#looks very greek chiton inspired

[adridoesstuff]

Elisabeth das musical Czech production appreciation pt. 15

Streit Vater und Sohn and Wie Du (reprise) with Pavel Klimenda as Rudolf, Jozef Hruškoci as Franz and Soňa Hanzlíčková as Elisabeth

[valiantstarlights]

We have all talked about Hob having a thing for goth twinks, but have we considered Dream creating wet dreams that look just like Hob?

Like, every time he gets thirsty for Hob, bam! Another wet-dream!Hob. We have a 1389 mercenary Hob, a 1489 Hob with ink-stained fingers, all up to a 2022 Professor Gadling. But that's not all! Because Dream also has an Ancient Greek Hob in a chiton (inspired by 2022 Hob cheekily calling him "Lord Morpheus," like ONE TIME), a Hob in fishnet stockings, garter belt, and a leather corset with his tits out (inspired by one of Hob's random dreams where he's poledancing in high heels)--there's just, there's a lot, okay.

And, like, Dream can't even send the wet-dream!Hobs out to do their jobs because he gets jealous. So now Dream has a harem--I mean, beg your pardon, Dream has a very respectable group of wet-dream!Hobs in the Dreaming who are increasingly feeling useless and, dare I say it, desperate to please their Creator.

I don't know where exactly I'm going with this, but I'm sure it's in a very spicy direction.

[hetaletmego]

People today: Ew Hetalia is so cringe who's out there making pretty personifications of countries

People through all of history: Hi my name is Marianne Rép'ublique Française France and I am inspired by the writings of Spanish philosopher Juan de Mariana (that's how I got my name) with loosely tied hair inspired by First Empire fashion and a lot of people tell me I look like the goddess Demeter (AN: if u don't know who she is get da hell out of here!). I'm not related to Mariamne the Hasmonean but I wish I was because she's a major fucking hottie. I'm an allegory of freedom but there's a bust of me in every prison. I have pale white skin. I'm also an allegory of the republic, and I first appeared as a design meant to replace the royal seal on official documents (I'm republican). I'm a neoclassical figure (in case you couldn't tell) and I wear mostly vaguely ancient clothing. I love ancient Greece and I buy all my clothes from there. For example today I was wearing a red phrygian cap symbolizing the emancipation of slaves since Antiquity and a loose off-the-shoulder chiton with a chemise underneath because I'm a sexy ancient Greek allegory but I have good Christian morals too. I was leading the people outside the Assemblée Nationale. It was snowing and raining so there was no sun king, which I was very happy about. A lot of royalists stared at me. I put up my middle finger at them.

[may-be-made-of-arsenic]

Day 16: Circe

IM STILL BEHIND BUT IM TRYING MY BES T

I HAD FUN DRAWING HER!! she looks like she just caused problems on purpose

DESIGN WISE UH

i gave her freckles cause she’s a daughter of Helios! and i like symbolism

her earrings and chiton are very greek inspired, but her “cape” is based off Etruscan art! this was because Aeaea, her island, was described as being located south of Aethalia (aka: Elba) and within view of the Western coast of Italy! this places it kinda in the Tuscany region, which was once populated by the Etruscans!

i hope to draw her again someday, that’d be fun

[kanafinwe-makalaure]

My original characters, Maglor's daughters: Iþilmë (in pink), Alkarmë (in blue), and Armarë (in green), ca. YT 1495.

They are featured in this fic if you like them 💕

Notes under the cut (spoilers for the aforementioned fic :D)

In my version of things~ Maglor has four children, three daughters born in Valinor and one son born in Beleriand. Their mother is Ilmë Airëlírë, a grandchild of Olwë, and as such, they are princesses of both the Noldor and the Falmari. Here, they are wearing chitons, since I like to depict my Falmari as (ancient) Greek inspired in many ways, and the silver and pearls that we know the Falmari like, but at least the younger ones are also wearing Noldorin gold jewellery.

After the kinslaying of Alqualondë, they have no interest in seeing their father again at first, like their mother, but when Ilmë decides to cross the Helkaraxë with her cousins, the children of Finarfin, they follow her and, with her mother, dwell in the household of Finrod at first. After decades, they begin to reconcile with their father and subsequently alternate between living in Nargothrond and the Gap, especially after their little brother is born. When Maglor begins to foresee the end of the Long Peace, he sends his family away to the Falas, but his daughters decide to ride to Nargothrond instead; Alkarmë and Iþilmë are killed during its fall and Armarë travels to the Falas alone.

(Also, Celegorm is all of their favourite uncle for different reasons.)

Alkarmë, the eldest, is a few years younger than Tyelpë and inherited her grandfather's talent and enthusiasm for smithcraft (which definitely skipped a generation through Maglor). She is inventive and creative and also loves to mix scents and perfumes. In Beleriand, she develops outstanding military talent and is always righteous and splendid (as her mother foresaw when she named her) and also develops a deep connection with her father's horses. When Nargothrond falls, she escapes at first with Armarë, but goes back for Iþilmë and never makes it back out. She is re-embodied shortly after the Doom is lifted, later marries the Maia Vëar.

