#peplos clothing

[peplosmensfashion]

Peplos Jeans Stylish Clothing

Nestled in the virtual realm at “Peplos Jeans," Peplos Jeans emerges as a distinguished brand synonymous with timeless style, quality craftsmanship, and a commitment to sustainable fashion. Read more...

Read at: https://medium.com/@prestondavid217/peplos-jeans-elevating-your-wardrobe-with-timeless-style-and-quality-craftsmanship-dc4fee3e7dfb

[thepreston]

Revamp Your Style with Peplos Multicolor Polo T-Shirts: Add a Pop of Color and Versatility to Your Wardrobe!

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Shop at: https://peplosjeans.in/products/peplos-regular-fit-premium-polo-t-shirt-for-men-large-yellow-multicolor

[romegreeceart]

Statues of the Nereid Monument

* 390-380 BCE

* Xanthos, Lycia

* British Museum

London, June 2022

[gemsofgreece]

Hi!

I saw this amphora for the first time today when I was researching things about Helen of Sparta as a reference for drawing her. From what I saw, the woman is Helen and this art is dated 550 BC. I thought what she was wearing was really beautiful, so I looked up the name of this outfit so I could draw it better.

I got the impression that it's a peplos from the images I saw (in particular, these Kore statues are kind of similar because of the patterns: 1, 2, 3. And the shape reminds me of that) and because of the year of the amphora (I read that apparently peplos was popular around the same time), but I'm not sure. Also, is that veil that Helen wears a specific piece of clothing? The only similar thing I've seen referring to clothing in Greek visual arts is himation, but I also don't know if it's one because I haven't found a himation being used specifically in that way (the ones I saw seemed more involved around the body/head).

Do you (or anyone in the comments) know if it's a peplos? If it isn't a peplos, do you/anyone know what it is? And what is this veil, it's a himation?

Hi, I am pretty sure Helen’s outfit is indeed a peplos. You can also tell from how the fabric bulges on the torso.

As for the veil, yeah, I don’t think it’s a himation (it still might be though). It’s little known that occasionally Ancient Greek women did wear a veil, which was called καλύπτρα (kalyptra). A kalyptra was usually used by a matron, a dignified older married woman, likely an aristocrat, and in general the lady of the household. It was associated with propriety and the avoidance of unwanted advances.

Helen, as a married queen in the presence of several men as we see in this amphora, is totally eligible as a woman who would have a kalyptra on. It might also be the artist’s attempt to redeem Helen and in this way abdicate her of any responsibility when she was forced to leave Menelaus for Paris.

A kalyptra was a thing, though not as obligatory or paramount a garment as a veil was in Rome or in the Eastern cultures. The reason we probably don’t see it often in statuary is that Greek sculpture depicted mostly youth and the human body. Young unmarried girls wouldn’t wear such garments.

Here you can see the differences with himation. Himation was a thicker fabric, used for warmth. When cold, it could double as both a himation and a kalyptra. The thin fabric the woman with the chiton in the middle is holding could be a kalyptra.

Not an expert though, so if anyone else has more info about this, please share.

[wickerfemme]

Are you going to lounge around in small Grecian cloth like in your art when you get bigger?

My favourite things for lounging in are usually big, ample dresses or robes/kimonos. I can see some grecian drapery slipping in with those very comfortably.

[athis3]

The integration of three-dimensional figures into the design of a functional object is a hallmark of Greek art. A variety of elements–human, animal, and mythological–animate this mirror disk. A statuette of a woman standing on a base supports the mirror. Her simple woolen peplos falls in columnar folds. Her serious expression and quiet stance are typical of the restrained early Classical statues that were created from about 480 to 450 B.C. Two winged Erotes hover about her head. A hound chases a hare up either side of the disk; a siren, part bird and part woman, perches on the top.

Bronze Mirror with a Support in the Form of a Draped Woman

Greek, mid-5th century BCE

[wolfythewitch]

Question about clothing stuff, I've seen some art of the women of the iliad being drawn in Minoan style clothing, and same with Ariadne, and also them being drawn in chiton and peplos. So I'm wondering when to draw which :0

[nona1323]

Change of clothes AU "Deal with the Time"

This episode is small, but important. It begins, ironically, not in the house, but in the sands of Chronos (for more details, see separately). While in his domain, Chronos summons Chrysa (Χρυσός [chrysós] – "gold"), a scorpion created by him from his own sands.

