above the reader is repeatedly reminded throughout the series that "only death can pay for life." What is specifically being sacrificed, though? Is the magic being fueled by the blood of the sacrificed or by something else?
To answer this let us examine one of the most concrete example of magic in the series, the use or exchange of Stannis Baratheon's "life-fire" in order for Melisandre to manifest the shadows used to kill Renly Baratheon and Courtney Penrose.

Shadows only live when given birth by light, and the king's fires burn so low I dare not draw off any more to make another son. It might well kill him."
Melisandre moved closer.
"With another man, though... a man whose flames still burn hot and high... if you truly wish to serve your king's cause, come to my chamber one night. I could give you pleasure such as you have never known, and with your life-fire I could make..."

Davos, ASOS
According to this explanation, the cost of producing these shadow appears to have been part of his "life-fire," or soul. The shadow is specifically described as having the shape Stannis supporting this. Whether this applies to other types of magic — specifically blood magic or fire magic — is less clear but shadow magic very much appears to require the use of souls.
This type of exchange is also directly referenced in the story of the Night's King provided by Old Nan:

A woman was his downfall; a woman glimpsed from atop the Wall, with skin as white as the moon and eyes like blue stars. Fearing nothing, he chased her and caught her and loved her, though her skin was cold as ice, and when he gave his seed to her he gave his soul as well. (Credit to u/DigLost5791 for this reference.)

Bran, ASOS
Stannis is described by Davos afterward as follows:

The look of him was a shock. He seemed ten years older than the man that Davos had left at Storm’s End when he set sail for the Blackwater and the battle that would be their undoing. The king’s close-cropped beard was spiderwebbed with grey hairs, and he had dropped two stone or more of weight. He had never been a fleshy man, but now the bones moved beneath his skin like spears, fighting to cut free. Even his crown seemed too large for his head. His eyes were blue pits lost in deep hollows, and the shape of a skull could be seen beneath his face.

Davos, ASOS
Asha later describes Stannis as appearing life a "man with one foot in the grave."

What little flesh he’d carried on his tall, spare frame at Deepwood Motte had melted away during the march. The shape of his skull could be seen under his skin, and his jaw was clenched so hard Asha feared his teeth might shatter.

Asha, ADWD
These descriptions seem appropriate for a character that has lost part of their "life-fire" or soul.
Throughout the series Stannis is forced to make a series of increasingly difficult decisions. The most significant of these decisions regards the fate of his nephew, Eric Storm. Melisandre repeatedly urges him to "give [her] the boy," presumably to be burned, but is rebuffed by Stannis.

“I know the cost! Last night, gazing into that hearth, I saw things in the flames as well. I saw a king, a crown of fire on his brows, burning… burning, Davos. His own crown consumed his flesh and turned him into ash. Do you think I need Melisandre to tell me what that means? Or you?” The king moved, so his shadow fell upon King’s Landing.
"…what is the life of one bastard boy against a kingdom?”
“Everything,” said Davos, softly.

Davos, ASOS
Is the life of this bastard boy worth the lives of millions that would die if the Others break through the Wall? Making a deal with the devil and literally selling his soul in pursuit of some greater good seems very appropriate for his character, thematically. The description of his flesh turning to ash in this vision is representative also supports this interpretation.

3. blood and fire magic

As opposed to the creation of the shadows described above, we are also provided an example of so-called blood magic in the leech burning ritual.

“Give me the boy, Your Grace. It is the surer way. The better way. Give me the boy and I shall wake the stone dragon.”
...
Melisandre bowed her head stiffly, and said, “As my king commands.” Reaching up her left sleeve with her right hand, she flung a handful of powder into the brazier. The coals roared. As pale flames writhed atop them, the red woman retrieved the silver dish and brought it to the king. Davos watched her lift the lid. Beneath were three large black leeches, fat with blood. The boy’s blood, Davos knew. A king’s blood. Stannis stretched forth a hand, and his fingers closed around one of the leeches.
“Say the name,” Melisandre commanded.

