#architectural garments

[classy-thief]

🌻 here's my entry for the second week of the @tmntfashioncompetition ! the theme this time was traditional clothing and I immediately knew I wanted to do something relating to my korean culture haha

I'm going against the lovely @tizeline for this one!!

this was supposed to take place in the Joseon Dynasty, but when researching the type of hanbok people wore back then it was kinda hard finding accurate information 😭 so I just went with what I thought would suit them :]

some fun facts about this drawing under the cut! ^^

I hc that donnie would infiltrate the schools to become an astounding scholar, so when he comes home he teaches his brothers what he learned ^^ he's wearing a dopo (도포), which was what confucian scholars wore back then!

mikey's wearing a child's hanbok (한복), which are more colorful than adult ones. so technically speaking, leo and donnie should be wearing one too, but I felt that leo would want to copy don haha. plus, they all still see mikey as the baby of the group 😁

raph's wearing a gat (갓), and this is kinda where it was hard to find accurate info.. it's known that when someone wears a gat with their hair in a topknot, it signifies marriage, but other sources said that it also signifies when a child has transitioned into adulthood. either way, it represents pride, dignity, and status, so I figured I might as well add it.

and since this takes place in the Joseon period, I thought it'd be nice to have raph copying a page of the Hunmninjeongeum (혼민정음), which was a document introducing the invention of the early korean language ^^

and last but not least, the table is inspired by the one my grandparents own :]

[vintagehomecollection]

On the wall, farm garments exemplify a rare combination of sashiko quilting and kasuri dyeing, and probably date from the Meiji era. The sea chests flanking the bed are typical of those from Sakata in northern Yamagata Prefecture.

At Home With Japanese Design: Accents, Structure and Spirit, 1990

[searchsystem]

Str4ngeThing / Women’s Architectural Cape Tracksuit / Rendering (AI) / 2022

[vieformidable]

1970s. This was an common scene in New York City's Garment district. Borough of Manhattan. Corner of 36th & 7th. Macy's Herald Square was located 2 blocks to the south.

Photo by Ozzie Friedman.

[stanford-photography]

Timbuktu By Jeff Stanford, 2025

Buy prints at: https://jeff-stanford.pixels.com/

[productclick]

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[fannedandflawless]

The Uniform Was Armour

An attire analysis of Severus Snape, as portrayed by Alan Rickman

What does it mean to wear forty buttons every day? To choose black not for fashion, but for function? To wrap yourself in discipline and precision while others wear colour and comfort?

I’ve been studying Severus Snape’s wardrobe across every film—and what began as curiosity quickly turned into full analytical obsession. Because beneath that iconic silhouette is an entire philosophy stitched in wool, linen, and silence.

Let’s talk about it.

👔 The Buttons, Layers, and Surprising Realism of Snape’s Wardrobe

Yes, I’ve zoomed in. Repeatedly. Across every film, from Philosopher’s Stone to Deathly Hallows, I’ve counted his buttons—frame by frame, button by button, layer by layer. Let’s just say—I’ve become very familiar with this frock coat’s construction.

And darling, here’s the breakdown:

3 unbuttoned at the collar

9 buttoned down the front

10 per sleeve

4 per leg

🧮 Total: 40 buttons.

Forty. Let that settle in your bones.

On set, most were decorative—Alan Rickman wasn’t fastening all forty by hand. Hidden zippers, snap closures—clever costume design. (This is based on standard film costuming practices—where elaborate garments are often modified for ease of dressing with hidden closures. No official quote confirms this for Snape's outfit specifically, but it aligns with how similar costumes are constructed.) But in-universe? If the real Severus Snape wore this...

It’s safe to assume he used a spell. Realistically, no one’s spending fifteen minutes every morning fastening forty buttons—not even Severus Snape. He had essays to mark, potions to brew, and a corridor presence to maintain.

And oh, that presence.

—

🧥 The Full Layer Breakdown (Based on Alan Rickman’s Film Costume and Button-by-Button Image Zooming)

1. White high-collared shirt – stiff, sharp, and always buttoned to the throat. Clean. Severe. Scholar-coded.

+ Black cravat or neckcloth – visible in several key scenes (notably when inspecting the cursed necklace and seated with the Dark Lord). Likely silk or satin. It adds formality and structure, anchoring the layers while communicating a quiet, old-world elegance.

2. Inner black buttoned layer – possibly a waistcoat or inset panel. Tailored close. Minimal.

3. Frock coat – double-breasted with 14 visible buttons. Structured. Commanding. The real statement piece.

4. Long open-front robe – that iconic swirl. When he enters a room, it follows like a shadow.

5. Straight black trousers – clean-cut, no nonsense.

6. Tall black boots – polished leather, confident heel.

7. (Possibly) sewn-in underlayer for structure – subtle but significant.

—

🪡 What Could the Fabrics Be?

Shirt: Cotton or stiff linen—light but architectural. Holds the collar high.

Inner layer/waistcoat: Lightweight wool or twill—close fit, breathable, efficient.

Frock coat: Wool blend or gabardine—thick, silent, unmistakable.

Robe: Wool or silk-blend—fluid with weight, designed for drama.

Trousers: Soft wool or worsted—no embellishments, just utility.

Boots: Black leather—lived-in, lacquered, ready to move.

The entire ensemble whispers: do not underestimate me.

—

🔥 How Did He Survive the Heat?

All black. All layered. All day. In July? (Or August, depending on the school calendar—but we’ll get to that heatstroke later.)

The answer is geography. He lived in the dungeons.

The Slytherin common room sits beneath the Black Lake—stone walls, filtered light, the occasional squid gliding past. Cold enough to preserve potions and secrets alike.

So yes—he wore forty buttons and never broke a sweat. Because the walls were colder than any seasonal breeze. And honestly? So was he.

—

🧼 How Many Did He Own?

We never see his wardrobe, but let’s be honest—he’d need more than one. You don’t brew over a cauldron daily without carrying the scent of asphodel and burnt fluxweed for hours. Add parchment ink, dust from centuries-old tomes, a hint of candle soot—and you’ve got a potion master’s signature scent.

And let’s not forget: Hermione Granger literally set fire to his robes in Philosopher’s Stone—whether it was the hem or that slightly fluffy bit at his ankle, the damage was real. There can’t have been just one. Not in a school full of reckless students and volatile substances.

These garments weren’t just iconic—they were functional. And surely duplicated.

Three, at minimum. Five, if he allowed himself the luxury. All identical. All immaculate. Possibly with a charm or two to keep the folds crisp and the fabric warded.

—

🧣 The One Exception—His Layer for Weather

Across eight films and countless scenes, Severus Snape’s uniform never truly wavered—except once, perhaps twice.