Titan takes her away to be the personal guard of their new prisoner, since Chronos himself will not be able to monitor Hypnos all the time. Initially, Chronos does not lock Hypnos in time or in a cell because of his own triumph – he likes to play with chthonic and watch how he hardly accepts a new reality, and is also forced to obey him. But, importantly, Chronos initially does not plan to leave Hypnos, albeit chained, conditionally free to move around the House on a permanent basis. Initially, this is rather a temporary measure, until Chronos has played enough with a new toy, so that after throwing it into the camera and/or putting him on pause, depending on how quickly Hypnos will give the key to understanding Oneiros. As you can see, everything is not going according to plan and it turns out to be a little more complicated.

Chronos returns to the House and picks up the package that was delivered by the servants, and then goes to Hypnos. The first meeting of Hypnos with Chrysa takes place: Chronos introduces her to chthonic with a grin, and Chrysa quickly runs from the titan's shoulder to his arm. Chronos pulls it out, and scorpio finds himself dangerously close to Hyp's face, definitely scaring him, even if he doesn't show it. Chrysa jumps off Chronos and runs away, quickly losing herself in space, Chronos puts the package on the table and, saying that he has something else for Hypnos, opens it.

This something turns out to be clothes, but not easy. As you can see from the illustration attached to the post, it consists of two parts: the lower red chiton and the upper blue peplos. And, well, the fabrics they are made of are what is really of interest to us. They were spun and woven by Persephone and, to Hyp's horror, by Nyx, respectively. Chronos found them in the House when he was settling in and changing it for himself. And now he finally had a chance to use them.

How freely Chronos treats things that do not belong to him is insulting to Hypnos. Especially when it comes to the fabrics of the Mother, because she herself wove them from the night sky and stardust. And this is if you do not take into account how valuable and rare these canvases are considered among the gods also because of their properties and beauty alone. In addition, the outfit itself is sewn with the help of a night spindle, which also angers Hypnos. Chronos has no right to dispose of these things, and yet he does it, and Hypnos can't stop him in any way.

Chronos hands the outfit to chthonic, and Hypnos is forced to accept it with undisguised anger. After that, Chronos asks (demands. He demands) Hypnos to change clothes. The god of sleep waits for the titan to leave, but Chronos just sits down and watches. Hypnos realizes that Chronos is not going to leave the room. They have a silent duel for a while. Chronos ends it with a quiet remark: "I can just rip your clothes off. Your persistence will only make things worse."

Hypnos clenches his teeth and turns away. Slowly, he takes off his chiton, feeling the burning gaze of the Time on himself, and then he changes clothes as quickly as possible, remaining with his back to the titan. Before he can fasten the last fibula, Chronos tells him to stop. Hypnos freezes.

The Titan slowly approaches him.

"Turn around," Chronos's voice is calm.

Hypnos turns slowly and tries not to think about the bed behind them. Chronos looks down at him, and then holds out his hands. He fastens the last fibula, the hourglass symbol, his symbol, himself, stroking it contentedly after, and then his hands run lower, straightening all the folds that arose due to the haste of Hypnos. He is forced to stand and wait for the titan to finish. He's angry, but the last thing he wants is to provoke Chronos now. 

Chronos steps back and looks at he with a satisfied look. "Yes, you look much better this way. And now – give me these rags and trinkets."

Hypnos has to collect his clothes and jewelry and hand them over to Chronos. He won't see his chiton for a very long time.

To sum up, Hypnos will look like in the picture almost throughout the entire plot, although some details will be clarified later. 

The author of the art: @do-n0t-be-afraid

Masterpost AU "Deal with the Time" here

The description of the au is here

(English is not my native language, sorry for the mistakes)

[winxanity-ii]

⌜Godly Things | Chapter 01 Chapter 01 | favored⌟

╰ ⌞🇨‌🇭‌🇦‌🇵‌🇹‌🇪‌🇷‌ 🇮‌🇳‌🇩‌🇪‌🇽‌⌝

❘ prev. chapter ❘༻✦༺❘ next chapter ❘

Eileithyia rushed through the marble halls of Olympus, her breath coming in short, labored pants. A silver torch flickered in her grasp, the flames matching the intensity of her frantic heartbeats.

She was a striking figure—her dark hair tied beneath a kerchief, the embroidered peplos of pinkish-red flowed behind her like a stream. The wreath adorning her head shifted as she ran, her lips muttering prayers to herself—each word an urgent, unyielding reminder.

