CopOwl 1668 Share Posted November 26, 2022 Scyfling Culture: Traditional Fashion Published from the Viscounty of Venzia ISSUED ON THE 10TH OF GRONNA AND DROBA, 453 E.S. A STUDY ON THE RESURGING HANSO-SCYFA STYLES OF FASHION Penned by the hand of Her Ladyship, Anabel Elia Colborn, Keeper of The Book "Igenom en roken’s egas." - Scyfling Proverb "Through a raven’s eyes." - In death, we all see through a raven’s eyes O’ GUD, VOR HJELP I GYNE ERE, With the returning prominence of the Viscomital Scyfling House of Colborn, their styles of dress have become more common an appearance in the Courts of the Dual Kingdom of Hanseti-Ruska. As such it is my duty - as the Keeper of the renowned Book of House Colborn and its ancient histories - to write an expansive study on our culture’s costuming customs to explain to new eyes their significance, and to create a snapshot of this moment in our long history to be studied by future generations’ scholars. While to the untrained eye, it may seem as though Hanso-Scyfa styles of dress are remarkably similar, particularly when Scyfling peoples are adopting the most popular styles at Court in the Capital (e.g. Ruskan styling), several notable differences set them apart from other similar garments. What eventually came to be known as “Scyfling” culture originated from a great many different unincorporated clans which each bore their own traditions. Once the Scyfling clans united, their various traditions of dress frequently combined and the origins of any particular style became lost to time. Only after years of research have the original names and details resurfaced to be included in Scyfling writings. Similarly, the Scyfen language has changed drastically since its clannish years, and the names of such old fashions may be different to the manner in which the Scyfen tongue is spoken by modern Scyfling Houses such as House Colborn. These considerations must be made, however, the original identifiers of these garments have been preserved in order to illustrate the fluidity of growing cultures over lengthy periods of time. KVINNOMODE - Women’s Fashion I. THE BUNAD A treasured portrait of the famous Colborn Matriarch, Loviska Amsale Colborn, wearing the traditional Bunad. THE BUNAD DRESS originates from the village of Vჹllr - named for its Vallar kirkja (church) which was built following the Slesvician conversion to Canonism by St. Carr - however, variations of the Bunad dress have been cited from many different old Scyfling villages. In modern times, the Bunad dress has been repopularised by Ladies Anabel and Ada Colborn who have sewn and worn these garments - however, they also own much older dresses as gifts from their ancestors. The Bunad dress itself is a well-preserved tradition, and the design of many modern gowns have not changed from their original conception. Bunad designs were very localised to their origin village, however, they are typically elaborate. Most bunads have intricate embroidery of flowers or other natural images, and they are very often worn with scarves, shawls, and hand-made jewellry in aurum or silver called sølje. Depending on the village of a Bunad style’s origin, it may differ in colour, fabric, embroidery, jewellry, cut, and the headwear associated with it. Most Bunads have their own allotted name, and most families choose their Bunad by their own or their ancestor’s origin. Many of these strict Bunad regulations have relaxed during the in-between years when Scyfling fashion was uncommon, however different families will still often prefer one style of Bunad for their daughters over another. Unless a cultural occasion necessitates otherwise. Often, the Bunad would have an accompanying pair of Bunad shoes, and a Bunad purse, and when wearing the Bunad dress, ladies used to be discouraged from wearing earrings or heavy makeup although not enforced. THE THELIRBUNAD was originally the favoured Bunad of the birth clan of St. Carolus of Carrenhall - one of the four Founders of Haense - and has, over time, become integral to his descendants in the House of Colborn as their preferred Bunad for casual wear. The Bunad itself is named after the region of Thelir, one of the territories of Aegis’ far north. This style of Bunad is commonly characterised by a white undershirt with an overdress of mostly black fabric accompanied by red embroidered embellishments on the outer parts of the overdress. They also typically have an orange or red belt made of more ribbon-like material. Lastly, the Thelirbunad is almost always worn, when formally donned, with a large aurum or silver circular brooch and often studded with intricate metallic carvings, pearls, or, for the especially high-class, diamonds and other precious gems. In the coldest months of the year, the Thelirbunad will also be worn with a black or navy overcoat over the chest to keep the wearer warm. A small painting of a young noble girl wearing the Thelirbunad. THE GORESBUNAD is the most well-preserved over time of all Bunad styles, due to it being native to the Vჹllr village, and as such is likely the most reminiscent of the original Bunad design. The Goresbunad is widely considered to be one of the most simplistic Bunad designs, inherent in its age. The Vჹllr village was one of the most southerly villages of the Slesvik region where the Scyfling and Gorundyr peoples originally came from, and for this reason, they are typically made from thinner