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  1. LA CORTE DE GIRASOL The Soberano’s Court Issued by the Soberano-Consort of Hyspia 11th of Carlos Strength, 92 D.R. A depiction of the Hyspian people. Within the history of Hyspia and its changing trends, brief accounts of its peoples' fashion has been given, but never anything more in-depth. This is showcased in a previous missive on the Hyspian culture and its fashion during the Hyspian schism era, the next missive to be found on Hyspias fashion being found during the Hanso-Hyspian era in which a section was touched on within a Haense fashion missive. The most recent missive is under the late Vicereine Karyna of Malkova's reign, speaking briefly on the common peoples form of dress. What the three have in common is that they are brief blurbs of what the Hyspian fashion is, in which we wish to elucidate the understanding of today in this in-depth missive of what the Hyspian people wear in today's era. Hyspian fashion today has come to be encompassed in two words, fabrics and layers. While status can change the meaning of those entirely, you would find more often than not this common denominator showcased amongst the Hyspian people. Breathable fabrics such as linen, silk and lightweight cotton are most primarily used for the underlayers of the Hyspian outfit - Gone unseen for the most part. It is the overlayers that the people see, that are paired together with vests, ponchos, shawls, belts and the like that make up the vibrant blend that is Hyspian fashion. Light, flowy clothing is seen, allowing for an ease of movement and protection from the Hyspian sun. Dyes and pigments dominate the fashion landscape, vibrant colors contrasting greatly against the desert sands, aquas, pinks and deep greens making their rounds. A depiction of a common Hyspian outfit. In the depiction above, you can see a Hyspian couple stand side by side. On the right, a common Hyspian woman is shown, donned in vibrant fabrics. The shoes worn are closed-toed, made of suede or soft leather, the materials used due to the Hyspian environment. Above this is a vibrantly patterned skirt, this one checkered or patchwork, aiding in showcasing her status as one of the common people. Attached to the skirt is an apron of vibrant colors, embroidery and imagery upon the bottom - the imagery showcasing keeping with the fashion trends which aids in telling further of her status, being a bit more well-off. Moving towards the top, a loose long sleeve is worn, the sleeves translucent and easily able to be pinned or rolled up. Tying up the entire outfit is a vibrantly colored shawl, draped over it and pinned before her, making up the average Hyspian outfit. On the left, you have the common Hyspian man, who is not as trendy as his counterpart. He dons a pair of suede or soft leather boots, closed-toed - which leads up to a pair of breeches of a blue color, loose and soft to allow for easier movement. The breeches are high-waisted, with a vibrantly colored fabric belt cinched at the top over a simple beige underlayered vest, which has a further underlayer beneath it, a mid-sleeve top with a collar poking out. Above this all is a blue vest, made of the same fabric and color the breeches are - embroidery at the edges and simple copper buttons. The look is finished off with a draping cape, dark in color and with a lack of patterns, embroidery or imagery. “Hyspian attire can range widely depending on the wealth and social standing. While more wealthy Hyspians can afford more eloquent and traditional clothing, the more lower class Hyspians usually resort to wearing anything they can sew together.” An excerpt from the Hyspian schism era missive on fashion. A depiction of the Noble Hyspian outfit. In the depiction above, you can see a Hyspian couple stand side by side. On the right, you have the trendy noble donned in vibrant skirts, shawl and a decorative hair comb with flowers - associated with the flamenco look which has been rising in popularity. While unseen in the depiction, she dons a pair of closed-toed, crepe soled slippers with a rise to it, intricate embroidery along the edges. The skirt is bell-shaped due to the farthingale beneath it - an underskirt aiding in forming the shape the Noble lady wishes for. The overskirt, a rich green with many folds and layers is seen over top, ruffles showcased with a silver embroidery. Moving up is the square neckline along a lighter green bodice, translucent ruffles showcased along the top and a powdery fabric strung along, in which a shawl is pinned onto - the pins of a lustrous gold. The shawl is long, of a darker fabric towards the end - allowing for further drapery. The top is translucent and patterned alike, leaving it open to showcase any jewelry found beneath and the shawl left open to