No, no, no... I'm going to be late, she thought, a fearful frown etched on her face.

Eileithyia had a purpose today—a life hung in the balance, and she was supposed to be there. As the goddess of childbirth, her presence was crucial.

The birth couldn't conclude without her.

She had seen centuries of births, had delivered souls into the harsh yet beautiful realm of humanity, and she had never been late.

Not once. Yet, this evening had not gone as planned.

Ate—the goddess of mischief, ruin, and destruction—had decided otherwise.

She had taken it upon herself to set a thousand small obstacles in Eileithyia's path—misplaced tools, disruptions among the mortals, inexplicable detours. A labyrinth of mischief that made her late—far later than she'd ever imagined possible.

Annoyances. Delays. Each a thread that tangled itself around Eileithyia's feet, keeping her from where she needed to be. The weight of her tardiness bore down on her chest, a gnawing fear taking root within her.

By the time she arrived on Earth, it was far too late.

She arrived to a quaint carriage, situated alone under a starlit sky. Its windows glowed softly in the night, and inside, she could hear the low murmurs of those gathered.

The humble room she entered was dark, the shadows deep, illuminated only by the glow of her torch. And at the center of it all sat a woman, her skin a warm sepia, her dark hair pulled away from her tear-streaked face.

"Nooo!" The woman sobbed, her face buried into a bundle of cloth that she cradled to her chest.

Eileithyia's heart sank as she ventured silently along the walls of the room, She observed the scene before her, her chest aching.

Eileithyia moved along the walls of the room, unseen and unheard, her presence cloaked from mortal eyes. Her heart broke for what she saw: the woman was crying, her face twisted in a sorrow that needed no words to explain.

Beside her sat a young man, his blond locks disheveled, his hands trembling as he gently held his wife.

"Aleka, my love...," he whispered, his voice a soft rasp that shattered the silence. He held her, and she clung to him as if she could drown her sorrow in his embrace.

"I-I can't... it hurts, Kairo," she whimpered, tears streaming freely, her body still trembling with pain, her lower body coated in blood.

The room was shrouded in somber silence, broken only by Aleka's soft cries and the muffled movements of the midwives as they cleaned up the remnants of the birth that had gone so terribly wrong.

The atmosphere weighed heavily with sorrow, grief, and the undeniable finality of death.

Eileithyia walked closer to the grieving parents, her heart aching with each step.

She peered down, her heart fracturing further at the sight of the stillborn child. The infant lay so small and delicate in her mother's arms, her tiny features illuminated by the flickering torchlight.

She was perfect—round cheeks, a delicate button nose, tiny lips formed in an innocent pout, like a rosebud just beginning to bloom.

A beautiful soul, taken far too soon, Eileithyia thought, her fingers reaching to trace the baby's soft cheek, committing every detail to memory.

With a soft hum, Eileithyia leaned over, her torch casting a glow that seemed to wrap around the infant like a final embrace; her fingers brushed Aleka's arm in a silent farewell before she lifted the child from her mother's grasp, cradling her in her arms.

Stepping back from the grieving parents, Eileithyia kept her gaze lowered, her steps quiet and deliberate. She knew her path—she would descend into the Underworld, where the souls of the dead found rest.

It wasn't fair, but it was life.

As she walked away, the parents' anguished cries softened, fading into the distance. The baby's body felt heavier in her arms as she began the descent, the air thickening around her with the scent of earth and ancient mist.

Before she could cross the threshold into the underworld, a servant burst into the room.

"Wait!"

Eileithyia paused, glancing over her shoulder to see a servant running towards the grieving parents; he was out of breath, his eyes wild with urgency, his voice stammering as he spoke.

In his hands, he held a small, glowing flower—its petals shimmering with an ethereal light, as though capturing the very essence of dawn within its delicate form.

"A-a prophecy," he gasped, as the midwives turned to face him, "from Delphi. This is a sacred flower, blessed by Apollo himself. It is said to have grown in Apollo's sacred groves, glowing with a golden light, and its essence has the power to bring a soul back from the edge of death. But it must be used swiftly—before the child is taken beyond the threshold of the Underworld!"

The servant's head turned, almost supernaturally, his gaze distant but unwavering. It was as though his eyes pierced the veil between mortal and divine, locking onto Eileithyia.