material and with fewer layers due to the increased Southern heat. The Goresbunad is characterised by a white undershirt with large airy sleeves while being worn underneath a singular - often black - overdress. This Bunad is usually reserved for the lower class due to its simplicity and inexpensive materials. Other than the colours associated with the Goresbunad, it is remarkably similar to the Ruskan peasants’ wear. However, the Ruskanwear usually has significantly more embroidery in its material than the Goresbunad which has only minimal amounts. This style of Bunad will often be worn with a matching jacket during the winter which is characterised by ornate embroidery accompanied by simple metal buttons. The belt and jacket of the Goresbunad are ideal for wearing with badges, brooches, and any other items of sentimentality to the wearer (e.g. Lorraine cross). However the iconic trait of this type of Bunad is the embroidery and styling of the belt it is worn with - thin, red material tied at the waist and often bearing striking threading which indicates which family the wearer comes from (e.g. House Colborn Goresbunad belts are embroidered with either a tree or a raven). A rare portrait of the Goresbunad being worn with a jacket. THE SCYEBUNAD is a blended style of Bunad from several different villages in the Fjord of Hardanger. Following the conversion of Scyflings to Canonism by St. Carr, the church clothing of the people of this region became well-known and grew in popularity. While the currently prominent Scyfling House of Colborn is not known for wearing the Scyebunad, it is still a very popular style among other Scyfling people. The Scyebunad commonly features a black or navy skirt and a black or red bodice worn over a white blouse with embroidered cuffs and collar. It is very often worn with a coloured apron, bearing embroidery towards the bottom. The embroidery on the cuffs is dependent on the wearer’s ancestry, but it is always sewn using the technique exclusive to the Scyebunad known as “Hardangersøm” in Scyfen - this technique is passed down from mother to daughter. The Scyebunad is also the only prominent style of Bunad that is frequently worn with a cape. The women from Hardangerfjord were known for their headwear which used to indicate their marital status. Married women wore the “skaut” which was a piece of thick white cloth delicately formed into a particular shape on the lady’s head, whereas unmarried women would wear the “roggeband” - meaning “rye band” - which are long and narrow ribbon-like pieces which are wrapped very tightly around the hair and placed on the head alike a headband. These headpieces are older traditions which were localised to the Hardangerfjord region, however - alike the Ruskan Kokoshniks - they are making a recent resurgence along with the wearing of veils for married women. A painting of a married Slesvician woman wearing the Scyebunad and Skaut. A Colborn wearing the Thelirbunad. A Colborn wearing the Scyebunad. II. BRIDAL ATTIRE A famous Wedding portrait of Irena Colborn in her marriage to Edward Audemar, forming the ancient House of Alimar. THE WEDDING ATTIRE of Slesvician women has changed drastically over the years. In Ancient times, Scyfling raider clans valued the hair and crown that the Bride would wear as more notable than her dress. The longer her hair was, the more appealing she was to prospective suitors. This idea of keeping a lady’s hair long has mostly persisted into the modern day and many young women still choose not to cut their hair short. Often, a lady will wear quite casual clothes to her wedding. However, her bridal crown will always be the most ornate thing she wears. This is because Scyfling Houses often pass down a bridal gown and crown specific to their heritage through the generations to be used by many of their daughters and sisters. It is uncommon for the bridal gown to be white, as is the tradition in Raevir cultures, and instead, it is usually made out of bright materials of different colours such as pink, blue, red, green, and even black. Each old Scyfling clan would have had its own style of bridal crown unique to its heritage, however, there are also lots of churches and chapels that will have their own wedding dresses and matching bridal crowns, which bridal parties can rent out for their wedding ceremonies if they aren’t wealthy enough to purchase their own dress and headdress. Modelled after the crown of renowned virgin Scyfling chieftess, Agneta the Abstinent, the Bridal Crown signifies the purity, innocence, and chastity of the Bride. A PEASANT’S HEADDRESS is, in contrast to a noblewoman’s crown, often formed with flowers as opposed to precious metals such as aurum or silver. However, they would still often be paired with bronze metals interwoven with brightly coloured woollen strings to bring a lightness of colour, and a certain metallic sparkle to appeal to the eyes upon the bride’s head. Favoured flowers for the bridal headdress include pink and white roses, camellias, white dryads, Haeseni mullein, gulliva flowers, and more. Certain ancient Bridal Headresses were woven elaborately with straw and wheat, before being garlanded with the above-mentioned flowers. Several sources also describe Headdresses formed in a crown-like shape, adorned with pints ending with crosses and clover leaves alternately. This style of Bridal Headdress is also regarded to have been inset