Jump to content


Gold VIP
  • Posts

  • Joined

  • Last visited


260 Incredible

About Monaaa

  • Birthday September 3

Contact Methods

  • Discord
  • Minecraft Username

Profile Information

  • Gender

Character Profile

  • Character Name
    Saiko Matsuda / Li Xiahong / Gracia Falcone / Rhea Alexandria
  • Character Race

Recent Profile Visitors

621 profile views
  1. Tell LOTC how much you enjoyed Yakuza 0 my next question is if you saw the previous question and are going to answer it?
  2. What am I to you? Are you prepared for the day of reckoning? Are you, like, super buff? Asking for the Ladies of the Craft. Favorite Persona? Are you gonna buy me Cookout after this?
  3. OOC: MC Name - imMonaaaah Discord - monAAAAH#1878 ROLEPLAY: Name - Gracia Valentina Meadow Falcone Age - 22 Title(s), if applicable - N/A Past Experience - Nové Jubilee
  4. None the wiser to his passing, in a room sat one of the youngest Falcones — weaving away. Reserved
  5. AS THE MISSIVE IS PASSED THROUGHOUT PROVIDENCE, THE FIRST THING ONE WOULD BEHOLD WAS THE ALLURING ILLUSTRATION ON ITS FRONT, PAINTED BY NONE OTHER THAN MADAME VALENTINA HERSELF. A RECOGNIZABLE FIGURE WAS DEPICTED — SERVING AS THE ADVERTISEMENT FOR THIS EVENT. THE LORD VIMMARK-ROUSSARD HIMSELF. ( @Hephaestus) THE Nové Jubilee ____________________________ ♕ Much more than simply the clothes we put upon our backs, fashion is the cornerstone of our daily life, from the highest noblewoman to the everyday working man. Like all forms of art, it is the act of self-expression that makes it what it is — whether the wearers realize such or not. And like the times we live in, it is always changing. The Seamstress recognizes this change, and with excitement, announces the first seasonal Nové Jubilee. The Nové is an exhibition, where the art of fashion is in fact the main focus. And as integral self-expression is, it will be expressed in the outfits its guests will wear — for we highly encourage all attendees to dress in the most dramatic, outrageous clothes they can gather. And we mean absolutely everyone, so long as it fits with the theme. The Theme of the Affair shall be: VERMILION INDULGENCES: SHADES OF RED ITINERARY ♖ THE SHOWCASE Guests will arrive on the Pink Carpet, first a display of the collection The Seamstress has created just for the event. ♖ A MADAME’S ADDRESS After an introduction by Madame Valentina, the night will be centered around the exhibition, pieces and other collections fitting towards the theme on display for perusal. ♖ AN OUT OF BODY AFFAIR Guests will be seated inside, provided with drinks, where there will be a grand performance to end off the night, its contents unknown to the coming guests - so that it may surprise all the audience. SIGNED, _____________________________________________________________________
  6. “Now this,” Chirps the now ecstatic, aging Li-Ren from the bliss of his study. “This is exactly how these columns should be done!” He happily taps the latest entry with his hand, the paper and inks that bled through it from his own home. “我的天哪...” He breathily exclaims, looking over the column with a hearty chuckle. He’d probably reread it about five times now - maybe even fifteen. With a proud nod, he prepares some plaster to place this missive right where it belongs - above his desk. What a beautiful sight to see every time he would sit down to work!
  7. Gracia Valentina Falcone signs up!
  8. “啦!我无听过!?” Croaks an aging Li-Ren from the bliss of his study. In through his window did the rays of the setting sun shine upon him - as well as the silks of his newly tailored dahu - as he grumbled phrases of confusion in his native tongue. Shuffling this latest entry of the column under that of the previous, he would be surrounded by the pitter-pattering sounds of his young children - whom he’d subsequently motion over. “You read this?” He clicked his tongue, holding up the brief columns to show, “‘Gossip column’, lah - it would be if it was not information everyone already knew!” With a sarcastic scoff, he passes off the papers to his second oldest daughter, shrugging his shoulders. A finger points in the air as he muttered under his breath, “But I’m the one who spends too much time in the 老外 city - oh!” He perked up, turning to the children with his conspiracies, “I wouldn’t be surprised if it was one of them under this Li-Ren alias! Tuh…” Shaking his head, he picks up his brush once more, returning to the scrolls on his desk.