For a heartbeat, Eileithyia paused, her steps faltering as she felt the weight of his stare. It was almost as if he could see her—an ethereal figure, a goddess holding a child who had yet to fully cross into death.

She glanced down at the small bundle, her heart torn between sorrow and an instinctive sense of duty, before looking back up, determination setting into her expression; she would wait.

The father, Kairo, looked at the servant with suspicion, his face hardening. His voice was edged with both desperation and anger as he asked, "What is the cost? A life saved by the gods always comes with a price, doesn't it?"

The servant hesitated, his gaze flickering, clearly struggling with the burden of the answer. The tension in the room was palpable as the father repeated, his voice dripping with sarcasm, "Tell me, what's the price? Or are you just here to give us false hope?"

Swallowing nervously, the servant finally spoke, his voice trembling. "The oracle says that the child will carry the weight of Apollo's favor—a debt that may come due at any time, with no guarantees of what the gods might ask."

The room fell into a heavy silence, the air almost too thick to breathe.

Aleka's gaze met Kairo's, her eyes filled with tears, wide with both fear and desperate hope. She looked at her husband, searching his face for guidance.

Kairo stared back at her, the love for his wife evident in the way his hardened features softened ever so slightly.

Kairo finally lowered his gaze, looking down at their stillborn daughter. She looked so peaceful, her tiny form held in her mother's embrace.

His throat tightened, the pain of the decision weighing on him, but he knew there was no choice—only a chance to give their daughter the life she deserved.

He nodded, his eyes filled with determination and love as he whispered, "Do it."

Aleka let out a shaky breath, her trembling voice joining his. "Yes... do it. Whatever the cost, we will bear it."

The midwives moved with urgency, retrieving all the materials needed for an impromptu salve. The flower's petals glowed with a gentle golden light, and its aroma filled the room with warmth and magic.

The servant cradled it reverently, before crushing it in his hands, the glowing powder falling into a small dish.

With practiced hands, the midwives mixed it into a poultice, and applied it gently to the baby's lips, her chest, and her tiny forehead.

For a long moment, nothing happened. The room was silent, the air thick with anticipation, Aleka and Kairo holding their breaths.

Eileithyia paused, her hands trembling, her eyes never leaving the babe in her arms.

And then—a miracle.

The baby in Eileithyia's arms squirmed, her eyes opening wide. The goddess stared down, her heart swelling with relief and wonder.

A small, smoky puff enveloped the baby, and before Eileithyia could react, the infant vanished from her arms.

Over the veil separating mortal and divine, a sharp, piercing cry filled the once-silent room. Aleka gasped, her head snapping up as the bundle in her arms moved, the baby's eyes open, her cries loud and full of life.

Through her sobs, Aleka cried out her daughter's name, "____" her voice trembling with joy as she held her daughter close. Kairo, too, let out a shaky breath, his eyes wide with disbelief, his hands moving to wrap around both his wife and child.

The baby was alive, saved by the flower—a favor of Apollo himself, bestowed only upon those whose fate had caught his eye.

Eileithyia watched quietly from the shadows, her heart heavy and hopeful at once.

She knew what this meant. This child was touched by the gods.

And the gods... the gods did not simply forget those who had been touched by their favor.

As the infant settled into her mother's embrace, Eileithyia whispered to herself, her voice a soft promise that disappeared into the night.

"May the gods be kind to you, child. For their favor is not always a blessing."

A/N: now, for my long-awaited fic! hope you guys enjoy what i have planned ❤️❤️😩, also if not known, this will be post-EPIC, so after odysseus returns...

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 3/3)

Pelete Bite - a fabric created by the Kalabari Ijo peoples of the Niger Delta region by cutting threads out of imported cloth to create motifs

Pelisse - a woman’s long coat with long sleeves and a front opening, used throughout the 19th century; can also refer to men’s military jackets and women’s sleeved mantles

Peplos - a draped, outer garment made of a single piece of cloth that was worn by women in ancient Greece; loose-fitting and held up with pins at the shoulder, its top edge was folded over to create a flap and it was often worn belted

Pillow/Bobbin Lace - textile lace made by braiding and twisting thread on a pillow

Pinafore - a decorative, apron-like garment pinned to the front of dresses for both function and style

Poke Bonnet - a nineteenth-century women’s hat that featured a large brim which extended beyond the wearer’s face

Polonaise - a style of dress popular in the 1770s-80s, with a bodice cut all in one and often with the skirts looped up; it also came back into fashion during the 1870s