showcase the entirety of the outfit. On the left, you have the trendy noble man, donned in vibrant colors, embroidery and imagery, alongside that of the widely popular montera hat that the Matadors so favor. Though unseen, he wears closed-toes boots with crepe soles and golden buttons imprinted with imagery upon suede lined flaps, pinning them down. He dons vibrantly colored breeches, tighter on the bottom and looser at the top, allowing an ease of movement. A soft leather belt is worn, a buckle with imagery showcased prominently, tying the breeches together. Hidden is a simple shirt of light fabric, and above it, a doublet tailored to fit snugly. It is of a vibrant color and intricate texture, ruffles coming together in many sewn-together layers. The sleeves are long, becoming looser at the end when they flare out as bell sleeves. Tying together the entire outfit is the highly popular side-cape, of a different shade to the doublet and showcasing patterns and embroidery of flower based imagery. A depiction of the further layering of the Hyspian outfit. “Cardigans with embroidered flowers and ponchos with intricate designs became a staple, silver or aurum chains tying the pieces together. Added layers of vibrant fabrics, belts, buckles, pins, and the like became more notable in turn. Each adornment becomes a fashion statement of their own; the quality of a brooch or pin and its grandeur helps those to tell the individual's status.” An excerpt from a missive on Hanso-Hyspian fashion. In the previous section, we spoke on fabrics and the importance of layering, going in-depth as to the social classes' way of doing so. In this section, we will touch further on layers that go into creating each artistic Hyspian ensemble. Many options can be found when creating the Hyspian outfit, ranging from side-skirts to ponchos. The way of wearing each piece is open to change. The three ranges seen in skirts and capes being that of shape and length. Side, half and full. Side-skirts or capes are used as more of a statement piece, layers peeking out from beneath and of vibrant color, embroidery and imagery as it is the top-most piece seen by all. Half-skirts and capes are much the same, but allowing for a further cover and protection from the desert sun - the full lengths doing naturally as expected with these articles of clothing. Other articles of clothing often seen used are the shawl and cardigan, embroidered or with loose and translucent fabrics. Ponchos are much the same as the above, though often longer in length, with deep-set imagery of a deeper contrast of color to the base color. A depiction showcasing a particularly pious Hyspian woman. “Furthermore, Hyspian clothing holds a common theme of square necklines, various jewelry, and embroidery holding symbolism to that of the Hyspian people and of the church, and each layer of fabric is more colorful than the last.” An excerpt from the Hanso-Hyspian on fashion. Spoken of frequently during this missive is that of embroidery and imagery, which will be touched on further in this section. Each piece of embroidery and imagery holds a symbolism in the Hyspian culture, more often than not, being used to show their piety and nationalism. Religious iconography is most prevalent, imagery of Blessed Francisco, favored Saints and the Lorraine cross found most often. Alongside this, thin, aurum detailings are found in embroidery. Nationalism can be found in the beads of embroidery, and upon ones skirts, doublets or veils. Sapphires and blue based jewels are thus used to showcase the love for Hyspia, with use of its colors. Veils when used can be of varying styles, from the translucent veil growing in popularity, short and delicate - and used to better signify youth. These would be attached most often to some form of head piece, of golds or silvers. Longer veils of a non-translucent fabric tells an entire story of its own, detailed imagery and embroidery showcased upon it - jewels pocketed throughout to make up the piece. The base color is of a simpler nature most often, so as to not detract from the imagery used. Crosses, pins, buttons, belts, buckles and the like each are something added onto any Hyspian ensemble to keep the varying layers together, each adornment further telling a story of the individual in question and their livelihood. A depiction of a Hyspian bride and groom. The wedding outfits of Hyspians range and vary wildly, and cannot be pinpointed to any specific style or color. From the more pious dresses, donned in a cross and veil - the only luxury being that of a rich, pigmented color to that of the exotic, in which the grandest display the individual may ever wear is showcased, in vibrant colors, embroidery and imagery. From heirloom dresses, to ones of no expense wasted, wedding outfits - for