Armarë, the elder one of the twins, is a little ray of sunlight (hence her name); she bursts with energy, loves the outdoors and is a gifted musician like her father; they bond over music a lot. Losing both sisters, however, takes that light and warmth out of her. She returns to her mother and brother alone and bitter. Her mother teaches her songs of healing, which help a little, but she eventually decides to return to her father and uncles with some Fëanorian supporters of their household and stays with them until she is eventually captured by orcs on a patrol long after Sirion, making her the only one of Maglor’s children to become a kinslayer (but also the only one to help raise Elrond and Elros). Lucky for her, the orcs do not recognise her, but because she tried to use her voice to heal her dying companions, they damage her throat; it heals eventually, very slowly, but her voice sounds rough and she will never really regain her ability to sing. In Angband, she meets the blandest most boring wood elf ever and decides to take him with her when she escapes; they get married and live in what will later be Greenwood for a while until she can no longer bear the sea-longing and sails, but he stays behind because he cannot bear leaving his home. (He does promise, though, that if there is ever a last ship to Valinor, he will be on it, and he is not one to break a promise.)

Iþilmë is usually more mellow than her siblings, kind and forgiving, but is also the most stubborn, can even sometimes throw Fëanor-like temper tantrums. She looks almost exactly like Míriel (and gets her albinism from her), which complicates her otherwise very close relationship with Fëanor a little. She is very connected to plants, likes to carve wood, to ride out into the woods with her mother, and to tend to the gardens of Nargothrond and of Maglor’s stronghold. In Nargothrond, she falls in love with a Sindarin girl, the cause of her and her sisters’ fateful return. When Nargothrond falls, the two end up trapped; Alkarmë finds them and since it is their deepest wish to have their wedding blessed before they are separated by the Doom, Alkarmë does so instead of trying to rescue them, and there they remain, all three cuddled together, until they run out of air to breathe. Of course, when the Doom is lifted, they are re-embodied together and live happily ever after. :)

[thaliajoy-blog]

Size difference is maybe a bit extreme...but Rhaenyra is 14 there and Alicent 23. Their 111 AC tourney looks (once again), inspired by roman & greek fashion (which inspires headcanons valyrian fashion).

Rhaenyra is the most greek of the two, with a nice chiton and a tiara. Her braids also give her an air of youth & innocence, and are inspired by the statue of a Caryatid.

Alicent is more roman, her looks inspired by statues of the goddess Hera/Juno (a notoriously hellish stepmother) and a drawing reproducing of a statue of the empress Agrippina (a rather hellish mother apparently), the both of them powerful and cunning rulers.

In my mind there's the headcanon that Alicent tried to get into the Valyrian wear (which are distinct from westerosi more european-insopired looks) and later encouraged her children to do the same (even as she returned to more covering Westerosi clothings herself as she grew a bit more strict & conservative), in terms of clothes & hairstyles, to assert their Valyrian heritage & worthiness as heirs of a Valyrian dynasty (so, worthy rivals of Rhaenyra). Hence why my version of Jaehaera wears her hair in a very greek fashion, although her clothes are Westerosi there 👇

[windermeresimblr]

As Far As Dawn, 1.3

Excerpt from a letter of an unknown Roman in the campaign of P. Cornelius Scipio.

"...King Bileseton was unhealthy. I think it was that illness known in Greek as 'thalassemia.' He was not quite thirty, but already he walked haltingly even with a cane, his face lined like a man of fifty or sixty...

“...His illness manifested itself in frequent attacks of pain, such that his half-brother, Tarbantu (some by-blow of the late King Laurbeles by a Celt), had to lead the troops in the field, and his wife, a woman of the Sedanti, often ruled in his stead… 

"...When he died, it was while having his tonsor trim his hair. He collapsed and fell, knocking over the chair he sat in. The tonsor had cut his scalp as he fell, but no more than to be a bald spot had he lived...”

“...Still, the man (quite reasonably) assumed he would be blamed–and he too collapsed. It’s like something out of an Oscan play…”

Author’s Notes

Bileseton is only appearing in flashbacks, because he’s very dead, I’m afraid. Laurbeles will not appear at all unless I really feel the need to recreate some past events.

The Celtic and Tartessian territories overlapped, according to some maps of Pre-Roman Iberia. I also created Tarbantu as a Celt for @schokokokatze (readers of Schoko’s stories may recognize him as Kuneris King’s Hound) and felt he might be a nice foil for Ultia.

His illness is supposed to be something in the sickle-cell family; I took inspiration for his sudden death from the way Gaius Julius Caesar (Julius Caesar’s namesake father) supposedly died very suddenly while lacing his boots one morning. In modern terms, Gaius Julius (and our Bileseton) probably suffered an aneurysm or a stroke. Unfortunately, even today, people can and do die from conditions related to the sickle-cell trait.

A tonsor (plural tonsores) is the Latin term for a slave that does barbering. Women’s hairdressing slaves are called ornatrices (ornatrix singular).

Oscan plays had a reputation for crude slapstick. I think that even the Oscans might have groaned and rolled their eyes at this turn of events.

While Iberian men tended to wear shorter tunics, I chose to give Bileseton a long tunic because he’s the king and deserves to be fancy.

Tarbantu’s outfit, surprisingly, is actually very close to an Iberian man’s outfit as described in Boucher’s “20,000 Years of Fashion.”