  9. ____________________________ “I’a haven’t seen him in a long time…” ❈ No, he was not a good man — whatever a good man objectively was. Nevertheless, Gracia Valentina Meadow Falcone still wanted to be him, rather than herself. At least, at that time. ❈ Grateful was the child they named Gracia, for she was blessed indeed with a mother and father who loved her greatly, so they would say. After all, those were her father’s words, Cosimo’s words - “Love is why God gave us you, Graci- did you know that?” Yes, she could watch and work alongside her devoted mother as she fulfilled her duties around the house, and she could spend time with her vibrant aunts, who looked over her when her mother was busy. But, for whatever reason, fate - if one could even believe in such a thing - brought her closer to her father. “'Ere's the Diet buildin'...” Muttered Anton to her, as they - along with a younger Ludovica Falcone, her aunt - gazed over the grand room of the Commons building. She’d inquired where he and Cosimo would leave to so often as they did. “They meet 'ere as the government, make big decisions, and big change.” He remarked, stooping down to one knee to meet Gracia's eyelevel, an unparalleled, rare twinkle in his eye as he spoke. “I work with y'father 'ere.” At that, he stood, leaving the young Gracia to her thoughts as she stood awestruck in the center of that building. My father, my uncle, my family, she thought. Making big decisions, making big change. With her high-pitched voice, she’d ask where he sat. “'E sits on that side there.” He remarked, pointing to the righthand side's cushioned seats. And so would the young Falcone - just a toddler then - flock to the very seat. And sitting there, she’d say — “Sì, this is what I want to be.” She got to see him at work in that same building, debating other men she didn’t even know - with the exception of her uncles, of course. Without the slightest idea of what he even spoke of, she looked on, starry-eyed as any child would - clutching onto the simple doll in her hand. And even from then on, she’d watch and listen, heeding every word he’d give her. After all, how could her father be wrong? “The yelling, my dear -” Cosimo would tell her, after shouting for him on the streets of Providence. A dour tone in his voice. “It is unruly. Unbecoming of a lady.” Many things about her were far from ladylike - even though she was far from even becoming a lady herself at that age. From the unkempt, frizzy mess of curls on her head to her generally unruly behavior. She sought to fix it all, even if it meant sacrificing some of her own confidence. Because her father truly knew what was best - especially for a lady. So she learned at the dinner table, where her dearest family had gathered - where the women of the house had come together to prepare a meal for the rest, so her father announced. And to that, he’d feel a lingering stare from her eldest brother, who held but a simple disparity to the man’s statement. “They aren't maids, padre.” Carmine would remark, anticipating Cosimo’s next response. And Gracia would see no wrong in the man’s response, as usual, as his arm wrapped around her back, rubbing paternally against as an amused smirk came against his face. He turned then to her brother. “And I've made no such implication, dear Carmine.” The smirk tightened then, returning his stare unto the youth, “And when you get older - and when you've an occupation, and a wife - you will see. They are not bound to chains- no. It is merely how it is. How it always has been, GOD willing, how it always will be.” And as his spiel progressed, it was quite clear — both the children knew a very different Cosimo. For the boy would return back to his food, no more words to be said, while Gracia thought nothing of it. And thought nothing of her brother’s souring expression. ❈ “I’a haven’t seen him in a long time…” Remarked the young Falcone to her teacher, Victoria, as the Kaphro had finished telling her stories of her times with the man - who she’d regarded as her friend. It was not strange for him to work for so long, but now it was too long. And that fact, combined with her mother’s weeping, was enough to leave her just a bit concerned. But, she was a hopeful one, that child. Surely, something bad couldn’t have happened to him. “Because I still have so much to ask him about.” And one can only pity the girl — for she idolized the man she never even really knew.
  10. SLEEP NO MORE [ Eurypyle (1921), John William Goodard ] ❈ ❈ Above all things, if anyone at all was able to say one thing that symbolized the life of Rhea Alexandria d’Arkent — it was youth. And from that youth, from her days as just a young toddler, it had always been full of energy, never one to keep still. In her older years, she would have more or less forgotten — but life for her few first years was actually stable. Peaceful. Perfect. That was not something she could say now. Like every other child, she enjoyed time with her siblings, her mother and father by her side. That was, of course, until her father was the first one to go. That was the very first lie. Already without her father, she would be stuck for a decade with the illusion that - granted, she was older - she would see him once more. So, at the time, how