Pomander - a small metal ball filled with perfumed items worn in the 16th & 17th centuries to create a pleasant aroma

Poulaine - a shoe or boot with an extremely elongated, pointed toe, worn in the 14th and 15th centuries

Raffia Cloth - a type of textile woven from palm leaves and used for garments, bags and mats

Rebato - a large standing lace collar supported by wire, worn by both men and women in the late 16th and early 17th century

Robe à L’anglaise - the 18th-century robe à l’anglaise consisted of a fitted bodice cut in one piece with an overskirt that was often parted in front to reveal the petticoat

Robe à la Française - an elite 18th-century gown consisting of a decorative stomacher, petticoat, and two wide box pleats falling from shoulders to the floor

Robe en Chemise - a dress fashionable in the 1780s, constructed out of muslin with a straight cut gathered with a sash or drawstring

Robe Volante - a dress originating in 18th-century France which was pleated at the shoulder and hung loose down, worn over hoops

Roses / Rosettes - a decorative rose element usually found on shoes in the 17th century as fashion statement

Ruff - decorative removable pleated collar popular during the mid to late 16th and 17th century

Schenti - an ancient Egyptian wrap skirt worn by men

Shirtwaist - also known as waist; a woman’s blouse that resembles a man’s shirt

Skeleton Suit - late 18th & early 19th-century play wear for boys that consists of two pieces–a fitted jacket and trousers–that button together

Slashing - a decorative technique of cutting slits in the outer layer of a garment or accessory in order to expose the fabric underneath

Spanish Cape - an outer wrap often cut in a three-quarter circle originating from Spain

Spanish Farthingale - a skirt made with a series of hoops that widened toward the feet to create a triangular or conical silhouette, created in the late 15th century

Spencer Jacket - a short waist- or bust-length jacket worn in the late 18th and early 19th centuries

Stomacher - a decorated triangular-shaped panel that fills in the front opening of a women’s gown or bodice during the late 15th century to the late 18th century

Tablion - a rectangular panel, often ornamented with embroidery or jewels, attached to the front of a cloak; worn as a sign of status by Byzantine emperors and other important officials

Toga - the large draped garment of white, undyed cloth worn by Roman men as a sign of citizenship

Toga Picta - a type of toga worn by an elite few in Ancient Rome and the Byzantine Empire that was richly embroidered, patterned and dyed solid purple

Tricorne Hat - a 3-cornered hat with a standing brim, which was popular in 18th century

Tupu - a long pin used to secure a garment worn across the shoulders. It was typically worn by Andean women in South America

Vest/Waistcoat - a close-fitting inner garment, usually worn between jacket and shirt

Wampum - are shell beads strung together by American Indians to create images and patterns on accessories such as headbands and belts that can also be used as currency for trading

Wellington Boot - a popular and practical knee- or calf-length boot worn in the 19th century

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History ⚜ Word Lists

[genericpuff]

Since you made a post about lore Olympus’ fashion,could you tell us what kind of fashion characters in rekindled usually wear?

For the most part, considering it's a modernized retelling just like LO, I try to focus on the character's personality first and then refine from there.

Currently where Kore is in her character arc, she's very cottage-core in her outfit choices, favoring light springtime colors that compliment her skin tone. She also often wears dresses and skirts both because she thinks they're pretty, and also because it gives her a lot more range of motion, she doesn't like being constricted or too revealing. Even when she wears dresses and skirts that are on the shorter side, she'll still usually be wearing leggings and/or shorts underneath. That said, her fashion choices will change and develop as her character does throughout the story, she has a few different phases that she goes through that start to go outside of her comfort zone, so keep an eye out for that ;)

On the flipside, Hades is often wearing pressed suits and has grown used to wearing the same wardrobe often as, like the rest of his life, he's fallen into a very standardized routine. That said, he also wears his Mortal Realm garb when he's doing his job addressing the mortals, as it's standard protocol to keep all modern amenities away from them (including expensive suits lol) That said, when we see him in more casual settings such as the Olive Branch restaurant, he and his brothers are usually wearing more modern Mediterranean outfits, including colorful button-ups and sandals (though Hades often still sticks to his darker color schemes as it's, again, what he's accustomed to). Like Kore, Hades will also be going through some fashion developments as the story goes on and as he learns to step outside of his own comfort zone. I've got some future suit ideas planned for when the story moves on, I wanna give him some more flair than his default settings from LO 😆 (trust me, that moment when Persephone teased him for wearing nothing but black suits is gonna come back into play eventually LOL)

Artemis and Hermes are both really athletic so their clothing often reflects that, they both like tracksuits and sportswear, though Artemis is seen a few times throughout the series so far wearing Mortal Realm garb because she's someone who's often working in the Mortal Realm.