I’m still working on Ultia’s improved clothing (mostly adjusting her skirts and creating a good-looking chiton).

Credits

@danjaley​, @greenplumbboblover​, and Spladoum for the poses

Anubis360, EA, IfcaSims, and VenusPrincess for the hairs

All-About-Style, Danjaley, EA, Littlecat/Editsim, NaiyasFury, Pixicat, Rusty Nail, and Simlicious for the clothes

@simlicious​ and Sionelle for the patterns

EA, @murfeelee​ and Simalia for the buy mode items

Mammut for the wall and floor

[princerevelucide]

Hello!! I just wanted to say that I ADORE your KI ocs!!! they're all so detailed and interesting! I'd love to know if you have anything that goes more into depth about their designs and what influenced them, cause I can tell you put so much thought into them!

(also I feel I have to mention this, but I have an oc named Arethusa as well! so seeing that one of yours was named that as well was a bit of a surprise lol)

ohh thank you very much!! you’re very kind!!! it always means a lot that folks seem to like them all so much!!

i have this google doc explaining some of their personalities and in-universe origins, though that’s probably not what you’re asking for since there’s nothing in it about their influences and designs as characters, BUT i can still tell you what i remember thinking when i first made them!!

the concepts for asterie, linus, and raniris were just ‘i like stars, music, and rainbows. i’ll make kid icarus god ocs out of them’ and that was that. i think i was just so into my kiu kick at the time that my brain was ready to start spouting ocs at me i think asterie’s design was supposed to have a viridi-ish feel to it in the dress’ build? i actually don’t remember her inspiration too well sadly. linus’ design is based on an orchestra conductor, octavo from cadence of hyrule, and a bunch of music symbols i found online and just dotted onto his design. (i also originally concepted him as a villain, but that felt awkwardly written so i dropped it)

raniris is inspired by the actual greek goddess iris (her name is that + ‘rain’ without the I) and her design is based on wedding dresses, while the idea for dia came from iris’ golden wings, which i was inspired to turn into its own character as it would fit them being a sort of palutena & pit parallel. her design is also based on flower girls to go with raniris’ wedding dress!

the idea for zero came to me while listening to the kirby planet robobot ost and i just thought a digital pitthree clone would be a genius idea lol. his design is based on pit’s black alt from smash 4 (having silver and purple accents) while also looking somewhere in between pit and dark pit colour-wise, plus his outfit is sort of a modern/casual reinterpretation of pit and dark pit’s actual chitons.

arethusa literally came to me in 0.2 seconds while i was looking through the window one day watching the next door house which wasn’t finished yet getting soaked in the rain. i thought ‘what if there was a rain girl to go with phosphora being a lightning girl’ and then oops. HER design is based on phosphora’s with a more subdued, serious tone to it to go with her being the serious sister vs. phosphora being the energetic sister, and also minus the plants because i figure that’s probably just a viridi thing. there’s also their mother zephyra, goddess of storms, who i have not designed yet and god knows if i’ll ever get around to it

as for the skyworld angel citizens, they’re all from these separate characterisations i made up for fun imagining each of pit and dark pit’s alternate colours in smash being their own characters with their own history. those ideas went all over the place but arcis is green dark pit, leto is yellow pit, ethi is white dark pit, mynta is blue pit, and aui id purple dark pit. and i have more that never got past the scribble stage (but i’d like them to!!!)

apologies if that’s not as interesting or detailed as you were hoping, but it’s the best i’ve got!! especially in terms of their actual personalities because all i can say regarding that is they come to me in my dreams like a prophet receiving visions from an angry god. but thank you again for being interested enough to ask! ;w;

[dream--writing]

At long last, they’re here! For my Persona/Bayo au, this is the disgraced witch Kuragari and his persona, Odysseus.

Before I talk about Kuragari, I’m gonna start with Odysseus, since that decision influenced a lot of what came after. Now before you hardcore Persona fans yell at me, yes I do know Odysseus already exists as a persona in the second game. However, there are several reasons why I chose him for Kuragari. For starters, Odysseus’ family plays a large role in his story, particularly his wife and son. The same could be said for Kuragari, as his romance with Akiko is what begins this whole story and he is very close with his son Akira. That was honestly the main reason I chose Odysseus. Another reason is that Odysseus is actually in hell, at least according to Dante Alighieri. In his Inferno, Odysseus is in the Eighth Circle for his “crimes”. Therefore, I don’t think it’s too much of a stretch to say that in this universe he was reborn as a demon in hell and would form a contract with an Umbra witch. The last reason, when you think about what Odysseus does during his adventures, wouldn’t you call him a trickster?

When it comes to Odysseus’ design, I’ll admit I wasn’t too satisfied with Atlus’. It’s just, if you told me that was supposed to be Odysseus, I probably wouldn’t believe you. So I thought it would be fitting to draw him as the warrior he was. I gave him bronze coloring, as a lot of Greek statues were made of bronze. I also wanted to incorporate the iconic black and orange you see on Greek pottery somewhere in the design, and I thought bronze would go better with that than say, marble. I ended up using those colors on his shield, his main weapon. I can just see him bashing in angel skulls with that thing.