could she cry? How could a child then understand death? How instant and sudden it was? She did not receive a letter, no note came for her - only so much as a kiss on the forehead. While she waited in vain, there were more things she could occupy her time with. Chess was the first - a hyperfixation until her last days. She’d play so often she’d become - what some would call - a prodigy at her young age. And she loved that game. She would sit at a board for hours, either studying it or beating men twice her own age. And so enveloped in that board and the rest of the world, her books were left untouched, and she would not even be fully literate until her early teens. But the most important things to a developing child are the relationships they make as they grow. Rhea was no exception - touching the hearts of everyone she knew. Any daughter should find themselves under the close care and advice of their mother - a luxury her sisters always had. Tragically enough, when it was Rhea’s turn, her mother had become an entirely different person to her - growing distant ever since the passing of her father. A relationship never salvaged, come Anna’s passing. So, making up for what she didn’t have with her family, she made her own. There was first her uncle, Beryl, the elder Carrington intellectual — who she clicked with right away, coming to him for most things. It could have been his doting personality, or it could have been that they were the same, as Rhea knew that it was him she could go to when it was anything related to her hobbies. There was then her distant cousin, Viktor — the stoic, phlegmatic Ruthern who, for whatever reason, allowed someone as young as her by his side and under his teaching for so long. She always considered herself grateful to have mentors such as Giselle and Victoria. Though they only started off as teachers, it wasn’t long before they both became somewhat of pseudo-mothers to her. She could have been considered slow, pronouncing words wrong, less attentive than her peers. Yet it was them who actually realized her potential. Among those her age, there was Diana, there was Mariya and Heinrika — the very first children she could call her friends. Running around the streets of Providence with them, she’d even confide in Anton, the young d’Amato Orlov in his youth. But among everyone in her life, there was one person different, when it came to Rhea’s relationships. There was Ludovica. That was her family. More than any other child her age, there was none who affected Rhea as she. Providence, for years, would rarely ever see them without each other. Everything they would do, it was together, and it was the young Falcone she came to with everything. Her dearest friend. And in her time with her, and everyone else she held dear, Rhea felt things were perfect - creating a world of her own in a life full of tragedy. She felt herself untouchable — invincible. Then, that glass began to falter. For those who could call themselves blessed enough to have their final talks with her, they would, too, sense the impending dread she had been feeling in the days leading up to her death. She worried about everything, coming to her brother and sister - something she’d rarely done - worried about her own future. She’d run to Beryl, worried about her life. “Everything is moving too fast,” She’d quiver, shivering, though the summer heat scorched down upon her. The one flaw in her, she was not one used to change. Not in the slightest. Her mother had gone, her mentors, and now her dearest friend had herself occupied with another - and not someone she herself was particularly fond of. With feelings of abandonment yet resonating within her once again, she took action, albeit rash — as she’d usually do, cornered in one of her games of chess. She could not feel that again - especially not Ludovica. But, here she was. Surrounded in pain. Hearing of a passing as tragic as Rhea’s, one can only hope it was swift and painless. But, it was the complete opposite. She’d suffered through it all, wondering what she had done. She had tried so hard to prove something of herself, she had ambitions, things she knew she would do in the future. She tried to crawl away, with the hope that she could escape her torture - all in vain now. She could never foresee herself dying now — who could ever? Death comes unexpected, sudden, and Rhea’s was no different. There would be no letters to her family, no notes to her friends. Only a head on the doorsteps of Carrington. She, of all people, did not expect her death to be so… simple. She was in the way, and that was all there was to it. Feeling abandoned to her last moments, a common theme throughout her young life, she bled without a final thought - only one of total shock. The things she could have done, would have done differently. Just like that, her future, the future she’d worried about so much, was stolen from her. And it could have been beautiful. Up until now, was it for nothing? Would Anna have been more attentive had she been smarter? Would Ludovica be so broken had she not have been born at all? After all these years, what had she accomplished? But, that question would be for the impacted to decide. For life was death. Though it happens, this — This was not fair. Rhea Alexandria d’Arkent 1806 — 1827