Hecate is a lot of fun because not only is she a lot more androgynous, but I also get to come up with fun outfits that reflect the witch side of her.

Apollo is a very "slap it on and get on with the day" kinda guy (especially considering he works long shifts with lots of early mornings) so a lot of what he wears are hoodies, t-shirts, cargo shorts, sandals, etc. He doesn't need much to get by and considering he works with Helios, he never really needs to bundle up too much LMAO

Demeter is one of the only gods who's always drawn in Mortal Realm attire as that's where she mainly resides. This largely includes Mycenaean-style garb, such as the chiton and peplos.

I've found this particular site very helpful for providing both inspiration and context to specific outfits where Ancient Greek standards come into play. As for the modern outfits, it's really just about having fun meshing the characters' personalities in with modern fashion styles of Greek fashion. It makes for a lot of outfits that are made up of flowing fabrics with lots of color and movement accessibility.

Just wait until we get to Aphrodite and Ares though. Whooo I have plans for them LOL

[peplosmensfashion]

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[namidew]

Here’s the next part of the design concepts for my story, this time featuring Athena, Ares, and Aphrodite !!

Normally in depictions of Ares and Athena, they would wear armor, but I drew them without it because I wanted to try to incorporate their other motifs !!

Details below for design ramblings !!

Athena - The design of her face and the shape of her hair combined is meant to have a faintly owlish resemblance, her expression stern to represent her domain of wisdom and connection war. For my story, she’d be a bit more steely and essentially logical, showing more of wisdom than knowledge by her actions being based on past experiences. Her peplos is in reference to greek pottery with its black and orange, and her epiblema is in reference to her birth from Zeus’s head (the version which I am going with for my story) with it weaved to resemble the brain from a side view on either side. Lastly, the shield on her back is the aegis (or aigis?), which in this version, is a shield. Her having a shield but no spear represents defense and more “distance” from battle (despite hoplite soldiers using both) to represent strategy, and Ares having a spear but no shield represents offense and closer proximity in fights, thus closer to see the uglier side of war: the bloodshed and death.

Ares - He and Athena have complimenting details in their spear and shield, and in their color palettes. Both of their weapons are bronze, but appear brown due to the shading. Both have very fiery colored clothing, showing their connection of war despite their differences. Said differences include Ares’s (at least, within my story) tendency for impulsiveness and better emotional intelligence. He has scars not because his injuries didn’t fully heal, but because he (within my story) thinks they’re cool. His near-black, dark red(ish) chiton and hair represent blood and death, both common on the battlefield. his himation is red for blood, with orangey details for the metal of weapons or metallic taste of blood, and in resemblance of vulture wings. He has a more boyish appearance in reference to the young age in which Ancient Greece (as well as many other civilizations and modern day countries) could draft men to war.

Aphrodite - Her hair is red due to its perceived beauty in Ancient Greece and its rarity within the global population. Several strands of her hair are shaped like hearts. Her face is meant to resemble a dove, with eyes blue like the sea. The pearlescent jewelry is in resemblance of the sea foam from which she was born (the version I’m using), her ionian chiton colored in resemblance of the sea behind the sea foam (and funnily enough, it is sea foam in color.) In addition, her necklaces resemble the pattern of feathers (dove) or scales (sea theme.) Her hair color is exactly the same reddish-orange shade as the details on Ares’s himation. If you look closely, there is a very faint heart shape within the shading of her forehead. A consistent element in my designs of the Olympians drawn so far is a metallic element, as seen in Apollo, Hermes, and Dionysus having matching gold jewelry, Artemis having silver hair bands, and Ares and Athena having bronze war gear. I’m not entirely sure what Aphrodite’s jewelry is made of, perhaps pearl, or perhaps white opal? Maybe the metallic design element will be a “children of Zeus” design choice.

Thank you if you’ve reading all this rambling, it’s much longer this time. All in all, I’m fairly happy with the designs of these three, but now I have to go back and add more details to the other designs to balance it out a bit. Anyway, if you have any ideas or suggestions for future designs, please do tell me !!