In Philosopher’s Stone, during the infamous Quidditch match where he counter-cursed Quirrell’s jinx, he wore something different:

A high black scarf

Fingerless black gloves

A heavier, textured outer cloak—draped and more tactical

It’s the only time we see his silhouette altered so clearly.

Still black, still formal, but slightly more utilitarian. Weather-appropriate, perhaps? November in the high stands of the Quidditch pitch must’ve been brutal—wind cutting, robes whipping. Most students wore house scarves not just for pride, but to survive the chill.

So yes, that scarf and heavier cloak weren’t just stylistic flourishes. They were practical, protective, and quietly prepared.

Either way, it stood apart—and not just in costume. In that moment, he was cast as the villain, misunderstood and brooding in layers.

And I must wonder—where did that cloak go? At first glance, I assumed it had been lost to the flames of Hermione’s accidental sabotage in Philosopher’s Stone. A dramatic end to a singular garment.

But then—rewatching Goblet of Fire—there it was again. During the Hungarian Horntail trial, Snape sits beside McGonagall, and if you look closely: folded cuffs, denser weave, a broader drape over his shoulders. The silhouette is unmistakable.

The scarf and gloves are gone, but the cloak’s presence speaks volumes. Not flashy, but deliberate. A return not for spectacle, but for utility. Its weight, its shape, the quiet precision in its fit—nearly identical.

So no—it wasn’t destroyed. Not gone. Not forgotten. Simply reserved. Practical. Intentional.

Another glimpse into how even the rare deviations in his attire still follow a purpose. Nothing is ever random with Severus Snape.

Still all black, still stern—but there’s something in the added structure that reads more formal. Less dungeon-brewer, more event overseer. It’s functional, wind-resistant, and dignified in a cold, open-air setting.

Perhaps it was kept for outdoor events—or those requiring a touch more presence. It reminds us that even the most stoic wardrobe had its layers—and that nothing Severus Snape wore was ever without intent.

Even when the silhouette shifted slightly, the reasoning didn’t. Whether reserved for specific events or dictated by weather, every layer had purpose. He was always watching. Always calculating. Always protecting.

—

🖤 What the Uniform Meant: Endurance as Identity

The choice to wear such rigid attire wasn’t just style—it was declaration. It was discipline. It was Severus Snape, sealing himself into something he could control.

"It is endurance. Conditioning. Discipline—of body and mind. This attire is not meant for ease. It is meant for containment."

That’s how I imagine he would have spoken of it, if ever asked. With restraint. With precision. With the same measured control that shaped his every movement.

He didn’t wear black because he liked the colour. He wore it because black absorbs. It doesn’t reflect, doesn’t shine, doesn’t distract. It takes.

And if someone ever questioned the heat? The weight of so many layers?

"If I wear less… I feel more." "And for someone who has spent most of his life bearing what others cast off, that is… not always bearable."

It was never about temperature. It was about endurance as aesthetic. About turning vulnerability into fabric. A way of saying: I will bear what others shed.

To wear layers was to keep the world at a distance. To button forty buttons was to remind himself: control is chosen. Every day.

"There is a certain power in being the only one who does not wilt under pressure. Let them sweat. Let them squirm. I remain."

Snape didn’t need robes that breathed. He needed robes that held.

Because the man beneath them had spent a lifetime feeling too much. And hiding it all in plain sight.

And somehow, it worked.

He endured.

And never once did his silhouette flinch.

[lamaisongaga]

FASHION CREDITS: LADY GAGA AT COACHELLA WEEKEND I

Eight years after she first made history at Coachella, Lady Gaga reclaimed her throne in 2025 with a headlining performance that was nothing short of operatic chaos. 

Choreography by Parris Goebel, styling by HARDSTYLE, hair by Frederic Aspiras and glam by Sarah Tanno-Stewart.

Her dark pop spectacle opened with a haunting visual interlude titled “The Manifesto of Mayhem”—a cinematic overture that reintroduced the world to Mistress Mayhem, Gaga’s latest alter ego.

Bathed in crimson light and surrounded by shadows, Gaga emerged on the screens in a rare archival piece: a bondage-inspired black leather straitjacket from Dolce & Gabbana’s Spring/Summer 2003 collection. The jacket, adorned with a grid of heavy buckles and silver hardware, set the tone for the night—iconoclastic, provocative, and entirely in control.

The incredible black mesh boater hat with rubber barbed wire around was created for our girl by milliner Lara Jensen who‘s been working with Gaga for over a decade!

Her angelic counterpart donned the Garden Fairy mesh corset top made from recycled vintage fabrics ($925 - sold out) from Central Saint Martins graduate Gyouree Kim‘s Spring/Summer 2025 "Cherubim" collection.

If the "Manifesto of Mayhem" set the tone, then what followed was pure operatic excess. Gaga made her true entrance atop a towering crimson structure draped in velvet folds—her silhouette like a deity descending upon her disciples.

The look? A custom creation by avant-garde visionaries Samuel Lewis, Athena Lawton and William Ramseur—a pleated, studded spiked masterwork of red velvet drama. Drawing inspiration from Edwardian silhouettes and Mugler’s villainous couture—particularly his take on "Lady Macbeth"—the jacket was armored in silver pyramidal studs, its spine and shoulders flaring like a queen prepared for battle.

Beneath the sweeping opera curtain–inspired skirt—engineered by the theatrical masterminds at Jet Sets —hid an elaborate cage several feet tall, housing Gaga’s dancers like a twisted chorus of shadows. The garment was both fortress and stage, its hem draping downward like blood-soaked drapery from an abandoned palace.

Topped with bone-like protrusions with crystal embellishments at the collar and sleeves, Gaga became something between a saint and a specter. Her performance from this fortress-skirted throne was a visual aria: high camp meets high art, rooted in madness, resurrection, and pure spectacle.

The opera singers beside her were dressed in huge wavy constructed yellow and black skirts with beaded velvet tops, custom-made by Candice Cuoco.

In one swift motion, she shed the heavy opera curtain—only to unveil a sensual, custom-made Samuel Lewis and Seth Pratt creation beneath. The ruby-red satin dress featured a sharp bodice with architectural puff shoulders and a plunging open front that gave way to the black lining. A crystal-embellished sash draped diagonally across her chest.

For the most intimate and arresting act of her set, Gaga appeared in a teddy—part lingerie fantasy, part gothic confessional, custom-made by the same duo. Crafted in rich black satin, the piece featured a sculpted bustier, delicate lace trim, and a shimmering crystal-embellished cross that ran from neckline to hem, catching the light like a whispered scandal.

Gaga strutted across the stage in the surprisingly affordable Leza over-the-knee boots by Steve Madden—retailing for just $89.99. Yes, you read that right.

"OFF WITH HER HEAD!"

Three of the characters are wearing these impeccable black veiled headpieces and dresses which were created by Nasir Mazhar in 2021, originally for balletLORENT.