  11. The Silk Movement: A Look Into Li-Ren Fashion [ 书香门第 (Courtyard), Wang Meifang & Zhao Guojing ] Introduction From humble beginnings on a simple tower atop Talon’s Grotto in Arcas to the nation that Yong Ping is today, the culture of the Li-Ren is now being appraised and pushed center stage, all across the continent. One of our culture’s most notable parts that tend to make onlookers stop and gaze is our customary dress — our hanfu. It is this style that elevates us from any other culture on Ai-zho — no, on all of Almaris for that matter. Unlike the western fashion of our neighbors, it is the fashion of the Li-Ren that prides itself on grace, elegance, and overall hygiene rather than appeals to a ‘marriage market’. It is our fashion that leaves room for more encompassing styles, rather than constantly sticking to a binary of the two sexes. Yet, it is something rarely ever deeply looked at compared to the fashion of the foreigners. Why is that? Is it simply just ignorance - blissful ignorance of our long history and how that itself ties into the very clothes we wear? I aim to change that. What is hanfu? Hanfu, 漢服, is a Li-Wen term, referring to the customary clothing of the Li-Ren, those who follow the customs of Li-Guo. They are characterized by their flowing sleeves, as well as the tight belt or sash to hold the ensemble together. The placement of this waistband can, but not always, depend on the gender of the wearer. What the hanfu is not is a robe for one unfamiliar or unassociated with the culture to simply put on like a simple costume, or ‘dress’. That would be a sight all too disrespectful. For both men and women, hanfu are all categorized by different names, creating hundreds of different styles with many accessories, and each of these styles come inspired all from the eras of our great history. The trending sides of fashion are never usually so fast paced - a style from centuries ago, or even our very beginnings, can be one you'd see in Yong Ping, or even back in our homeland. This study will be more about those styles, rather than the makings of the clothing. That information, I believe, should be held only amongst our own people. [!] Following the introduction of the study, the next pages would be filled with simple diagrams - painted sketches of each type of clothing Xiahong described. Though he wasn't so skilled in painting, he certainly tried his best. Men 裋褐 / Shuhe The shuhe combines a cross-collar tunic with a sash and trousers. This style I have seen more popularized amongst the common folk, and mostly small children as well. It proves to be convenient and practical, perfect for activities done in one's daily life, such as farming- or more laborious tasks. Though, since it was made for these tasks, finding a shuhe made in more expensive material can be a hard feat. Why risk ripping or dirtying expensive silks in such an outfit when you can wear one of more comfortable material? 道袍 / Daopao A style commonly seen among the old scholars and gentry of the past, a daopao, on its own, is a full length, cross-collar, single robe with side slits beginning below the waist. It is easy to see why it was such a common choice among the men of the upper-class. How fashionable one would find himself in a daopao! While I can’t speak for other Li-Ren men, I can say with all pride it is a personal favorite. A daopao can come in two different ensembles. One would be the pifeng 披风, a parallel-collared, open jacket. [Spoiler: Pictured in the 2nd example above] It bares similarities to the beizi 褙子 women wear over a ruqun. The other outer garment is a dahu 褡护, a wrapping robe with half sleeves. [Spoiler: Pictured in the 3rd & 4th] 圆领袍, 圓領衫 / Yuanlingpao, Yuanlingshan Making appearances around the formation of the newly prosperous Li Dynasty, the yuanlingpao is a closed, round-collared robe that can be combined with trousers. If I made a point of the daopao being a personal favorite, the yuanlingpao comes at a close second. With how long this type of hanfu has been present, it has had time to make an impact even to Li-Guo’s neighbors, the nobles of Oyashima once taking inspiration in their early history. The hem of this robe comes in either long or short sizes - the latter reaching to one's knees and the former often times reaching the ground itself. It is common to see those in the guard of Li-Guo wear this, but now, it is simply a popular style among men of any age. 