Once I settled on Odysseus as his persona, I began on Kuragari’s design. The name Kuragari, as far as I can tell, means “darkness” which felt like a nice contrast to Akiko’s name. I wanted to put Greek elements into his outfit to reflect his persona. The bottom of his shirt and sash were inspired by men’s chitons and sashes. I also put in the Greek knot pattern for a little something extra. The hat he’s wearing is called a petasos, which was worn by travelers. I thought that would be a good accessory. His umbra watch is shaped like a compass, which is also a nice tie to Odysseus. And of course I had to give him the famous comedy/tragedy mask. The one problem with that though, was that with all the Greek masks I saw, they covered the whole face. And when you look at the masks in Persona, they all leave at least part of the face uncovered so we can see the character’s expressions. So as a compromise I only covered the bottom half of Kuragari’s face. This allowed me to show off the mask’s mouth while leaving his eyes exposed. This also connects back to Rosa, who also keeps the bottom of her face covered. Kuragari’s mask can actually change depending on his mood. For example, when he’s battling angels it’s shaped in the comedy smile, but when something serious happens (ex. the Umbra clock tower is destroyed) it changes to tragedy.

I wasn’t too happy with the first pose I put Kuragari in, but I kept it because it showed off his outfit. I did draw him in another pose though (ref used) that also included his chains. I tried to add his guns, but the angle wasn’t working so I kinda gave up. If you’re curious though, his guns are the same design as Rosa’s (because I can’t design weapons myself) but are instead named Anemoi. Their individual names are Boreas, Zephyrus, Notus, and Eurus.

I think that covers everything! If you’ve read until the end, I appreciate it! Let me know what you think, and I’ll be back soon with another update!

[author-main]

A Huge Post about Wild Fun Facts

I write Ask-LU-Wild, so I look up a lot of stuff about BotW in particular. So I thought it’d be fun to put some things I’ve learned about this game during my time in the fandom. I put some links so you can see what I’m talking about. By the way, if you see me switching from Wild to Link, it’s probably because I’m leaning more into the game than talking about LU.

1. Starting off with a not-necessarily-wild fact. Kass’s instrument is most similar to a bandoneon, which is a type of concertina, not an accordion. That’s why I thought it’d be nice to give Wild an anglo concertina (I have a 20 key anglo concertina because of this...).

2. Apparently the ancient Sheikah technology takes heavy inspiration from art made in the Jomon period (14500-300 BCE)

3. Some of the food in Breath of the Wild caught my eye, based on their descriptions and their game sprites.

   -Goron spice starts off as spicy, but then gets sweet. It reminds me of what I’ve learned about Japanese curry, which is sweet. I’ve only had Guyanese curry so I wouldn’t know first hand. But it’s possible that the curries made in BotW are based on Japanese curry.

  -Egg Tarts are pasteis de natas, which are from Portugal. They’re popular in Japan and other Asian countries.

  -Fish Pies are similar to Taiyaki in appearance. Taiyaki is actually a sweet cake, not made with actual fish. These are actually street food and are made with a certain type of pan (it reminds me of a waffle pan). Even though BotW fish pies are probably... dough wrapped around the fish to get its shape (idk I don’t cook), what if Wild did get his hands on one of these pans and made actual Taiyaki?

4. Paya, in Creating a Champion, is stated to be around Link’s age. Specifically 18-20. It’s possible that Wild is Nintendo-canonically around 17-21. This is gonna be one of the only images I put in this post just so you can see the dev notes from CaC

5. After spending enough time looking at HEMA videos for reference, I’ve come here to say, either the swords in Breath of the Wild are WAY too heavy, or Link really doesn’t know how to handle a zweihander. I know it’s pretty much the same animation used for certain weapon classes and that it’s a game so things are gonna be a little slow, and he does have amnesia, but god damn. I personally think the swords are just too heavy or something. Maybe Hyrule is ass at making swords.

  -Eightfolod longblades look like Odachi

 6. The outfit Link wears in the BotW 2 Trailer reminds me of a Greek chiton and chlamys. The sword also gave off gladius or xiphos vibes. I’d like to say xiphos, that way it matches more with the Ancient Hellenic vibes. Gladius swords are Roman.

7. Idk how much LoZ people care about Xenoblade, but I do. I hear a total number of 0 people talk about the fact that Link/Wild has Rex’s salvager outfit (DLC) and it’s a disservice. 

8. Again, not necessarily Wild, but Mipha's jewelry has a Minish Cap Water Element on it.

9. According to Zeltik, Link can parrey whole Lynels and Taluses (Tali?). I’m aware it’s a video just for fun but he can still do it! Link also, and I can not stress this enough, pushes boulders twice-three times his height. He lifts big rocks and barrels above his head! What I’m saying is he’s STRONG.

10. The earrings you get from the Gerudo jeweler are all clip-ons.

11. Nintendo... on the same page... noted that Link was born from a line of knights, very well trained and experienced... but is not nobility.

I call bullshit every day of the week but I'll leave that for another day.

12. This is specifically LU point. Just a little food for thought, IDK if anybody else has talked about it or used it. I usually see people blaming Wild’s amnesia on the shrine, which is possible. I also saw a post saying that maybe Wild has dissociative amnesia, which is also possible! I never saw anybody bring up the concept art for Wild though.