men and women alike, range widely from one couple to the next. The one thing in common between each is the showcasing of pigmented colors, long flowing fabrics and religious iconography somewhere upon their person. A depiction of a Hyspian woman in mourning. On the opposite end of the spectrum, there is the traditional Hyspian mourning garb. This comes in blacks and yellows, with the uncommon splash of color amongst their person. It is perhaps the only time in a Hyspians wardrobe that one would see an abject lack of color, patterns and embroidery. This by no means makes the outfit simple, for what it lacks, it makes up for with intricate and lengthy veils, aurum and silver crosses, beads and pins - and deep, flowing garments. It is heavily frowned upon to wear anything vibrant during a time of mourning, and once someone is to remove the mourning garb and wear something anew, they are thus considered out of mourning. Hyspian fashion is not just about clothing; it’s a celebration of heritage, creativity, and the vibrant spirit of its people. It's an art form that interweaves tradition with modernity, functionality with elegance. As Hyspia continues to embrace its roots while looking forward, the evolution of its fashion remains a captivating journey to observe and participate in. En El Nombre De Dios HIS ROYAL HIGHNESS, Dimitri Otto of Koravia, Soberano-Consort of Hyspia, Duke-Consort of Pacazu, Baron-Consort of Arenisca and Del’mar, Lord of Ladorada, Lord of Niseep, Gereon's Hold, and Ciudad de Plata, Gran Maestre of El Orden de Francisco, Protector of the Hyspian People, Protector of the Farfolk HER HIGHNESS, Renata Alba de Pelear, Infanta of Hyspia
  2. The New Orthodox Guide for the Fair Lady’s Dress Penned by the hand of Emma Monparnasse Rhodon de Rosius, as commissioned by her Grace, the Archduchess of the Petra, Countess of Temesch and Moere Ladies of Petra, 1906 Foreword: "A lady is never so well dressed as when you cannot remember what she wears." For decades, the reign of long veils and curled plaits have formed the stature of many women across our lands, and it is this guide that one can use to define the character of the new era, a new age to express themselves in a timely and elegant manner. Women have always been considered a pinnacle of refinement and grace. Dear, Reader, this guide will comprise of the new conforms that will uphold such refinement. Underpinnings: The new set of underpinnings, which can be purchased for a small and lasting price, is necessary to build the form of today’s woman. Now, to start from the skin, a simple and form fitting suit of thin cotton or silk is permitted, but it must not pass one’s knees. On top of this is the most indubitably needed garment: the corset. Such garments were not permitted with the long and formless gowns. The new corset, which has a straight front, and curved back, provides a proud and elegant shape to the wearer. Petticoats are much needed, and can be made of cotton. Each petticoat must have at least two flounces, and a woman mustn’t ever leave her home without wearing two petticoats. These petticoats must be shorter than the skirt to prevent such scandalous appearances. Over these petticoats, a silk taffeta underskirt may be worn by the upper-class or the well to do common woman with a beautiful flounce, and this, readers, can and is encouraged to be shown while walking, but never show this underskirt over five inches from the hem. Stockings, and their material, are up to the discretion of the wearer. These stockings can be clipped into optional suspenders at the lower hem of the corset. A note on corsets: It is unladylike to tight-lace one’s corset as such would spoil the figure. Gowns: Gone are the days of heavy skirts and pagoda sleeves of yore. Respectable ladies fashion their gowns based on the sun’s position in the sky. To begin, we must look at morning and day outfits. Fashionable ladies of the upper-class may opt for a two piece outer ensemble: a silk shirtwaist made of the finest silken weave, and a woolen or taffeta skirt in a circular-cut that barely reaches the ground, which shall be back pleated to disguise the closure, which is only two hooks at the waistband with a placket. The shirtwaist shall have a bouffant front, which may have ruffles sewn inside the front, and billowing yet soft sleeves. Let it be known that the collar of such blouses reach the nape, and never show lower than the collarbone, as to prevent wanton eyes. For the common woman, a cotton shirtwaist will do, as well as a woolen, even cotton, skirt. Each of these skirts, cotton or silk, should be lined and faced in a sturdy fabric to keep the shape of these skirts wide at the hem. The skirt should be worn over the shirtwaist and a silken belt should be worn at the waist to hide the overlap of