Davos, ASOS
Following this ritual all of the mentioned individuals do die but do so as the part of separate conspiracies (e.g., Robb Stark is betrayed by the Freys and Boltons, Joffrey Baratheon by Littlefinger and the Tyrells, etc.) which were already in place. It is left intentionally ambiguous by the author but it does not appear that the ritual meaningfully contributed to their deaths.
The creation of the shadows is said by Melisandre to have required part of Stannis' "life-fire" or soul. Could it be that the leech burning ritual was unsuccessful because blood alone is not sufficient as a sacrifice?
These forms of magic are frequently described in the community as "shadow magic" and "blood magic." These concepts — "fire and blood" and "flame and shadow" — are highly associated with one another in the text:

“Shadow?" Davos felt his flesh prickling. "A shadow is a thing of darkness."
”You are more ignorant than a child, ser knight. There are no shadows in the dark. Shadows are the servants of light, the children of fire. The brightest flame casts the darkest shadows."

Davos, ACOK
I speculate that these are different expressions of the same concept; that all of these fall under the general umbrella of fire magic and share common principles. "Fire consumes and in the end there's nothing left."

4. dancing shadows

The tent was aglow with the light of braziers within. Through the blood-spattered sandsilk, she glimpsed shadows moving.
Mirri Maz Duur was dancing, and not alone.
...
No, Dany wanted to say, no, not that, you mustn’t, but when she opened her mouth, a long wail of pain escaped, and the sweat broke over her skin. What was wrong with them, couldn’t they see?
Inside the tent the shapes were dancing, circling the brazier and the bloody bath, dark against the sandsilk, and some did not look human. She glimpsed the shadow of a great wolf, and another like a man wreathed in flames.
“The Lamb Woman knows the secrets of the birthing bed,” Irri said. “She said so, I heard her.”
“Yes,” Doreah agreed, “I heard her too.”
No, she shouted, or perhaps she only thought it, for no whisper of sound escaped her lips. She was being carried. Her eyes opened to gaze up at a flat dead sky, black and bleak and starless. Please, no. The sound of Mirri Maz Duur’s voice grew louder, until it filled the world. The shapes! She screamed. The dancers!
Ser Jorah carried her inside the tent.

Daenerys, AGOT
The introduction of shadow magic in the series is provided above with Mirri Max Duur. Following this ritual Drogo is described as a lifeless husk:

"He seems to like the warmth, Princess," Ser Jorah said. "His eyes follow the sun, though he does not see it. He can walk after a fashion. He will go where you lead him, but no farther. He will eat if you put food in his mouth, drink if you dribble water on his lips."

Daenerys, AGOT
It has previously been speculated that Mirri "reverse skin-changed" Drogo (e.g., "strength of the mount go into the rider, strength of the beast go into the man."). The description provided is less consistent with a horse soul inhabiting a human body than it is with the complete or near-complete absence of a soul. It appears more likely in retrospect that Mirri sacrificed part of Drogo's soul to summon the shadows and likely as a means to kill Daenerys' unborn child.

“The stallion who mounts the world will burn no cities now. His khalasar shall trample no nations into dust."

Daenerys, AGOT

5. reanimation

If "only death can pay for life" and souls are used as a form of magical currency how does one explain the reanimation or resurrection process?
There is a paucity of information on the reanimation of the dead in the series. The resurrection of Beric Dondarrion, for example, appears to be different in fundamental ways from that of the wights or Cold Hands. (We are potentially given a point-of-view account of this process if you accept that Victarion died in ADWD.)

“Thoros, how many times have you brought me back now?”
The red priest bowed his head. “It is R’hllor who brings you back, my lord. The Lord of Light. I am only his instrument.”
“How many times?” Lord Beric insisted.
“Six,” Thoros said reluctantly.
“And each time is harder. You have grown reckless, my lord. Is death so very sweet?”
Arya, ASOS

There is no immediately identifiable magical cost for these "kisses of life," at least at first glance. Thoros later tells us that he breathed part of his "flames" or soul into Beric:

“That first time, his lordship had a hole right through him and blood in his mouth, I knew there was no hope. So when his poor torn chest stopped moving, I gave him the good god's own kiss to send him on his way. I filled my mouth with fire and breathed the flames inside him, down his throat to lungs and heart and soul. The last kiss it is called, and many a time I saw the old priests bestow it on the Lord's servants as they died." (Credit to u/watchersontheweb for providing this quote in the initial thread.)