Explosive damage from a guardian, probably, directly to the head? It’s a surprise that it’s still on at all.

I don’t wanna go into too much detail, because what I’m thinking is quite gruesome. If you’d like me to elaborate on this, or any other note feel free to ask. And if there is anything you noticed that you would like to add, then please do. As you can see, I like this funky little dude!

[my18thcenturysource]

My current obsession: The Delphos dress

This iconic dress designed circa 1907 (and still looking super modern) by the French designer Henriette Negrin and her husband Spanish artist Mariano Fortuny is my current obsession. The garment was inspired by the Greek chiton worn by the sculpture the Charioteer of Delphi:

To our modern eyes, this dress looks very elegant and formal, but originally was a much less formal tea gown, for informal occasions (and maybe be worn with a cardigan!):

This wonderful piece of clothing was revolutionary not only for its silhouette, but also the making and details:

- The super small pleating of the silk fabric, that was a secret of manufacture.

- The legend "Made in Italy, Fabriqué en Italie, Fortuny Depose" in the inside of the dress.

- The Murano glass pieces on shoulders and sides were not only decorative, but it helped the pleated silk to have weight and to sit on the body beautifully.

- Tapes to adjust the neckline.

- It was supposed to be stored carefully rolled in a knot inside the round box, so the dress would not loose the pleating.

Fortuny kept making these dresses and other variations like the Peplos dress, as well as garments of stenciled velvet, until the 1950s, and after that, the desire for these vintage garments was quite exclusive. Nowadays you can find a few garments in 1stDibs for prices starting on $7,345 USD (I'm crying in the corner).

Up until 2003, the Delphos gown was the only fashion garment in the collection of the Museum of Modern Art in New York.

------------------------------------------------------------------------

Images from top:

Elena con Túnica Amarilla, 1909, Joaquín Sorolla, Private Collection.

"Delphos" gown, early 20th century, Fortuny.

Après la Tempeste, 1919, George Lepape for the late April 1919 cover of Vogue, depicting Madame Condé Nast.

The Charioteer of Delphi, 470 b.C., Delphi Archeological Museum.

Mrs. Selma Schubart, 1907, autochrome photograph by Alfred Stieglitz or Edward Steichen, Metropolitan Museum of Art.

[runawaymun]

What kinds of clothing references do you like using for your drawings? The last one you posted looked almost like a chiton, and it made me think 'oh Cel and/or Elrond in a stola is good aesthetic' and so on. Do you just base it off the movies, or something else?

hELLO YES

it IS a chiton :D

I like to put her in them because she just looks so damn good. And now I want to try out drawing Elrond in a stola...

But hoo boi uh....ready for a too-long answer? No? Too bad you got one!

I'm kind of all over the place with my Elvish clothing because the question I usually just ask myself is "does it drape" -- especially with Cel because I constantly picture her in these really flowy outfits.

I do take some inspiration from the original films just because I'm obsessed with Ngila Dickson's thought process when she was coming up with a as-of-yet unimagined (except by Tolkien) aesthetic. The question she asked herself was "how do I make Elves look as large as possible on screen? As tall as possible? Larger than life?" and how she did it was these huge lines and yards and yards and yards of draping heavy fabric. And it absolutely fucks.

But in terms of reference photos, for Cel (and just female Elves in general) I'm very partial to using clothing references either from ancient Greek, ancient Egyptian fashion, or from Renaissance paintings (very partial to Raphael)

and then when it comes to men's fashion, usually specifically Elrond, my go-to is the structure offered by a Sherwani, but I also like to reference European court frocks from the early 1700s (like the pictured one below from Russia) because they fuck.

For more drapey-drapey comfy outfits I like to reference Chinese hanfu for both genders.

I struggle a LOT when I have to put ANY Elves in more casual lounge-about or practical outfits and so at that point I like to pull from pre-English Irish fashion.

Because it looks a little more movable.

But yeah basically TLDR: I use a lot of references because I'm REALLY bad with drawing clothing and used to always avoid it, but Elves are singlehandedly making me learn how to draw and structure clothes lmao. And I also like to pull a lot from the random shit that Aurora Asknes wears.

Which is very hyperspecific but idk I like how she puts together her outfits. 

Thank you for the fun question!!!

[cityoftheangelllls]

Entries 9, 10, and 11 for my historical Disney Princess series: 1480s Esmeralda, Classical Greek Meg, and 1910s Jane!

OK, since I did Eilonwy, a relatively obscure Disney girl compared to these three, I thought it would be unfair to leave them out. So here ya go!

Esmeralda is dressed based on when the original novel The Hunchback of Notre Dame takes place, in 1482. I did research on both Romani clothing from around that time period and clothing from a few decades earlier, since, if Esmeralda had acquired Western clothing, it would be older or belonging to the lower class. I found very few resources describing or showing what medieval Romani women wore, but they gave me a pretty good idea: they typically wore an old shift, a blanket fastened over one shoulder, a turban, and silver earrings. So I mainly followed that when designing Esme's outfit. Given what limited resources I had, I may or may not have taken a few liberties, such as making the colors and striped pattern on her blanket/shawl reminiscent of her corset in the original design or leaving most of her hair loose and outside of the turban to hint at her rebellious, lively nature. I also gave her a lavender kirtle to wear over her shift. Its color is insanely muted compared to the skirt she wears in the film, since purple dye in that rich of a hue would not be widely available until around the 1860s, and even before that, even those of the upper class or royalty would have a very hard time being able to afford it. Aside from what few reference images from the 1480s or earlier I could find, I also was inspired by such paintings as "The Fortune Teller" by Caravaggio, which is from over a century later than the events in "Hunchback", but I still feel like basic Romani style wouldn't have changed much since then.