Gaga's string orchestra wore draped black taffeta gowns made by AGRO STUDIO with custom headpieces all created by Lara Jensen.

As the lights dimmed and the stage transformed into a sepia-toned wasteland, re-emerged not as a pop powerhouse, but as a ghostly relic of beauty undone. Lying among skeletal remains and grains of dust, she conjured a scene straight from a tragic gothic fable.

For this act, titled “And She Fell Into A Gothic Dream,” Gaga wore a custom Dilara Findikoglu corset mini dress—a distressed, doll-like creation that whispered of innocence lost and romance decomposed. The off-white, almost bone-colored garment featured delicately frayed edges, an asymmetric hem, and panels of antique lace that seemed stitched together by time itself. Every rip and raw edge told a story of longing, survival, and sorrow.

The dancers wore skeleton masks made specially by Sarah Sitkin!

Gaga stepped back into one of her most iconic songs—"Paparazzi"—but this time, she didn’t just revisit it. She rearmed it.

As the familiar opening notes rang through the desert sky, Gaga reappeared in a custom Manuel Albarran armor bolero and matching helmet—a direct visual homage to the Mugler look she wore in the original "Paparazzi" music video.

For the high-octane performance featuring Gesaffelstein, Gaga slipped into a custom Marni catsuit, based on the house’s Fall/Winter 2025 collection. The original red suit—featuring beaded embroidery of a black wolf—was reimagined for Gaga as a skin-tight, asymmetrical bodysuit, fused with nude illusion mesh and stitched with jet-black sequins that glinted like sharpened claws.

To elevate the glam rock look even further, Gaga threw on a custom coat made entirely of hand-cut blue and black paper feathers, inspired by the brand’s Spring/Summer 2025 collection.

A true blast from the past are her Savannah vinyl corset boots from Penthouse.

Her female background dances all wore custom costumes by Courtney McWilliams paired with the Miista Imogen black lace-up sneaker boots!

As the opening of "Zombieboy" echoed, Gaga returned to the stage, wearing a striking custom look designed by Samuel Lewis and William Ramseur: a military-inspired royal blue satin bustle coat, tailored to perfection and cut with razor-sharp precision. The garment featured exaggerated puffed shoulders, a nipped waist, and a flared skirt with an almost theatrical silhouette, marrying 18th-century regency with gothic fantasy. The pièce de résistance? The coat’s intricate gold embroidery, stitched by the artisans of Altesa Embroidery, which shimmered like bone filigree under the stage lights—mirroring a skeletal ribcage and spine that gave the look both regality and decay.

But Gaga didn’t stop there. To crown the ensemble, she donned a custom Marni paper feather helmet, styled like a twisted jester’s crown with raven-black plumage erupting from her temples.

The studded harness belt, she wore during "Zombieboy", was custom-made by Jonathan Burdine in collaboration with Iggy Soliven.

For "Shadow of a Man", Gaga emerged cloaked in mystery and command, donning a custom Louis Verdad x Samuel Lewis creation that was equal parts military regalia and avant-garde sculpture.

The charcoal grey structured jacket, tailored to her frame like armor, featured razor-sharp lines and a high, asymmetrical collar that framed her silhouette like a shadow in motion. Bold black patent leather straps slashed across her shoulders and waist, adding a sense of futuristic restraint to the otherwise regal tailoring.

Underneath, she wore black stretch vinyl shorts by Los Angeles Apparel.

For the final look of the night, Gaga delivered a breathtaking visual transformation in a total couture creation by Matières Fécales (formerly known as Fecal Matter), a brand famed for its futuristic, grotesque, and avant-garde sensibilities.

The custom ensemble was a full conceptual look, comprised of a satin-stitched bodysuit featuring a haunting red anatomical cross motif—meant to evoke the feeling of surgical stitches, resurrection, and rebirth (and a nod to the "Abracadabra" music video!). The bodysuit alone was a spectacle, but Gaga layered it with even more drama: a translucent organza coat (cropped specifically for her performance), and an exaggerated feathered bustle skirt constructed from delicate white plumes that moved with every beat, adding an ethereal weightlessness to the performance.

The silhouette was further intensified with a sculptural feather collar piece—a headpiece of long, otherworldly white feathers shooting upward like wings, perfectly framing her head and extending the theatrical effect, created by Paul Battenberg-Cartwright.

On her hands, Gaga wore elongated gauze gloves created by artist Yaz XL, designed to resemble haunting, claw-like monster hands. The exaggerated fingers extended dramatically into crystal-embellished tips, catching the stage lights with every movement and adding an eerie elegance to her already ethereal silhouette.

To complete the look, she grounded the ensemble with custom white lace-up ankle boots by Chrome Hearts.

The dancers were all dressed in custom Luis de Javier white lace looks and Balenciaga Cagole white boots! The nurses, that wheeled Gaga in, wore custom ILONA red gowns and hats.

[hollowed-theory-hall]

So, Wizarding Robes

I saw this post by @iamnmbr3 and @kittenjammer talking about wizarding fashion and I wanted to talk about this for a while, so I'm going to give my own two cents on it based on fashion history. I love history in general, but fashion history and historical architecture are two I’m incredibly passionate about. So, here we go (post with a lot of pictures ahead):

When I read the books and they mentioned unisex “robes” which function like dresses in a way (as you don’t have to be wearing trousers beneath them:

James whirled about; a second flash of light later, Snape was hanging upside down in the air, his robes falling over his head to reveal skinny, pallid legs and a pair of graying underpants.

(OotP, 647)

And described as being very colorful and billowing, often accompanied by a pointed wizard hat, it was clear to me JKR was trying to invoke the image of the classic fantasy wizard robe:

Especially when it comes to Dumbledore.

The thing is, this style is based on a real historical period and historical styles of the medieval period in Europe.

Medieval Europian Robes

When I'm thinking about the "classic fantasy wizard look" the first historical period that comes to my mind is the 15th century and I'll illustrate why.

Spesificly, the 14th and 15th centuries houppelande. It was a long over garment that looked kinda like a dress with wide, flaring sleeves available for both men and women in various shapes, cuts, and even patterns. Here are examples of some houppelandes:

(As you can also see, early 15th-century fashion comes built-in with silly hats! Just like wizards)

In the 15th century you also have a wide array of cuts of cloaks (and even more silly hats!):

Along with surcoats, that contrary to their name, weren't just for knights to signify on their armor the house they serve:

These 15th-century garments are exactly like wizard fashion is described in the books: billowing robes, colorful and eye-catching, and accompanied by silly hats.