Arya, ASOS
Thoros is also described as appearing very different after performing this ritual several times in a way that is not entirely dissimilar to the changes in Stannis’ appearance referenced above.

“Here’s the wizard, skinny squirrel. You’ll get your answers now.”
He pointed toward the fire, where Tom Sevenstrings stood talking to a tall thin man with oddments of old armor buckled on over his ratty pink robes. That can’t be Thoros of Myr. Arya remembered the red priest as fat, with a smooth face and a shiny bald head. This man had a droopy face and a full head of shaggy grey hair.
...
“Thoros of Myr. You used to shave your head.”
“To betoken a humble heart, but in truth my heart was vain. Besides, I lost my razor in the woods.” The priest slapped his belly. “I am less than I was, but more. A year in the wild will melt the flesh off a man. Would that I could find a tailor to take in my skin. I might look young again, and pretty maids would shower me with kisses.”

Arya, ASOS
Thoros attributes these changes to his renewed devotion to the Red God and spending "a year in the wild" as above although he is not exactly forthcoming with Arya about the resurrection process. It is also likely that he does not entirely understand what specifically is being exchanged here.
Later he describes Beric giving the "kiss of life" to the corpse of Catelyn Stark:

“The Freys slashed her throat from ear to ear. When we found her by the river she was three days dead. Harwin begged me to give her the kiss of life, but it had been too long. I would not do it, so Lord Beric put his lips to hers instead, and the flame of life passed from him to her. And… she rose. May the Lord of Light protect us. She rose.”

Brienne, AFFC
Notably, this process produces a reanimated Catelyn (a.k.a. Lady Stoneheart). The soul of Beric, or at least whatever is left of his soul at this point in the series, is consumed in order to resurrect Catelyn and not transferred.

6. cold shadows (wild speculation)

The terms "white shadows," "pale shadows," and "cold shadows" are repeated used to describe the Others. The Others are also highly associated with ghosts — the spirits or souls of the dead bound to the earth. (The forrest in which they are introduced is literally called the Haunted Forrest.)

The Others made no sound.
Will saw movement from the corner of his eye. Pale shapes gliding through the wood. He turned his head, glimpsed a white shadow in the darkness. Then it was gone. Branches stirred gently in the wind, scratching at one another with wooden fingers. Will opened his mouth to call down a warning, and the words seemed to freeze in his throat. Perhaps he was wrong. Perhaps it had only been a bird, a reflection on the snow, some trick of the moonlight. What had he seen, after all?
“Will, where are you?” Ser Waymar called up. “Can you see anything?” He was turning in a slow circle, suddenly wary, his sword in hand. He must have felt them, as Will felt them. There was nothing to see. “Answer me! Why is it so cold?” It was cold.
Shivering, Will clung more tightly to his perch. His face pressed hard against the trunk of the sentinel. He could feel the sweet, sticky sap on his cheek. A shadow emerged from the dark of the wood. It stood in front of Royce. Tall, it was, and gaunt and hard as old bones, with flesh pale as milk. Its armor seemed to change color as it moved; here it was white as new-fallen snow, there black as shadow, everywhere dappled with the deep grey-green of the trees. The patterns ran like moonlight on water with every step it took. Will heard the breath go out of Ser Waymar Royce in a long hiss. ...
The Other slid forward on silent feet. In its hand was a longsword like none that Will had ever seen. No human metal had gone into the forging of that blade. It was alive with moonlight, translucent, a shard of crystal so thin that it seemed almost to vanish when seen edge-on. There was a faint blue shimmer to the thing, a ghost-light that played around its edges, and somehow Will knew it was sharper than any razor.