Megara also underwent some pretty drastic changes. I'm assuming that she's a common woman, and there is no record stating that the common folk of Ancient Greece wore anything other than plain, white sheets, since dying and embellishing linen and wool was an extremely tedious and expensive process. So yeah, no rich purples for Meg here, she's on the same boat as Esmeralda. I tried to make her outfit a little more interesting by making it a chiton with a peplos and a cord belt, plus a scarf in her hair. Speaking of her hair, it took me a while to find a hairstyle that was accurate and made sense for the common folk yet was somewhat reminiscent of Meg's voluminous ponytail and fringe. Oh, and yeah, I decided on Classical Greece for the time period since it would make since for the story to be set after the Trojan War.

Since "Tarzan of the Apes" was first published in 1912, I decided to put Jane in an Edwardian walking suit, despite her dress in the film looking like something out of the late Victorian era. My goal was to design something that wasn't overly frivolous and unsuited for walking through the jungle, yet not too plain either, hence the ruffles on the skirt. I also wanted to give her a hat that wasn't too over the top like most Edwardian hats are, but still decorative and feminine.

Commissions info

[youremyonlyhope]

Ok gonna go full historical costume nerd, those elements aren’t the same between the eras at all.

Regency fashion didn’t require corsets the way that Gilded Age fashion did because of where the waistline was in the fashionable dresses. Regency dresses were empire waisted, just below the breasts, so they wore stays to support the breasts but the stays did very little slimming of the waist because the skirt goes straight down from the empire waistline to create a column-like effect, so there was no natural waist definition.

In the Victorian era that followed, the waist fell back to the natural waistline and that’s when we start seeing tight lacing corsets to create super small waists. Then they did a complete 180 and wore large hoop skirts and larger sleeves with wide necklines to create the hourglass figure and give the illusion of a really small waist when compared to the larger top and bottom of the dresses. The Gilded Age came at the end of the Victorian era, so the natural waist was still defined, but tight lacing wasn’t as common and the bodices were designed to elongate the waist to make the torso look longer. Hoop skirts and crinoline started to fall out of fashion, but they still used bustles and petticoats to add some volume, especially at the back of the skirt.

The necklines aren’t the same either. Regency era had pretty low necklines to show off the breasts that were sitting high and the Gilded age’s were a little higher and wider and the breasts didn’t get pushed as high.

phoebe dynevor looks stunning but girl you’re literally on BRIDGERTON this was your MOMENT

[scarletarosa]

Dionysus

Greek god of madness, wine, vegetation, fruitfulness, virility, pleasure, festivity, frenzy, and theatre

Dionysus (also known as Bacchus and Liber) is the chaotic god who roams the wilds and indulges in the sensations which life has to offer. He is the inventor of wine and the one who inspires others to free themselves from their chains; leading them away into ecstatic freedom. Dionysus' sacred animals are the leopard, panther, bull, and serpent. Leopards/panthers were sacred to Dionysus due to their wild and often chaotic natures whereas bulls and serpents were sacred due to them representing male fertility. The god was said to ride on the back of a panther or drive a chariot drawn by a pair of them. His sacred plants are the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.

Epithets: Ælefthæréfs (the liberator), Ærívromos (loud-roaring), Agnós (holy and pure), Ágrios (wild/savage), Ánax (lord; king), Aigovólos (goat-slayer), Anthéfs (blooming; crowned with flowers), Áreios (war-like), Chrysopes (golden faced), Corniger (the horned one), Dasýllios (wanderer of the woods), Dændrítis (lord of trees), Diphÿís (of dual nature), Ebon (youthful), Efkarpos (the fruitful), Efklayes (glorious), Elelikhthon (earth-shaking), Ephaptor (the caresser), Erivremetes (loud-thundering), Eucheus (pouring freely [of wine]), Evantís (decked with flowers), Evvouléfs (of good counsel), Hyes (lord of fertilizing moisture), Igiates (the healer), Kharidóhtis (joy-giver), Kissós (of ivy), Krýphios (the hidden one).

Dionysus was usually depicted as a handsome, long-haired young man who was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves. In some depictions, the god is shown with bull horns on his head. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup, and a crown of ivy. He was usually accompanied by a troop of Satyrs (goat-men of virility) and Maenades (wild female devotees). During his festivals, Dionysus was said to rush through the woods with the Maenads and tear apart wild animals with frenzic glee while also having drunken orgies with each other. He is also called both by Greeks and Romans as Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet of Dionysus. 