The thing is, all these garments are from the high medieval period and as wizards broke away from muggles only when the Statute of Secrecy was enacted, I'd expect their fashion to follow the muggle trend up to that point and then start diverging. Even the most pure-blooded wizarding families of the modern day, like the Malfoys, integrated with muggle circles up until the Statue of Secrecy, something that would've forced them to dress like the muggles at the time to blend in better.

As the Status of Secrecy was first enacted in 1692, it's time to talk about:

Late 17th Century Fashion

Now, while the high middle ages in Europe had everyone wearing essentially wizard robes and silly hats on the regular, the Statue of Secrecy was enacted much later. Fashion in the 17th century was drastically different from the earlier one mentioned above.

In the late 17th century, this is the kind of dress I'd expect from women in England:

And this is what I'd expect from men:

Which is very different from what is described but would've been the historical basis the wizards would work from.

So what do I think wizarding fashion is actually like?

Well, since the books are in the 1990s and wizards don't really live in a vacuum we know some later influences in fashion did make it in. So, I think wizarding fashion is an odd mix of 15th-century and late 17th-century fashions updated to the time period the wizard grew up in, hence distinct fashion changes between generations like we see in the muggle world.

We see these distinct generational fashion changes with characters like Agusta Longbottom who wears a Vulture hat. These sorts of hats with real birds on them were a thing historically. They were quite fashionable in the late Victorian era, which is when Agusta would've been a child if she's around Dumbledore's age:

Fudge is described as wearing a Bowler Hat, a kind of hat that started catching on in the late 19th century but was still a staple in menswear into the early 20th century, hence indicating Fudge's age.

Ron's yule ball dress robes are described as old-fashioned, again indicating fashions in the wizarding world change at a similar rate to the muggle one. Note that since the 17th century, fashion has been changing quite rapidly and by the 18th century fast fashion where you need to buy new garments each "season" has already started becoming a thing. With all that, I think wizard fashion indeed changes just as rapidly as the muggle one.

Now, that's great, and all, but, what would that odd mish-mash fashion even look like?

Well, I made a few very quick sketches as concept examples for what casual wizarding fashion in the UK might look like if we're working off historical references:

(not my best pieces, it's just to get the concept across)

Note that Wizengamot robes and other formal professional wear would probably be older in style and closer to 17th-century fashions.

[popamolly]

“INTERNAL REDEMPTION” LUCIFER MORNINGSTAR

summary. (y/n) finds herself in Lucifer’s grasp, knowing her job is to get close to him in order to figure out his future plans for hell and to ultimately sabotage him by telling the V’s. Though their first encounter didn’t exactly go as planned.

CHAPTER ONE | CHAPTER TWO | CHAPTER THREE | CHAPTER FOUR

warnings. lucifer morningstar x stripper!fem!reader, eventual smut, mention of death, biblical references, sex work, sexual themes, trauma, abuse, murder

author’s note. this story has gotten so much love in such a short amount of time! thank you all!

“Change of plans, dollface. Your new owner wants you brought to someone else’s place, apparently you’re his gift.” The shark face man tossed you into a back of a van with a snarl, “How generous of him.”

“Screw you.” You bit back as you pushed yourself up, giving the guy a glare.

“Ouch!” The guy playfully steps back with a roaring laugh, “The dove can bite.” You glared at the man as he slams the car doors, covering you in complete darkness. ‘This sucked’ you thought to yourself, you got caught up in something that could make or break Hell itself when you just wanted to live a simple life, or at least the most normal idea of simple you can get. You wanted nothing more than to just dance to your hearts content while keeping under the radar but because of your damned loyalty to Valentino you had no other choice. Cruel as the man can be, you owed him more than just your afterlife.

Before you knew it, you were in a bedchamber after being scrubbed down from head to toe and put in a quite revealing garment. You did not even have time to admire the walls that would serve as your cage for the time being. The intricate architectural designs had you in awe, it was clear you were far away from the slums of Hell being in such of place of grandeur. Chandelier's adorned the high ceilings, oil paintings decorated the walls, and the smell of it all caught you off guard- it was a clean scent, something that only the rich and those bathed in luxury could afford to have.

"You will wait here, until his highness is ready for you." A elderly maid took your clothes that was neatly folded beside you as you stood in the center of the room feeling oh so out of place.

"Asmodeus is still away?" You asked, wrapping your arms around yourself.

"As-? Oh, no dear, you are in the King's bedchambers." The maid revealed, catching you up to speed on your current situation, "You are a gift for Lucifer."

Your heart sank then. Of course this is what you wanted, this was plan a, but how could have you caught his attention so soon? Your mission was now becoming more real and you realized that you couldn't fail. You couldn't disappoint Valentino because your afterlife quite literally depended on it. But now that you were actually in the King's bedchamber what should you expect? Someone demanding? Someone who easily towers over you? Ruthless in bed? You knew to keep your expectations low if the rumors about the King were even remotely true.

For awhile you sat on his large bed. Swallowing into your own thoughts as you waited patiently for Lucifer to arrive. Your nerves only grew and with that your curiosity as well.

Though Lucifer himself was a ball of nerves just like you. He was practically bouncing on the balls of his feet with nervousness at the thought of a woman in his chamber waiting for him. This was all so screwed, he didn't even want to be at Asmodeus' party nor did he want a prostitute in his room, that he didn't have time to clean due to such short notice. ‘Were you laughing at him and the mountains of rubber ducks? How fucking embarrassing!’ As much as the thought of a night of passion was intriguing, this is not how he wanted it to go. He could be everything people wanted him to be but he wouldn't stoop that low to sleep with someone who was under obligation.

Lucifer returned home to his palace with one thing in mind, and that was to free you from his ownership.

The sound of the rattling doorknob had you shaken from your thoughts, making you hurriedly get onto the center of the bed to make yourself more presentable. Tucking your legs under you, you let a strap of your gown fall from your shoulders as you puff your chest out to reveal your cleavage. You took a deep breath, ready to put on your facade to appear more alluring as you watched the door slowly open revealing the evil, dark, merciless- short king?

You blink once. Then you blink twice.

“I’m sorry,” You scramble to your feet, trying your best to cover yourself with your arms, was this some joke the maids thought would be funny? Putting you in the wrong room? “I must have the wrong room.”

“No, actually this is my room, ha ha.” Lucifer tapped his cane against the ground as he walked further into his bedchamber, kicking a rubber duck to the side, “I hope I haven’t kept you waiting too long, my dear.”

This wasn’t a prank.

“Oh! Your highness,” you curtsy with a bow of your head to show respect, “Forgive me.”

“All is forgiven,” Lucifer tugged on his shirt collar, suddenly feeling smothering in the fabric. He was a bit nervous now that he was in your vacinity. You were absolutely breathtaking up close, “I hope your ride here was smooth.

‘Hardly that’. “It was, my king.”