曳撒 / Yisan The yisan - more high class, embroidered patterns referred to as the feiyu fu 飞鱼服 (the flying fish uniform), is a one-piece robe with a cross-collar top & large pleated skirt. Making its first appearance in the reign of Emperor Liu-hong, feiyu fu were once only awarded by the Emperor to eunuchs and members of the imperial guard. But, as time took its toll- and especially with our migration to new lands, the yisan became a common, preferred style of the younger upper class. The yisan of today can be differentiated from the uniform of the past with less embroidered designs - even the Zhanshi regiment carry out the style beneath the clads of their armor. 衣裳 / Yichang Similar to a ruqun for females, the yichang is a cross-collar top, that combines a wrap around skirt. A standard hanfu for men, there are many liberties one can take with a yichang. The flowing sleeves can often be wrapped up for combat with wrist guards. Or, one can simply don a dachang 大氅 over it, an open-fronted robe [Spolier: Pictured below]. Now, I have seen some make the mistake of confusing this combination with the Oyashiman haori and hakama, but these differences are easy to spot, as the haori is much shorter - in both sleeve and robe size. Women 齐胸襦裙 / Qixiong Ruqun Arguably one of the most popular styles among women, the qixiong ruqun (chest-high skirt) utilizes one of the most basic type of hanfus, a ruqun- quite literally a wrap-around skirt (top for ru/襦, skirt for qun/ 裙), and by placing the waistband at the chest, promotes strong posture among women. While it’s counterpart, the qiyao ruqun 齐腰襦裙 (a waist-high ruqun), is just as popular a style, this style is commonly seen amongst even the most noble of women, a look of elegance and beauty among the wearers. Coming into Yong Ping, this is a style you will see constantly. 袄裙 / Aoqun The aoqun consists of a top with double the layers, referred to as “ao 袄“ and the classic waist-high qun. Unlike other ruqun that have the top tucked inside the skirt, the top of an aoqun is worn untucked, above the skirt. There are two sizes an ao comes in- short and long. The short ao reaches the waist, while the long ao will cover the knees. They first made their appearance in the previous era of Li-Guo, just before the start of Tai Ping back in it's first continent - Arcas, relatively new, and mostly seen worn by the women of the court. The length of an ao can sometimes make all the difference; the shorter the ao, the more youthful the look, and a long ao gives a more conservative and mature one. 比甲 / Bijia A bijia is a sleeveless jacket with side slits, similar to a “vest” in the fashion of the foreigners. It’s typically worn over Aoqun. Bijia does come in different styles, just like the aoqun it is worn over - namely, different types of collars; a Jiao Ling 交领 (cross collar) [Spoiler: Pictured first], a fang ling 方领 (square collar) [Spoiler: Pictured third], and a dui jin 对襟 (parallel collar) [Spoiler: 2, 4, 5]. The length can go from either the hips, to all but an inch or two off the ground. It is not such a style that I see often, though I wish that would change, seeing how sophisticated it makes one look. 褙子 / Beizi The beizi is a parallel-collared “jacket” coming with side slits starting at either the armpit or waist. It is possible to secure one’s front with a tie or a metal button. Since they tend to be extremely versatile, they come in various sizes, as well as their sleeves. Perfect for the summer and hot temperatures, a style that has always been a trending look, even back in Li-Guo, is a beizi over a chest undergarment and skirt. Even for a woman with no noble or wealthy background, this style was easily accessible - at least, compared to other options of hanfu specific to women. Unisex 曲裾 / Quju A type of Shenyi 深衣 (a long full body garment), the quju is a curved-hem robe, in which the bottom hem of the left lapel spirals its way up to the waist of the wearer. This happens to be one the oldest types of hanfu, dating back to even the first days of Li-Guo’s unification. Though it’s a style seldom seen in Yong Ping, more modernized versions have been made, sleeker on the body than the quju of the past. 半臂 / Banbi A banbi is simply a half-sleeve jacket, worn by both men and women. Like most overgarments, it comes in various lengths, worn over ruqun or yichang, coming in either a parallel, crossed, or circular-shaped collar. When paired with one’s hanfu, it can be worn tucked inside the skirt as well as over the skirt, untucked. Like the beizi, this is an overgarment perfect for the summer's heat - keeping one cool while still making them fashionable! Due to it's lightness, it is perfect for daily activities, no matter the expense of the material - not in the least bit restricting to the body. 