[literallyjusttoa]

Apollo throughout the ages! Or at least from birth to Rome. I'm going to go ham on explaining the timeline under the cut, but I hope you guys like the designs I made for the different periods of his life!

Anyways EXTREME TIMELINE RAMBLING TIME

Baby (2591 B.C.E.): The year I arbitrarily decided Apollo was born in lmao. Apollo didn’t look like this for long. Probably only like, a minute. Just long enough for Leto to safely give birth and then he was immediately like “ew, no I wanna be big” 

2. Fighting Python (2591 B.C.E.): Immediately after being born, Apollo flies off to go fight Python for 7 days (fun!). After that, he is punished for committing murder and has to purify himself by serving as a slave for 9 years in the Vale of Tempe (funner!) Yeah, Apollo definitely had an A+ childhood. One thing in his first two designs Apollo doesn’t look entirely human. This is bc I like to think he was born with some cool titan traits!

3. Pre-First Punishment (2582-2300 B.C.E): Back from his years in the mortal realm, Apollo looks much more human. His clothes are inspired by Ancient Aegean fashions I found, as we are long before the start of what is considered Ancient Greece. Apollo is the youngest member of the Olympian council and it shows. This boyish look stays with him until after he serves under Laomedon.

Other events that happen during this time: 

Hermes is born (Around 2500 B.C.E.)

4. Post-First Punishment (2290-ish B.C.E-1500 B.C.E.): Apollo comes back from Troy influenced by their traditions, and it shows in his design. There wasn’t much I could find on how Troy differed from the rest of the Mediterranean at the time (probably bc for a while we thought the place didn’t even exist lmao) but I did find something that said an emphasis was put on those with higher status wearing jewelry. So Apollo gets pearls in his hair and golden bands around his arms. His clothes are inspired by feminine Aegean attire. 

Other events that happen during this time:

Music duel with Marsyas (Around 2000 B.C.E)

Dionysus is born (Around 1600 B.C.E)

5. Post-Daphne (1500 B.C.E-1194 B.C.E.): The introduction of the laurel. After Daphne’s death, Apollo distances himself from his family a bit, which leads perfectly into our next big event-

6. Trojan War (1194-1184 B.C.E): Apollo sides with Troy, and its influence once again appears in his appearance, this time even more pronounced. In a war against not only Greece, but his own family, Apollo keeps himself covered and constantly prepared to aid in battle. Missing his mother back on Delos, Apollo grows his hair out for the first time. 

7. Post-Trojan War and Hyacinthus (1184 B.C.E-776 B.C.E.): After Troy falls, Apollo sheds it’s influence quickly, not wanting to look like he’s supporting a side the rest of his family is either against or has given up on. He breaks his time evenly between Olympus and the mortal realm, and takes many lovers until the death of Hyacinthus around 800 B.C.E. After that, he stays up in the heavens for a few decades. 

8. “Main” Apollo (776 B.C.E-540 B.C.E): Starting with the first Olympics in Greece, Apollo is lifted as a paragon of Greece and its people. Shedding the peplos he has worn throughout his early years, Apollo wears a classic chiton and becomes much more invested in the affairs of man. This is a period of great power and ecstasy for him, but as the saying goes, pride goes before the fall. 

Other events that happen during this time: 

Death of Niobe’s children (Around 770 B.C.E.)

Music duel with Pan (Around 750 B.C.E)

Dating Cyrene (Around 630 B.C.E)

9. Coronis-Asclepius (540 B.C.E-500 B.C.E): A design that only lasts as long as Asclepius lives. Zeus is unsettled by Apollo’s influence over Greece, and starts applying more pressure against him. This leaves Apollo stressed, and that's without the fact that he is now raising a prodigy in medicine alongside Chiron. In these 40 years, Apollo attempts to balance his want to be involved in the mortal world with his fathers wrath. In the end, his father will win. 

Other events that happen during this time: 

Around 515 B.C.E - Tarquin purchases the Sibylline Books. Apollo and the Sybil of Cumae must happen before this point (not entirely sure when yet, but definitely in this period.)

10. 2nd Punishment (500 B.C.E.): Apollo serves his second punishment under Admetus. Crushed by the loss of his son and anger of his father, Apollo spends most of this time in hiding. It is only through the gentle hand of Admetus that Apollo finds some sort of healing. 