“Good, Good…uh.” How was he going to go about this? “Well this is awkward, ahaha. I actually was going to release you of your duty to me. Your uh…services, aren’t needed here. This was all just a simple mishap.”

You tilt your head in confusion. He was letting you go? So easily? What of those rumors you heard before, of the man who took and ravaged without mercy? And besides all that, you had a mission to do, you couldn’t fail so easily and so soon. The day wasn’t even over, “Do I not please you, your highness?”

“What?! No, no, no! You are…quite the lovely creature with an,” Lucifer gulped, his eyes raking over your figure with flushed cheeks, “an amazing body but I just—” ‘Spit it out, you idiot!’ He thought to himself. “I-I’m married, you see.”

“Ah,” You look to the floor then, trying to jumble up the words you wish to speak before you were tossed out. How could you convince him otherwise? “I see..”

“Good!” Lucifer clasps his hands together, trying to ignore the fact that he absolutely, positively— what do the young kids say now a days? Fumbled. He fumbled hard on such a pretty woman as yourself. But for good reason. He was married and as lonely as his life may be, he still held out hope for Lilith. He was faithful to her even after all these years…or at least that’s what he wanted to believe, “I will have the maids see you out and pay you handsomely for any inconvenience.”

“No!” You always did want to try acting sometime when you were alive, “Please my boss, would not accept me back. You’re all I have your majesty.” You held onto Lucifer’s arm gently, forcing your eyes to become glossy with tears, “I have no where else to go.”

“Well, that..” Lucifer felt goosebumps arise at the feeling of your fingertips on him, “that…is quite a pickle.”

“If you don’t accept me as your mistress then let me join your staff,” You plead with fake desperation, a desperation so good that even Lucifer was starting to pity you, “I can cook, clean…anything else really just please don’t kick me out.”

Lucifer bit the inside of cheek, trying hard to remain true to his word on releasing you from his leash but he couldn’t help but feel sorry for you, and all it took was you batting your eyelashes at him with a sad look that had him folding instantly. A spark ignited within him, something that he wouldn’t dare even acknowledge.

“I supposed I do have to replace one of my maids.” The King of Hell, gave in without much of a fight. Even if he knew that this was a bad idea, “Fine, fine, fine! You can stay but know that you are allowed to leave whenever you wish, I will not keep you against your will.”

You couldn’t help that your heart all but fluttered as his words. His voice radiated a warmth that you haven’t felt in such a long time. It was surprising and almost distracted you. Almost.

“Thank you, Thank you, your highness,” You bow your head again before raising it to meet his gaze. For a split second the both of you got lost in each other’s eyes at a loss for words until Lucifer finally broke the silence by clearing his throat, turning his back to you with a new found coldness.

“The other maids will take care of you and tell you everything you need to know.” Lucifer made his voice go slightly deeper, “You are excused.”

You nod before leaving the room, silently thankful that your desperate act worked. Which only confirmed that the King of Hell did have a soft spot, a simple crack in that stone wall of his that you fully intended on using to your advantage.

“The King does not eat breakfast but loves brunch, you are to serve him at eleven twenty-five sharp, not a minute early not a minute less—!” The elderly maid you met the day before was walking ahead of you in such speed you were unsure how her little lamb legs could even move so fast. You struggled a bit to keep up, trying to memorize everything she was saying, “—All the windows in the palace needs to be dusted before noon, are you listening to me child?!”

“Ah, yes!” You bumped into her as she abruptly stops, letting an apology fall from your lips before looking up at one of the floor-to-ceiling windows you were expected to clean, “How can you possibly clean all the windows in the palace before noon? How many even are there?”

“Six hundred and sixty-six.” Lysandra states matter of factly, “Now keep up, we mustn’t dawdle.”

The head maid leads you into a the grand foyer, her heels clicking and clacking against the elegant marble floor as she leads you to the center, a large crystal chandelier hanging above the both of you that seemed to sparkle like diamonds under the light. Lysandra points to the bucket filled with soapy water and the big yellow sponge beside it.

“This whole foyer needs to be shining before eleven so you have time to serve the king,” Lysandra raises an eyebrow at you, “Understood?”

You glance around the room, trying your best to understand how in the fuck you were going to clean this whole foyer in under an hour. But did you really have time to complain? At least while you scrubbed you can figure out how you were going to get close to the King, “Got it.”

Lysandra smiles at you, “Good. You remember where the kitchen is? Come there in about an hour to bring the king his lunch.”

“Got it.” You repeat yourself, which makes Lysandra nod in approval before leaving you to your work. You start to get to scrubbing until the floor was so spotless that you could see your reflection through it. Before you knew it was thirty minutes pass ten, making it almost time for you to be done and believe it or not you did better than you thought you would.

Though your mini accomplishment wasn’t celebrated for long because not even a moment later the sound of footsteps echoed through the foyer, and then a loud thud!

“Who in the unholy hell made this floor slippery!” Lucifer groans, holding onto his lower back with a deep frown, “And without a wet sign?!”

You gasped, “Your majesty,” Rushing over you help him, only to be nudged away the moment he got up on his own two feet, “I am so sorry!”

It was already your second day and he had to bump into you again. What are the odds in a place as big as his palace that he ran into you. ‘Fuck, this was going to be hard wasn’t it?’ Lucifer nearly groaned at his own thoughts, ‘Give it another day or two and she’ll just blend in with the other maids.’

“What a unique way to take out the big boss,” Lucifer joked, “Through lower back pain and a dislocated spine.”

You couldn’t help but giggle at his words, stopping short when you realized what you were doing. It wasn’t your fault that the merciless Lucifer was funny— and quite charming.

“Please forgive me, I think I got a bit carried away with the polishing..”

“You think?” Lucifer chuckles, The both of you sharing a moment of laughter, “The foyer does look spotless now thanks to you so I suppose I shouldn’t complain too much. It hasn’t looked this presentable in years.”

You wanted to pat yourself on the back. Turns out cleaning could be a bit therapeutic for you. Lucifer couldn’t help but stare at your face, your small smile and honey sweet laugh seemed to take his breath away.

And he didn’t like it one bit.

You stood a bit straighter as Lucifer cleared his throat, “Now if you excuse me.” And with those words he was off into the dining hall. Which reminded you of your next task— which was to help dust the windows. You had all but completely two before you checked your watch and your heart nearly sank at the time. Rushing to the kitchen, you hurried down some corridor steps and make your way down another hall until you heard the bustling movement and hurried voices.

“You’re late!” Lysandra frowns as she hurriedly puts a tray of food in your hands, “You need to go serve the king! Who knows how long he has been waiting? Now off you go!”

With a gentle, yet a bit forceful shove, your pushed toward a hidden stairway that led you right into a hallway near the King's bedchamber. You sighed before knocking on the large door and entering once you heard a simple, "Come in."