with certain crystals and bearing red and green silken cords. A rare portrait of an affluent peasant Bride bearing a flower-adorned Headdress. THE TRENČIA CROWN is one which has fallen out of frequent use for a long time. It is most frequently recognised for the long and intricately embroidered ribbons that hang down from the crown itself which is made of beads painstakingly sewn together to form beautiful patterns. Alternatively, the Crowns were made of textile cloths folded together and coloured with a range of dyes or intricately embroidered to create a beautiful array of colours and textures. The origin of the Trenčia Crown is difficult to track down, as this style grew to encompass a large region and appears to have originated from a possible ancient Scyfling Kingdom, records of which are all but lost, however, some wedding traditions of this region surrounding the Crown have survived. The Bride and her married female relatives would spend several days before her wedding creating her Bridal Crown, and the wreaths for her Bridesmaids. They would often weave flowers into the Crown symbolising blooming youth and spring-like bursts of fertility that come with marriage, however, with the integration of Canonism, the flowers also came to represent the Bride’s virginity - alike other Bridal Crowns. These headpieces would also be decorated without fresh flowers and herbs, however, other regions would utilise the abundant evergreen branches, or they would sew textile flowers into some material - often the ribbons. The usage of flowers and herbs often represented various aspects of abundance and fertility, to wish these things for the Bride in the next step of her life. In contrast to other Scyfling regions such as Slesvik, following the wedding, the Bride would be sequestered into a private room by her female family where her Bridal Crown would be removed and her hair would be combed and pinned up in the married woman’s style. Her hair would then be covered by the married woman’s cap, called the czepiec, and her hair would be cut short to symbolise the loss of her childhood and her place in a new community. The symbolism of the Trenčia Crown is complex, but to sum it up it is a symbol of a blessed rite of passage, and the crowning of an intermediary time when the Bride’s life is about to change entirely. A lot of these traditions are no longer followed, unless by choice. An old sketch of a Trenčian woman wearing her Bridal Crown before her wedding. THE VǪLLR CROWN, originating from the Village of Vǫllr where St. Carr was born, is part of a group of music-making Crowns. These Crowns often feature, attached to the Crown itself, lots of beads and spoon-shaped bangles which dangle around the Crown. When the Bride moves her head, these bangles will make music by tinkling against one another and the body of the metal Crown. It was believed that this music would ward off evil spirits. This was particularly important after the wedding when the newlywed couple would dance together. The bangles would make music while they dance, and this would keep spirits at bay to ensure that nothing spoils the bride’s happiness. From the adjacent village of Vosse, the Bridal Crown is round and flat atop the Bride’s head. Instead of spoon-shaped bangles, Vosse Crowns are adorned with irregularly-shaped golden ornaments which perform the same role as those of the Vǫllr Crown. This Bridal Crown group is often accompanied by matching ornaments attached to the clothes, and/or an aurum necklace to ward off unholy spirits from harming the wearer. Despite originating from the region in which St. Carr came from, the modern Scyfling House of Colborn that has not adopted this style of Crown, instead favouring another for its daughters… THE SCYFE CROWN originates from the Fjord of Hardanger alike the Scyebunad, and is by far the most traditional crown-shape of the Bridal Crowns. The Bride frequently wears them with a red ribbon tied around her chin to keep the valuable heirloom atop her head. Red is the traditional colour of this region, however, the colour has over time become exclusive to the Bridal Crowns and Costumes rather than its Bunads. Alike many of the other Bridal Crowns, its shape is meant to represent the Bride’s purity and virginity on her wedding day - in homage to Agneta the Abstinent. The Scyfe Crown is one of the most expensive versions of the Bridal Crown to create, as it requires the undivided attention of a talented craftsman or blacksmith for a long time, and is also crafted from high-quality aurum and bejeweled with extravagant precious gems. In addition, the Scyfe Crown is also commonly attached to a long veil requiring many hours of a talented needlewoman’s time to create. These lavish stipulations add to the reasons for which Bridal Crowns are passed down the generations and treasured as family heirlooms. The costs of the Scyfe Crown cause it to be something that not everyone can afford, making it a display of economic status and a family’s prosperity. This is the Bridal Crown style of choice for the Viscomital House of Colborn. A young Colborn woman admiring the family’s Scyfe Crown before her wedding. A Colborn wearing the House Colborn Wedding Attire - the Scyebunad and the Scyfe Crown. III. COMMON ACCESSORIES OF SCYFLING FASHION A recent portrait of Viscountess Ada Natalya Colborn wearing the traditional garb upon her ascension to the rank of Matriarch