直裾 / Zhiju Another type of shenyi, the Zhiju is practically the basis for hanfu, a one-piece, cross-collar robe, obtaining its name in contrast to the Quju. However, unlike the Quju, the Zhiju’s bottom hem circles around levelly, making it essentially a straight robe. Worn by both men and women, wealthy and poor, this hanfu has been around since even before unification, going through just as many changes as it has lasted this long. Depending on the material - or even the overall mood of the wearer - it can either be something formal or just simple casualwear when one is going outside. I even happen to wear a light one in my sleep. Children [ credit to 伊吹鸡腿子 (ibuki satsuki) ] When one is so young, flashy appearance is not something always considered. A child you will most likely see in something more practical. Children’s hanfu is generally similar to that of their elders, only the outfits and materials favored are made to be gentle on a child’s skin. For example, it would be hard to picture a small girl in a qixiong ruqun, with a sash restricting her chest and keeping her straight posture at such a young age. Our little ones usually wear outfits with separate tops and bottoms, such as the shuhe mentioned earlier. It is not uncommon to see one’s toddler in just a banbi alone, or with a beizi over their ruqun. Any combination goes, so long as it lets the child do what they’re meant to do- play around freely. Hair [ [!] An author's note, written on the following sketch that showcased the many hairstyles and headresses of the Li-Ren. "This time, this sketch was not me! I've gotten a ghost artist - I'm afraid I've exhausted and grown insecure of my own artistic abilites!" (All credit to Mona! Wow, I drew that!) ] Where would we be in a study of fashion without including the most crucial aspect of Li-Ren culture— one’s hair. Every Li-Ren has uncut hair, the cutting of hair for men something more for foreigners. It is usually when speaking to them, even my gender has been constantly confused and assumed based on my hair alone. As a child, hair can be worn or cut however they want - it is by the parent’s hand the hair is being cut, anyway. However, upon reaching adulthood, one’s hair is to remain uncut until death. We have been taught from youth that our bodies - to every bit of hair and of skin - are bestowed to us by our parents, not something to be injured or wounded. However, just because it is uncut doesn’t mean it doesn’t come with it’s own elaborate styles. Upon reaching adulthood, a young man ties his long hair into a bun either on or behind his head. Having half of his hair down provides a youthful look, and I have seen much of the youth adopt this style - including myself. However, the topknot is something that always remains untouched. A hair stick called Zan 簪 goes across that bun in order to stabilize the hair. When one happens to be more privileged, they will use a guan 冠 to hold their topknot. If not wearing their hair down with their topknot, Li-Ren men adopt hats and headdresses over their hair, a display of either the wearer’s profession or social rank. It is the women, in almost every culture it seems, that do the most with their hair - even from youth. The most popular style among young girls, the Shuang Ya Ji 双丫髻, The Double Maiden Bun, is practically the symbolism of youth, and I have always seen, even when I was in my youth, the style worn by girls in their teens or much younger. The trending style consists of two buns atop the head, one on the left and one on the right. After reaching adulthood, foregoing coming-of-age ceremonies, or even getting married, women tend to give up these youthful double bun or loop styles, instead either putting up their hair into single buns fixed with jade hairpins, flowers, and other accessories, a look more mature and refined, or letting it flow down, accessories decorating the very top of their heads. In Closing As it stands this moment, I believe I have only scraped the surface of the extensiveness of Li-Ren fashion and its history. Like all fashion, with all the influences that face it, it is someday bound to change. As an old man with experience - and somewhat of a bias for the days of his youth - I hope that day does not come soon. A though even more worrisome - I hope that the coming influence does not come from the common cultures of the continent. Each beautiful style of the hanfu has survived for so long by being completely and utterly Li-Ren. Being on a different continent, away from your homeland - it instills a feeling of assimilation, and it will show in the fashion influences of the future should it go down that route. But, what will keep us prosperous is our unwavering pride for our culture, and the generation coming will keep it going for the years to come. Penned at the hand of, Li Xiahong
  12. Rhea Alexandria d’Arkent - imMonaaaah - Holy Orenian Empire
  13. IGN: imMona Screenshots: Screenshots here!
  • Create New...