You entered the bedroom, letting the door close behind you as you made you way toward Lucifer. The King was sitting on a chair at his desk, tinkering away at yet another rubber duck to add to his growing collection. You wanted to know where this obsession with ducks came from and why it seemed so out of character for the King of Hell to have. The longer you stayed here, the longer you realized that everything you thought you knew was a lie.

"Your highness," You did a quick bow before setting his tray of food beside him, "Your brunch.."

"Ah! Thank you!" Lucifer frowned slightly, not expecting that it would be you to deliver his food this morning. It was as if you were at every corner, constantly reminding him of his physical attraction to you, "That is all, you can go."

"Um..actually! I thought you would entertain my company for awhile sir," You smile at Lucifer, mentally noting that there was an unspoken sexual attraction but you would have to tear his walls down first to even act upon it. You figured that you would have to get him to trust you first, "I've been curious about your...rubber ducks ever since I got here."

‘Why were you being so persistent? I mean I like it but what exactly was your angle here?’ Lucifer squints his eyes in suspicion at you, looking over your face to find any hint of deceit but only found your warm smile instead, "Really?"

You nod with excitement, pulling up a stool to sit beside him. Now that you were slightly lower due to the short stool, you looked up into his eyes with a hidden determination and a new found curiosity that you couldn't help. The King of Hell was a mystery and whether it was your obligation to Valentino or your want to truly look through the cracks of Lucifer's protective barrier himself, you found yourself intrigued by him.

"Well surely, there is a story behind it." You straighten out your maid attire before putting your hands into your lap, "Will you tell me?"

Lucifer clears his throat, a bit taken aback at the fact that someone seemed so interested in his duck obsession. He hasn't had someone even remotely curious since- well since his daughter Charlie. What was this feeling inside his chest? Why did he want you to continue to look at him in the way you are now?

"I suppose I can spare a moment...or two."

© POPAMOLLY 2024 all fanfics belong to me, do not copy, translate, or repost in any other social media.

@pyromaniac-on-caffeine @froggybich @punching-pentagrams @elleofdragons @futureittomainn @cryptidghostgirl @yelinmarceline

Be sure to leave a comment & let me know if you want to added to the tag list for this story so you’re updated whenever I drop a new chapter! xo

[ducksido]

Maybe you can do the twst boys with a Chinese! Yuu?

Chinese!Yuu

Grim

“Hah? You eat noodles AND rice every day?! That’s too much starch, Yuu!”

“Wait, you have how many regional cuisines? That’s too many flavors for one person!”

Demands to try hotpot, but regrets it once the spice kicks in.

The NRC Student Body

“Your New Year lasts for two weeks? Lucky!”

“Your ghost stories are terrifying. I’m never sleeping again.”

“Did you just… call someone a turtle egg as an insult?”

Staff Reactions

Crowley

“Ah, the Middle Kingdom, so grand and historic! Perhaps you could teach me a thing or two about feng shui?”

Probably mispronounces xie xie (thank you) in the worst way possible.

Thinks China is “one big place with pandas.”

Crewel

“Your embroidery work is exquisite. I must say, I admire the craftsmanship in your traditional garments.”

Likes silk and is fascinated by Chinese fashion history.

Trein

“The literary history of your country is astounding. Have you read Journey to the West?”

Has deep respect for the philosophical schools of Confucianism, Taoism, and Buddhism.

Vargas

Absolutely loves kung fu movies.

Tries to get Yuu to teach him some real martial arts.

“Wait, so in some stories, your warriors used qi to fly?!”

Sam

“A land of trade and spice? That’s my kind of place!”

Immediately asks if Yuu can hook him up with some premium Chinese tea.

Dorm Reactions

Heartslabyul

Riddle Rosehearts

Loves how strict Chinese table manners are. “Ah, finally! Someone who understands proper etiquette!”

Fascinated by tea culture, but questions why there are so many types of tea.

Trey Clover

Tries making mooncakes during Mid-Autumn Festival.

Probably loves dim sum—especially egg tarts.

Cater Diamond

Obsessed with Chinese street food. “Dude, those jianbing (savory crepes) look amazing!”

Wants to take selfies with a dragon dance.

Ace Trappola

“Wait, your New Year’s money comes in little red envelopes? Where’s mine?”

Probably tries to join a lion dance troupe for fun.

Deuce Spade

Thinks martial arts are super cool and wants to learn.

“So, you celebrate New Year by setting off fireworks inside your house?! That’s crazy!”

Savanaclaw

Leona Kingscholar

“So, tigers are a big deal in your culture, huh?”

Secretly respects the idea of ancestor worship.

Ruggie Bucchi

100% relates to Chinese street vendors hustling.

Loves scallion pancakes because they’re cheap and delicious.

Jack Howl

“Kung fu training from a young age? That’s impressive.”

Lowkey wants to practice tai chi.

Octavinelle

Azul Ashengrotto

Fascinated by China’s trade history and monopolies (silk trade, anyone?).

Tries to convince Yuu to let him sell exclusive Chinese delicacies.

Jade Leech

“So your cuisine has mushrooms in almost everything? How delightful.”

Fascinated by traditional medicine and herbal remedies.

Floyd Leech

“Your New Year celebrations are loud and fun! I wanna chase the dragon next time!”

Tries Sichuan hotpot and doesn’t even flinch at the spice.

Scarabia

Kalim Al-Asim

“Your tea culture is so refined! You have whole ceremonies for it? Amazing!”

Gets along well with Yuu because both cultures love big family gatherings.

Jamil Viper

Appreciates the hard work ethic and discipline.

“Your historical architecture is so intricate… How do people even build things like that?”

Ignihyde

Idia Shroud

“So, you have legends about ghosts and demons with long black hair? No thanks.”

Secretly obsessed with Romance of the Three Kingdoms.

Ortho Shroud

“Did you know China is at the forefront of AI research? Amazing!”

Loves Chinese mythology, especially about dragons.

Diasomnia

Malleus Draconia

Loves the mythological Chinese dragons and thinks they’re just as regal as fae dragons.

Lilia Vanrouge

LOVES old Chinese battle tactics. “The Art of War? Oh, I read that centuries ago!”

Knows how to use chopsticks perfectly.

Silver

“Your myths about celestial warriors are inspiring.”

Wants to try Chinese meditation techniques.

Sebek Zigvolt

“You have a rich history of military strategy? I must study it!”

Thinks guanxi (relationship networks) is a brilliant social concept.

RSA + Noble Bell

Chenya

“Wait, you have a myth about a talking cat that helps people? That’s me!”

Neige LeBlanche

Thinks hanfu and qipao outfits are gorgeous.

Rollo Flamme

“Your festivals involve fire? Unacceptable.”

Secretly respects China’s poetic traditions.