As far as the nature and origin of the god Dionysus is concerned, he appears in all traditions as the embodiment of chaotic power in nature, whereas Apollo is mainly a refined deity. Dionysus is the productive, overflowing, and intoxicating power of nature, which carries humans away from their usual quiet and sober mode of living. Wine is the most natural and appropriate symbol of that power, and it is therefore called "the fruit of Dionysus". Dionysus is, therefore, the god of wine; the inventor and teacher of its cultivation, the giver of joy, and the disperser of grief and sorrow. Though he also represents both effects of wine- the ecstatic blissful side, as well as the violent, maddening side. He is of the bright, joyous Sun as well as the maddening and unknowable Moon.  

Mythology: In myth, Dionysus was said to be the son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, Zeus’ wife, Hera, tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term. After Dionysus’ birth from the thigh of Zeus, Dionysus was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Some versions say Zeus instead entrusted him to Hermes, or to Persephone or Rhea. Hera was now urged on by her jealousy to throw Ino and Athamas into a state of madness, who then killed both of their children and themselves. Zeus, in order to save his child, changed him into a ram, and carried him to the nymphs of mount Nysa, who brought him up in a cave, and were afterwards rewarded for it by Zeus, by being placed as Hyades among the stars.  

During Dionysus’ young adulthood, he traveled the lands- teaching people of wine and of his divinity. The Thrakian king Lykourgos attacked Dionysus and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and then mutilate himself with an axe. King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. Dionysus retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb. As Dionysus was travelling through the islands of the Aegean Sea, he was captured by a band of Tyrrhenian pirates who planned to sell him into slavery. The god, however, could not be shackled or tied down; the bindings slipped away from him each time as Dionysus simply smiled. He then changed the mast and oars into serpents, and himself into a panther; he filled the vessel with creeping vines of ivy and the sound of flutes, so that the pirates, who were seized with madness, leaped into the sea, where they were transformed into dolphins. 

Appearance: Dionysus is a tall, attractive man in his late 30’s with long, wavy brown hair, brown eyes, strong facial features, and fair skin. He typically wears a white Greek robe with sandals and adorns his hair with ivy. He tends to be rather alluring in his appearance and basically looks how an ancient Greek male model would appear.  

Personality: In my experiences with Dionysus, he is very outgoing, charming, creative, flirtatious, laid-back, and can be impulsive. He loves all forms of pleasure, especially wine and sex. Dionysus has stated that he usually likes to go around seducing women, but also likes to seduce effeminate men since he enjoys dominating them. In his good-natured mood, Dionysus is friendly, jovial, and charismatic; welcoming others to join him in the enjoyable experiences of life. He says that he does not require his followers to partake in drinking alcohol or having sex, but simply seeks those who wish to feel free and unhindered by the constraints of society. Thus is the reason for his worship often taking place out in the wilds. In Dionysus’ darker side however, he can be extremely destructive and terrifying.  

He typically hates overly serious people, being too organized, strictness, and those who harm innocent creatures for no reason. When a person harms an innocent, Dionysus’ mood takes a drastic change and his form changes into something horrifying. His eyes become blood-red and his mouth deforms into a large serpent-like mouth with enormous fangs, then he attacks the person in a wild frenzy. His terror can cause petrification and madness in those who see him and they rapidly get torn apart. When angered, Dionysus becomes the Devourer of Flesh and either consumes his enemies or causes disturbing hallucinations and intense horror. Yet with most people, Dionysus is very entertaining to be around and often likes to make sexual jokes or tease, but he can become a bit serious when the need arises. He is very up-lifting and likes to teach people how to have fun with their lives and become less emotionally burdened by the demands of society. He loves things such as racing (especially horse racing) gambling, orgies, forest groves, and just enjoying himself in general.  

Dionysus has explained himself to be an aspect (shard) of the elder deity of virility, Set, who had also produced other aspects of himself such as Cernunnos, Pan, and Bes. The aspects are all One deity in essence, but due to free-will, they are independent from one another which allows them to have separate (yet very similar) personalities and desires. 

Offerings: wine, sparkling wine, white wine with pine resin (retsina), figs, grapes, pomegranates, apricots, potatoes, cauliflowers, eggplants, broccoli, horseradish, beetroot, parsnips, spring onions, strawberries, watermelon, peaches, cheese, lamb, goat, veal, chicken, cheeseburgers, ravioli with minced beef, chicken korma, lamb’s tongue, cow liver, chicken hearts, ram brains, coconuts, coconut oil, kumquat, ivy, pinecones, pinecone cores, chestnuts, walnuts, raisins, ritual goblets, tambourines, honey-coloured beads, tigers eye, watermelon tourmaline, chrysoberyl, amethyst, bull’s eye stone, dildos, various sex toys, canes, cum, bull figurines, leopard or panther figurines, incense of poppy, opium, or pine resin

[verdandasrsblog]

So this week I got Annoyed™ at Kara-Meir and Garlandia’s designs (Partially due to @enkoro-rs suggesting I do Kara-Meir, after which I fell down a rabbit hole). Like with the Laniakea overhaul I’m going to put my reasoning/inspo under the cut for anyone that’s interested

Honestly, where do I even start with Kara-Meir? I guess I’ll just go top-down, 

1) Hair - Based on the novel covers it seems like she was supposed to be blonde originally, and just have an absolute shit ton of hair. Since the flow of the in-game design’s braids didn’t make no goddamn sense, I found some ACTUAL braided bun hairstyles and combowombo’d them into one mega hairstyle.  The pins in the buns with the danglies are really just to be fancy, but I also wanted to incorporate the bits hanging off her belt in her in-game model’s concept art. 

pictured: whatever the fuck these are supposed to be

2) Skin/Face/Eyes - So originally I actually colour dropper her skin from the concept art and then realized she was maybe a bit tanner than the concept, but you know what? Fuck it. I tried to keep her face shape from the concept since the cover art of her is just kinda “Generic white lady” but honestly she got a bit pointier than that in the end. I’m also not sure what her canon eye colour is supposed to be; Zooming in on the ref just gave me brown, which is what I ended up using, but if that’s not correct and anyone has the novels let me know. 