11. Late Greece (499 B.C.E-146 B.C.E.): Apollo is definitely trying to move on far too quickly from his punishment. He cuts his hair, dons his chiton, and gets right into being an Olympian. It doesn’t help that he is beginning to see the cracks in the foundations of Greece. Athens is flourishing, but only at the expense of Sparta and his own Delos. Years of civil war and threats of Roman invasion leave Apollo shaken, and he pulls away from both the mortal realm and his family, who seem more and more like strangers every day…

Other events that happen during this time:

Trophonius’ death (Around 200 B.C.E)

12. Fall of Greece (146 B.C.E.-32 B.C.E.): Rome officially takes over Greece, and suddenly Apollo’s family are all lost to him. As I’ve mentioned before, I don’t think Apollo has a Roman form like the rest of his family, and I imagine the sudden switch in their personalities must have been terrifying. Rarely worshiped and ostracized from Olympus, Apollo returns to the mortal realm, spending his time in solitude as a shepherd. As his influence grows weaker, he begins to show sign of weakness. This is the only time Apollo “ages” (I gave him a beard) and I tried to take away some of the attributes that would have been considered divine. Apollo is completely covered, and he wears shoes (which gods would never do)

13. Rome: (32 B.C.E.-476 C.E.): I know, I know, Apollo should have multiple Rome designs, but I got lazy. Apollo is credited by Octavian for his success in battle against Marc Antony and Cleopatra, and worship of the god skyrockets. Now back on Olympus, Apollo is still wary of his family’s Roman counterparts. He drowns himself in luxuries, hoping to distract from his worries about his brothers and sisters. Who knows what kind of bad decisions a man might make in this scenario?!? (*cough* Commodus *cough*). 

And that’s my full timeline so far!! If there’s anything y’all have questions about (Any missing myths, questions about why I put things were) I’d be happy to answer! I put a lot of work into this, so I hope y’all like it!

[ellilyre]

(inspired by a video I saw on Instagram the other day)

Achilles and Deidamia laying in bed together

Deidamia : Babe, can you take my clothes off?

Achilles : Mh not now

Deidamia : Come on

Achilles: No, I don't want to do that

Deidamia : I want you to take my clothes off !

Achilles: No !

Deidamia : Achilles !

Achilles: Alright! It's unfair...

Achilles gets up, revealing he's wearing Deidamia's peplos

Achilles: I never complain when you wear my clothes...

[mrhyde-mrseek]

Hellenic Polytheism UPG: Appearances

This is how the gods I work with/worship appear to me, divined either from dreams, meditation, or images that pop into my mind that I inexplicably associate with a deity!

Hades: switches between(?) a black cloak that covers his whole body and melts into the shadows and a black suit with dark grey pinstripes, very pale skin, very tall (taller than Persephone), long black hair, wears a three-point black/darkened silver crown with black jewels in each point

Persephone: tan, olive-toned skin, long curly brown hair, golden-brown eyes(?) a long berry colored dress (darker pinkish-red) with red flowers on the shoulders, significantly taller than a human (this is what I’m guessing is her spring outfit, I don’t know what her winter one looks like yet since it’s still summer)

Dionysus: long, curly black hair, dark skin with red undertones, fat, either wine red or black eyes, warm-toned dark purple peplos dress, ivy crown

Athena: Big barn owl wings, nose (/face?) looks like a barn owl beak (/face?), has its helm, has gray eyes, wears a long, flowing white dress with dark gold or bronze buckles/pins/belt, gold sandals(?), long brown hair

Hermes: blonde hair, classic white chiton (exomis maybe?) with gold clasps, gold winged sandles, looks closer to my height from what i can tell

Artemis: young woman, thick, flowy/wavy black hair, sparkling eyes, pale skin, maybe a silver crown/band(??) white/silvery peplos dress, barefoot (I think), human height “so the women she guards/hunts with won’t be afraid of her” (paraphrased explanation from my first meditation with her)

Apollo: long, light golden hair, tan skin, golden(?) eyes, athletic, elegant, white exomis(?), very tall, has supportive camp counselor energy

Aphrodite/Aphroditos: very soothing voice, soft, pale, peachy skin, LONG-ASS flowing dark reddish hair, naked (couldn’t pick out any specific clothes), much taller than most humans, very much seashell vibes; as Aphroditos he looks like red-haired Howl from Howl’s Moving Castle and has the same ethereal, magical pretty boy vibes