Extra Chaos & Traditions

Yuu uses Chinese insults that don’t translate well. “You dog-headed fool!”

Gives out red envelopes on Lunar New Year, causing a frenzy at NRC.

Brings hotpot to a dorm party—and no one is ready for the spice.

Superstitious about numbers, refuses to go near anything with ‘4’ (because it sounds like “death”).

Keeps carrying tea around and insists it’s healthier than NRC’s obsession with coffee.

[sugar-petals]

Hi caro 🌹 I saw in your hyunjin kibbe post( which I loved brw) that you mentioned some luxury brands and their go to kibbe types . I was wondering what kind of brands would best suit pure romantic? There is so little about the subject of pure R s sadly . Have a nice day ❤

KIBBE'S PURE ROMANTIC IN FASHION & HISTORY (+ even architecture)

R is the opposite of the tall, non-curve dominant dramatic and flamboyant natural model body types, which is why it SEEMS juxtaposed to haute couture on paper, as if people thought:

"romantic = gentle flowing style of bygone eras on a small figure 8 body = not fashion just a past reference,

dramatic = severe modernity with ultra sharp lines on a statuesque body = yep, that's forward modern fashion for the runway".

...even if the opposite is easily true (e.g. damiano david often dressing fashionably romantic)!

and the strawberry R dress causing a real fashion ruckus.

sure, that polar opposite logic isn't 100% erroneous. dressing tall models in R will often feel retrospective and damiano is SD-ish so he can do both; plus yin garments are too cinched & short for 6'0+ models as no vertical is accommodated.

there's a reason why the 50s are THE romatic (+ SC) era, as is baroque, R feeling almost confined to these periods.

however, many brands actually do design innovative yin lines! romantic equals luxury, excess & abundance (= upper class), ornamentation and glamour itself, as kibbe wrote, after all. a dramatic body type does not exude abundance and ornamental detail at all.

(even if such garments can cost hundreds and it could be difficult to craft and accurately sew!)

D is spartan, brutalist, geometric, NOT copious. which is ironic and deceptive for a luxury brand, supposedly the opposite of austere and simple! wealth whispers would be a classic type motto. but money on display is always R, always redundant, almost always past-oriented, and once again ironically very feminine-coded even if wealth is and was mostly in men's hands worldwide.

as a pompous, infuriating and exaggerated example, look at the german castle neuschwanstein of bavarian king ludwig above, or (jump scare) mar-a-lago's wasteful wannabe versailles-style interiors below.

insanity how this can exist. note how "princess"-like it all is, the inverse of masculine, hard, dark, angular, strong yang. showing material affluence is confusingly yin? 😅 as if, a guy is so rich, he can quite literally afford to display femininity in his interiors. nothing about this alludes to D, FN, SD.

you wouldn't guess a guy like trump lives there. soft fabrics, candles, florals, ruffles, lace, pastels... everything we associate with hyperfemininity and the romantic type: the inverse of donald who is a flamboyant natural (tall + width), men's 'chad/archetype' of our time — paired with the SD trend — and fashion's towering ideal body ever since the 90s (claudia, gigi, candice, naomi, adriana etc, and all male models ever, like tyson beckford).

quite a political and aesthetic paradox, the world upside down. maybe - on top of trump dressing business pure classic, i.e. far off his type - that's why he looks out of place, as if you photoshopped it in.

PS: the stereotypical villain's castle in fiction is almost always gloomy and pure dramatic, immediately signalling its intent without hiding. (minas morgul in lotr, maleficent in disney)

talk about excess, anyway, and that's where i answer the question: the notoriously well-off catholic church is very SD/R in its aesthetic, too, similar to european aristocracy. that's probably why many italian fashion houses love a yin branding. rounded yin is catholic (st mark's basilica, venice). italy idolizes the yin body type.

^look how dolce & gabbana draws from this to make it TR. that's why i include architecture in this post. it intertwines.

if you look at many historic arabic garments/buildings or especially dynastic china, too, pure R is also prominent in noble dress and art. if you want to study the romantic type, study ottoman and chinese (fashion) culture. even the men wear waist emphasis, decorative fabric, dresses/skirts, rounded head gears and fine jewels.

all of this heavily influences luxury today, which is why i took some time diving into history.

so, finally: ROMANTIC BRANDS!

as mentioned, versace is very ornamental yin overall, even the logo. no sharp D lines to be seen. they do several kibbe types, but R is a huge focus.

dolce & gabbana is always between TR, SD, and pure R. chungha being soft gamine fits the brand. she always wears R and TR. this brand is the most yin in europe, IMO.

guo pei, the most wonderful and well-crafted of all. such details, pure R eye candy. my favorite. it's no surprise they successfully dressed rihanna (SD). guo pei is a genius. everything she does is yin.

she is one of the few designers who shares her own essence with her clothing creations. guo is also very yin.

robert wun is always going tumblr viral. those light reflective fabrics. it's the darker side of romantic, not soft and sweet. still, draped and translucent, only sometimes SD and TR. i think robert is the frontier to make romantic lines modern and gender-neutral. so good.

smaller/lesser-known/less pricey R brands:

innika choo

chi chi london

confete

loveshackfancy

sir the label

morning lavender

revolve

icy city co

jessa kae

shopbop

doen

steele

lacemade

chicwish

for love and lemons

miss patina

hope this helped! thank you for reading and sending such an interesting question.

[pmamtraveller]

SAMSON AND THE PHILISTINES /1863/ by CARL BLOCH

This painting is a depiction of the scenes after capture. Samson was a man of great physical strength, famous for his battles against the Philistines oppressing the Israelites. He is shown here at a mill, symbolizing his fall from grace and the loss of his strength, which had previously been tied to his rather long and uncut hair.

Samson's hair symbolized his covenant with God; and as a result, their cutting means betrayal and ultimately Samson's loss of divine favor. The Philistines, brutish captors, signify oppression and, by this, the struggle against Israelite freedom.

In this painting, Bloch employs an acutely dynamic composition where the muscular figure of Samson contrasts with the surrounding figures, featuring his physicality and the tragedy of his situation. The composition is so full of movement: with Samson as the central figure, the symbol of strength and defiance against the Philistines, who are depicted in various poses of aggression and astonishment.

The characters are dressed in historically inspired clothing that reflects the ancient Near Eastern theme. The attention of Bloch does indeed seem to center on the details of the Philistines' garments and architecture, highlighting their status as a warrior society in opposition to the Israelites.

[arthistoryanimalia]

Happy #NationalLlamaDay 🦙!