3) Clothing - So I restrained her cape to something someone could maybe fight in, but my main concern was her armor - She’s supposed to be a knight but what’s up with the bikini boob breast plate? She’s portrayed as wearing both chain and full plate in the cover art and is clearly a melee fighter, so changing her to plate armor seemed obvious. Since she can wield Sunspear (t75) it makes sense to me that her Def would be somewhere in the 70s to match, which with the rework means necronium. 

So like, obviously Necronium is a particular aesthetic that didn’t seem quite right for her. Looking at her lore, she has a wolf theme in her backstory and since she's also supposed to have some smithing ability (she was raised by dwarves) I thought it'd make sense that she might make her own. She’s also been to Morytania in the books, meaning she could have access to Phasmatite (Her access to the Necrite is a bit more iffy but she is hanging out on Tuska after that event so she has at least some experience with the desert).  I had tried out the red glow initially but it looked like shite and didn’t really fit her anyway, so I think the gold is a better compromise both character-wise and aesthetically. 

4) Sunspear - So she canonically has a sunspear, and I ended up using the current in-game design for it since her concept art one just seemed... unstable 

I get that it’s reforged or whatever but it looks like it’s gonna shatter on impact with anything

Truthfully, though? You know what she should have? One of THESE bad boys:

AKA just a Grecian-style spear head. It’d also be more believable that she thinks it’s a dagger if it looks like this. I still think the in-game sunspear is a bit more ~dramatic~ but it should just be a spear tip quite frankly 

Okay, onto Garlandia: 

1) Hair/Face/Skin/Eyes - I’m grouping the hair in here since I honestly just left it as the in-game version (At least from what I can see from her chat head, I can’t remember if there’s some BS going on on her back or not).  Ancient Greek women did tend to braid their hair so that’s accurate-ish, I guess. For her skin though, she mentions in dialogue that “Her skin shed its colour”, but her model isn’t any paler than the other icyene in game. Accordingly, I made her significantly paler, and gave her a bit of frost bite damage on her extremities from the winter she had to endure after her wings were ripped off (I considered making it darker but there’s a point where they just need to be amputated since it won’t heal, so I went with something less intense to show that it’s healed since). For her eye colour, I zoomed in on her chat head but it wasn’t quite clear - 2/4 icyene in-game have blue eyes, but I went with gold to match the rest of her pallet. 

2) Clothes - This is a big one since I spent a lot of time staring at Greek art trying to figure out what a Greek-inspired character would wear when they never want to be cold ever again (It would make sense for her due to the trauma). Additionally, her skin is kinda fucked, and having it be uncovered would probably just lead to sunburn which is the last thing she needs. The shape of the middle woman’s chiton below inspired the hem of her dress, since I wanted to give her a very flowing, fashionable look:

She was supposed to have been a noble so like, fuckin’ Fashion, Baybee

I also turned her weird metal underpants into a girdle, since a waist band of some form or another isn’t uncommon in the images we have of ancient Greek attire: 

Garlandia, why did you have metal panties? 

Since she’s a bard (I THINK?) I also strapped on some extra storage for sheet music. Her jewelry was inspired by the following pieces, though TBH she could probably be decked out more, I just wanted to leave her hands mostly free for that good good harp playin’ 

3) Shoes - These get their own section because I did way too much research for it not to. Basically, most Greeks straight up didn’t wear shoes, never mind socks. Also, in her model, is it just me or do her shoes look uncomfortable as fuck??

Yikes girl are those cutting into your thighs?

Anyways, with her feet/toes being fucked up from frostbite, I wasn’t going to NOT give her shoes/socks, which meant I started looking at roman artifacts instead:

I found mention of romans wrapping their feet in fabric when it got cold, but the only “sock” I could find was from a roman fort in Britain:

So, like, needless to say after all that and also getting suckered into reading about the nuances of gladiatorial combat for like an hour I ended up going for something more modern:

So anyways they’re 0% accurate from what I could find but I like the vibe 

4) Himation - So remember what I was saying about how Garlandia would probably hate being cold? Check out these bad boys: 

Basically the ancient Grecian version of the Blanket Cape, and also used as outerwear in the winter! It seems like the winter ones would have been made from wool, I’d imagine she’d wear it most places except maybe the desert or Karamja since those are warm enough on their own. 

Anyways thanks for coming to my fucking runescape character redesign dissertation, next on the chopping block? Who knows. Maybe Zuzu (I heard her voice acting recently since I never play with sound and YIKES YIKES YIKES YIKES I HAD NO IDEA OH GOD)