of House Colborn. SCYFLING FASHION stems from the same original location and culture despite Scyfling People now being spread widely across Nations and Continents, and for that reason, it often features certain similar features of fashion. Particularly in the accessories, it is easy to identify the common ancestry of these pieces and many of them have, luckily, lasted through the years to be included in this Study of Traditional Fashion. Many localised Clans and cultures have developed their own fashion styles - as evidenced by the priorly mentioned location-specific Bunads and Bridal Headdresses - and several of their accessories have developed down that path, while others have remained set in the historic precedents across lots of individual Scyfling Clans. THE SCYFLING BONNET is a remote, yet widely used item of clothing. Many Scyfling women wear the Scyfling Bonnet as a part of their wardrobe and, other than the Bridal Headdresses which are reserved for Weddings, are the closest Slesvician substitutes for the majorly popular Ruskan Kokoshniks. It is often worn for the same reason as veils for Ruskan women; as a sign of respect when entering a Holy place such as a Church. The Scyfling Bonnet is a broad category representing any and all simple cloth items worn atop one’s head accompanying a Scyfling style of dress. The Scyfling Bonnet is most commonly represented as a plain or patterned cloth worn over the head and tied simply under the chin, however, it also applies to a different variety wherein the bonnet wraps around the skull with a seam at the chin to secure it. The Bonnet often bears intricately embroidered patterns such as flowers, plaid, stripes, dots, etc., and any other stylings that the wearer prefers. Elsewise, they may wear it plain as a variably coloured cloth - or even a dull white cloth. A married Colborn woman wearing a patterned red Scyfling Bonnet. SCARVES AND SHAWLS are often the choice for many Scyfling women to keep themselves warm, particularly for those now living in the frigid temperatures of Hanseti-Ruska. These Northern women often wear scarves made of thick goat or sheep wool to insulate themselves, and they are often worn over the head in place of a hat - especially during winter snowfall. However, this is not to say that more Southerly-inclined Scyflings do not wear Scarves or Shawls. For them, the wearing of these garments is more to do with brightening up an existing outfit with fresh patterns rather than the insulating purposes commandeered by their Northern cousins. As discussed, Scyflings are known for patterning and embroidering a variety of their clothing. This is no less the same for the Scarves and Shawls, which are very often brightly embroidered with different threads to excite the eyes of any viewer. Alike veils, they are commonly thrown hastily onto the head when stepping into a place of God as a display of respect. Scarves or Shawls can be seen in an undefinably vast range of colours, bearing a similarly wide range of patterns; plaid, striped, spotted, floral, and more. Most Shawls and Scarves also bear tassels on their ends, and they are made of different materials based on the affluence of the wearer. Poorer families most often utilise their own sheep’s wool for their garments, while more wealthy homes afford their women luxurious silks or expensive lambswool. A young Scyfling girl wearing a blue Shawl with floral patterning to keep her warm. A Colborn wearing a red Scarf. A Colborn wearing a Shawl. IN SUMMARY, Scyfling fashion is a vast subject of much cultural intricacy. All of its facets are characterised by traditional integration, with a multitude of tribally-originating differences, and it is truly a fascinating topic requiring more study and writing on the subject. In my role, I intend to do as such and personally write - or ensure that it is written - further studies of Scyfling traditions, even those not of my own House. I would also encourage more curious women to branch out in their clothing choices to wear more Slesvician fashion styles, or to speak to me if they have further interest in the topic and any clarifications requiring aid. Any writings on a cultural subject provide but a portrait of that culture at the time of its publishing, but put together these portraits and they can illustrate a breadth of ever-changing civilization for the eyes of the resilient Scholar. SKRALI VOR GUD, Her Ladyship, Anabel Elia Colborn, Keeper of the Book 17 Link to post Share on other sites More sharing options...
DahStalker 2839 Share Posted November 26, 2022 Elia Eryka promptly admires and approves the work of her sister, smiling. 2 Link to post Share on other sites More sharing options...
Seuss 491 Share Posted November 26, 2022 Carolus Ivan Colborn spits up on himself 2 Link to post Share on other sites More sharing options...
JuliusAakerlund 1773 Share Posted November 26, 2022 Adrian Erik Colborn sheds a tear of not only pride but just at the cheer dedication and appreciation his descendants showed towards their culture. 1 Link to post Share on other sites More sharing options...
Kaladin Stormblessed 614 Share Posted November 27, 2022 Baldrum Colborn likes his cousin's culture missive, nodding with a big grin as he shows this to his wife and daughters for some Scyfling fashion! 2 Link to post Share on other sites More sharing options...
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