Llama Effigy

Chancay (Peru, Central Coast), Late Intermediate Period, 1000-1470

earthenware, slip paint; H: 8 5/16 x W: 15 7/8 x D: 6 5/16 in. (21.11 x 40.39 x 16 cm)

The Walters Art Museum 2009.20.49

“The llama, a native camelid of the Americas, touched all aspects of Andean life. The llama- the only native American beast of burden-was used primarily to transport goods from the coastal deserts to the highest mountain plains. Well adapted to the extremes of the Andean environment, including climate, terrain, and altitude, the llama was at the heart of every Andean home. The llama and its camelid cousins (alpaca, guanaco, and vicuña) provided the all-important hairs that were spun into fibers to weave warm garments of considerable strength and durability. Such clothing was crucial for survival during cold Andean nights and in the altiplano highlands. Llamas also provided body heat for shepherds and other laborers who could not return to a warm home every night. Llama blood was an important ritual offering, and its meat was occasionally consumed for protein, although the high value of the living animal made these latter uses infrequent and of special significance.

During the Late Intermediate Period, the Chancay Valley and adjacent Chillón Drainage developed an energetic corporate style of architecture and art. Large amounts of ceramics were produced and distributed among the ruling elite as well as those of lesser status. Among these are the distinctive mold-made and hand-modeled sculptures of humans (both men and women) and animals.”

[hrizantemy]

If the Dusk Court still existed alongside the other courts, what do you think it would look like? As well as its clothing and architecture. What would you want its culture to be like and what language do you think they would have?

If the Dusk Court still existed alongside the other courts, I imagine it as one of the most culturally profound and symbolically layered courts—the bridge between light and dark, life and death, change and permanence.

The Dusk Court — The Realm of Twilight and Transcendence

Dusk is neither day nor night—it’s a threshold, a liminal space. I see the Dusk Court as a place that thrives on balance, introspection, and reverence for the in-between. It’s a society that embraces ambiguity, transformation, and cyclical patterns—where nothing is static, and every ending is honored as a beginning.

1. Architecture: Inspired by Ancient Petra, Moroccan Riads, and Byzantine Influence

I picture the Dusk Court as a city carved into nature itself, much like Petra in Jordan—rose-stone facades, seamlessly blending into cliffs and canyons. The structures wouldn’t dominate the landscape, but emerge from it, reflecting the Court’s philosophy of harmony and transience.

From Moroccan architecture, I’d borrow the idea of hidden beauty—plain exteriors that open into stunning inner courtyards (riads) filled with fountains, tiled mosaics, and shaded gardens. Privacy and inner reflection would be key values, so homes and public buildings would focus inward, designed for contemplation and peace.

The spiritual heart of the court could resemble Byzantine basilicas, with grand domes, intricate mosaics of twilight skies, and soft light filtering through stained glass in muted golds, purples, and blues. The Hagia Sophia comes to mind—an architectural testament to both earthly grandeur and spiritual transcendence.

Key Features:

Sandstone cities glowing at sunset.

Reflective pools and labyrinthine streets, symbolizing life’s winding paths.

Open-air temples honoring celestial cycles, with no roofs to separate them from the skies.

Use of geometric patterns, similar to Islamic art, representing the infinite and unknowable.

2. Clothing: Rooted in Desert Cultures, Byzantine Luxury, and Japanese Minimalism

The Dusk Court’s fashion would blend practicality with philosophical symbolism.

Inspired by North African and Middle Eastern garments, they’d wear flowing robes and light, breathable fabrics—perfect for climates where days are hot and nights are cool. Think djellabas, kaftans, and abayas layered in soft gradients, echoing the shifting colors of twilight.

From Byzantine culture, I’d imagine intricate embroidery—threaded in gold and silver—depicting cosmic motifs: setting suns, crescent moons, stars, and cyclical patterns.

But there would also be a hint of Japanese aesthetics—a respect for simplicity, impermanence, and nature. Perhaps elements of wabi-sabi, where beauty is found in imperfection and age. Faded fabrics, hand-stitched repairs (like boro), and heirloom garments passed through generations would be common.

Color Palette:

Muted violets, soft ochres, deep indigos, dusty rose, and shimmering golds—colors that shift depending on light, embodying the transient beauty of dusk.

3. Culture: A Society of Philosophers, Mystics, and Keepers of Balance

The Dusk Court would be deeply philosophical—drawing from traditions like:

Taoism: The belief in balance and the flow of natural forces (yin and yang). They’d reject extremes, favoring harmony and the acceptance of life’s dualities.

Sufi Mysticism: A culture of poetry, dance, and music as forms of spiritual expression. Imagine whirling dervish-like rituals, where movement becomes a meditation on the cycles of life.

Ancient Egyptian View of Ma’at: The concept of cosmic balance, truth, and order. The Dusk Court might view themselves as guardians of Prythian’s metaphysical equilibrium, ensuring no court tips too far into chaos or tyranny.

Mesoamerican Calendar Culture: A deep reverence for time and celestial events. Festivals would align with equinoxes, solstices, and rare astronomical phenomena. Every citizen would know their place within cycles of renewal and decay.

They would embrace mortality—not fearing death, but seeing it as a sacred passage. Funeral rites would be grand, but not mournful—celebrations of completion.

4. Language: A Blend of Arabic Poetics, Sanskrit Philosophy, and Indigenous Symbolism

The Dusk Court’s language would be highly metaphorical, designed to convey layers of meaning in few words—similar to how Arabic or Persian poetry can express vast emotional landscapes through symbolism.

They might have untranslatable words akin to:

“Tarab” (Arabic): The ecstasy from music.

“Saudade” (Portuguese): A longing for something lost.

“Ikigai” (Japanese): A reason for being.

Like Sanskrit, their language could be tied to philosophy and ritual, with precise words for spiritual concepts and cosmic forces. Perhaps they use pictographs or glyphs in writing, resembling Mayan or Egyptian scripts, where a single symbol encapsulates complex ideas.

Communication wouldn’t be rushed—silence could be as important as speech.

5. Political & Economic Structure: The Court of Mediators and Memory

Politically, the Dusk Court would serve as Prythian’s neutral heart. A place where courts send emissaries to settle disputes, guided by ancient laws older than any High Lord.

Leadership might not be a singular ruler but a council of elders—chosen not for power but for wisdom and life experience. Perhaps titles aren’t inherited but earned through deeds reflecting balance, insight, and service to the community.

Economically, they’d thrive on:

Artisan goods: Glasswork that captures twilight, enchanted scrolls, and twilight-blooming plants used in rare potions.

Knowledge trade: Selling maps of ancient ley lines, star charts, and philosophical treaties prized by scholars of other courts.

Hosting diplomatic summits and neutral trade agreements.

Final Thoughts:

If the Dusk Court still existed, it would be the soul of Prythian—not the most powerful, not the richest, but the wisest. A court that understands that strength isn’t just about armies or magic, but about knowing when to let go, when to endure, and when to stand as the quiet force holding everything together.

It would draw from cultures that value introspection, balance, and spiritual depth.

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