Prologue, AGOT
This is again highly speculative but it seems reasonable to consider that these cold shadows are not "ice demons" or "ice zombies" but are in fact ghosts, the spirits or souls of men that are bound to the earth through magic by the Children of the Forest. (The textual evidence of the creation of the Others by the Children is linked in a separate post here.) "Fire consumes, but cold preserves."
This would explain several of the unusual characteristics of the Others described by Tormund:

“Tormund,” Jon said, as they watched four old women pull a cartful of children toward the gate, “tell me of our foe. I would know all there is to know of the Others.”
The wildling rubbed his mouth. “Not here,” he mumbled, “not this side o’ your Wall.” The old man glanced uneasily toward the trees in their white mantles. “They’re never far, you know. They won’t come out by day, not when that old sun’s shining, but don’t think that means they went away. Shadows never go away. Might be you don’t see them, but they’re always clinging to your heels.”
...
Tormund turned back.
"You know nothing. You killed a dead man, aye, I heard. Mance killed a hundred. A man can fight the dead, but when their masters come, when the white mists rise up… how do you fight a mist, crow? Shadows with teeth … air so cold it hurts to breathe, like a knife inside your chest … you do not know, you cannot know … can your sword cut cold?"

Jon, ADWD
A reasonable interpretation of this information is that the Others are present during the day, at least in some capacity, and are only able to assume corporeal form at night.
The Others are also described as "going lightly upon the snow" which would also supports the idea that they are ghosts:

“The white walkers go lightly on the snow,” the ranger said. “You’ll find no prints to mark their passage.”

Samwell, ASOS

7. conclusions

This highly speculative theory attempts to reconcile several seemingly disparate concepts in the series related to magic, namely the actual nature of magical sacrifice ("only death can pay for life") and shadows or shadow magic. More specifically, I suggest that souls are the primary magical currency and can be consumed using fire magic to summon shadows, create glamours, etc. I also speculate that similar processes took place during Mirri Maz Duur's shadow-binding ritual in AGOT and during the repeated resurrections of Berric Dondarrion in ASOS. I further suggest that the Others are ghosts, the spirits or souls of the dead bound to the earth.
EDIT: edited several times to address formatting issues

I bought some stuffing and asked my bf what i should make first and he said a frog so if anyone has a fairly easy frog pattern to recommend please send it

Hello! I'm a beginner sewer who recently completed a weekend bootcamp on sewing. I sewed my own dress from scratch with facing on the collar and cuffs. I also learned to hand sew. I have a $300 budget to get set up to machine-sew and hand-sew 100% wool and 100% linen clothing (with some limited silk) for medieval-themed historical re-enactment events. These will be outfits for myself, my elementary-aged children, and occasionally for friends.
This budget does not include cloth or patterns (just tools). I would like to include tailoring/measurement/cutting tools, key reference/learning books (I can check some of these from the library), and beginner tools for simple hand-sewn embroideries, stamping clothes with stencils and paint, and applying wool applique. I'd love to figure out how to make custom cloth-covered buttons as well to match dresses and coats.
Here is what I have on hand already, thanks to hand-me-downs from family and what I had already:

• a Singer XL-400 Futura sewing machine (no embroidery attachment, but I have a pedal).
• a Brother CS-6000i sewing and embroidery machine (with all attachments).
• Multi-color starter kits of thread sets and bobbin sets, plus white, black, and gray thread.
• a dedicated table and chair for sewing and cutting material.
• a decent ironing board, iron, cutting surface sheet, a see-through tailoring ruler, and a few sizes of non-fancy scissors - one from Joann's for cloth.

While I thought $300 would be plenty to get me started, I am already feeling overwhelmed by all the choices for tools available. Like, do I need a curved ruler? Or fancy Kai or Gingher scissors? Or a tool to correctly size collars? Do I need a machine to make cloth-covered buttons, or can I make them more cheaply? Some of these more expensive tools eat up my budget quickly.
Knowing that I'm a beginner, and will (almost) exclusively be sewing (90% machine sewing) with wool and linen to make medieval clothing that are intended to look hand-made, what "essentials" would you recommend I purchase or focus on? What can you not live without now that you've been sewing for years that you think I might need? What's turned out to not be useful? I'll shop around for the best prices on items once I've narrowed down my list. Thank you in advance for your advice!