the garments. Bodices that are not shirtwaists should match the fabric of the skirts and must be form fitting. These bodices can resemble jackets or fashionable plates from catalogs. Although, the shirtwaist is much more popular for day ensembles. Gowns for the later afternoon (past three o'clock) and evening are permitted to have a lower neckline. Nevertheless, these bodices shall be fitted, and sleeveless unless these sleeves are made of a sheer and form-fitting fabric. Over collarbone straps are permitted and up to the discretion of the wearer. Skirts must always match the material of the bodice, which shall and must be of silk. Any form of silk is suitable, but satin is of the most expensive and formidable weave. Decoration is highly encouraged. Many notable socialites adorn their bodices with layers of tulle, draped and pinned fabric, flowers, feathers, and even jewels. Skirts must be in a matching fabric and must reach the floor with a light or long train. To prevent soiling, ask your dressmaker to baste cotton ruffles into the hems of these skirts. These ruffles are known as a duster and can be easily removed for laundering. It should be noted that no lady on any occasion let her placket opening be loosely open, as such is unladylike and allows passerby to see her petticoats! An Elegant Stroll, 1899 Shoes: Shoes, depending on the terrain of the wearer’s path, must be of a material suited for the environment. For many day outfits, among the upper and common class, may be of a kid-leather, with a sturdy cotton spat that can reach from the upper ankle to the knee. The closure must be of buttons. These ‘boots’ are permitted and encouraged to have heels. For the evening, shoes must be of matching silk material or white kid-leather pumps. Black is acceptable and modest. Coiffure and Cosmetics: Never is it acceptable to paint one’s face. Such behavior has always and is associated with the lowly and scandalous. Instead, use a light powder matching of the skin tone, or even a pearly-translucent powder to hide blemishes that could be unsightly. Never cake these powders. A puff may be used to apply such powders. Rouge in the form of liquid can be applied with a small wad of cotton or brush. It is encouraged to have a slight pinkish-hue to the cheeks as well as the lips. Never overdue your rouge, such behavior is that of the unmodish. Rouge of cinnabar can only cause disgrace as it causes horrible-smelling breath. Never use such made of cinnabar. Eyebrows may be darkened and sharpened up with a small stick of charcoal. However, as aforementioned, never overdue such to make the brows completely black. Hair of the modish and stylish may be loosely piled onto the head and held in place with laitons as well as hat pins. It is smart to keep one’s hair in a loose bun as to place a straw and hard-brimmed hat as a pin shall go through to keep the hat on. Hats are reserved for the well to do and upper class-woman. These hats may be of a thick straw that have a grosgrain band of ribbon. Hats of sheer fabric with elegant plumes, flowers, and several sashes of chiffon are fashionable to keep a soft and airy grace. These hats may be worn for afternoon events, but never to evening events unless traveling. Accessories: Gloves shant be soiled, and short ones must be worn for day ensembles while longer ones must be worn with evening gowns. Parasols are commonly used to keep the fair complexion of reputable women untainted. A small reticule handbag is permitted to be used for evening and day events. Hand fans are recommended for evening events. Signed, Her Grace, Renilde I, By the Grace of GOD, Archduchess of the Petra, Countess of Temesch and Moere, Emma Monparnasse Rhodon de Rosius, Laetitia Henrietta Rhodon de Rosius et Abbassia, Mistress of the Wardrobes in the Court of Renilde I
  3. 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
  4. Hobbes & Schmick Boutique Several fliers would be scattered around Oren advertising that Hobbes & Schmick Boutique is now looking for tailors ((Skinners))! The fliers read as follows: "Hobbes & Schmick Co. is now actively seeking tailors to work full-time at either of the two boutique locations - Johannesburg and Turov! Those who are interested must know how to use a sewing machine! ((You gotta know how to skin.)) If you think you have what it takes to create Axios' most fashionable and expensive clothing, fill out the application on the reverse side of this flier! This job pays very, very well, so apply immediately or you might miss out! ((I will actually pay you minas)) **** Application: Name: ((Username)): Can you sew? ((make skins)): Which location do you wish to work at? Johannesburg, or Turov?: Provide some sketches of your past work. ((Show off some skins)):
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