Tristissima
Explorer
The book continues on to remind us that Kuthite religion is not the only influence on Nidalese culture. It’s obviously a duh, but it needs to be said, both because in-setting, foreigners are likely to think that it is, and out-of-setting players always love to reduce settings to the simple one-sentence introduction we use to aid decision-making. Of course, it then goes on to describe elements of Nidalese culture that are Kuthite, like the politicking of the Umbral Court and the slight difference in holiday celebrations that develop from fear, defiance, or zeal for the state religion.
But then we get a quick paragraph about Nidalese fashion. In terms of ancient Forgite RPG theory, immersionism is my primary creative agenda. A good amount of the juice I get from RPGs comes from feeling like I am deeply embedded in a fictional world ~ yes, I also enjoy Tolkien’s sub-creation theory, despite my polytheism. Fashion is one of those very subtle ways you can communicate culture and history, much like Tolkien’s fictional philology, and so I can become fascinated with the history of fashion in D&D worlds. It helps that one of my current RISK* sweeties, as well as an ex-RISK now-friend sweety of mine, has done deep study on fashion and the development thereof. Their drag, both of theirs, is everything.
Anyway, we’re told that the tension between stoic silence and a joyful quest for pain forms a central organizing factor of Nidalese fashion. They prefer greys and blacks in austere cuts, and express quality and fanciness with the garments’ elaborate structure and architecture, rather than in ornamentation. I imagine this structure is focused on draping and close tailoring, as their love of austere cuts would seem to preclude dramatic silhouettes or profiles. I can fully imagine a Nidalese socialite finding such things as bustles or shoulder pads or hoop skirts gauche attempts to distract from the tailor’s undoubtedly poor mastery of their craft, or at best of the unattractive body of the person wearing the outfit.
This seems to be confirmed by what we’re told of preferences in Pangolais, where silk and lace float off bodies in layers. Nisroch and Ridwan tend towards a more war-like look, giving up the float of those delicate fabrics for stiff leather, either glossy or welted for decoration. It’s a little harder to layer leather, but I can imagine that the higher classes often lean towards less stiff clothing. Buttery garments, one on top of the other, seem much more likely, or even things like suede.
Despite, or perhaps because of, the Nidalese distaste for ornamentation in clothing, they love to adorn their bodies by means of things like piercings, tattoos, brands, and scarification. Of course, the pain involved in these things no doubt help. Nothing is said about Nidalese traditions of these things, in terms of materials or locations or designs. I would imagine that, since the experience is more important than the product for most Kuthites, there isn’t much in terms of cultural trend. Rather, Nidalese body mod culture probably leans much more toward how it often functions in the US today ~ it’s a form of personal expression, with the artistic eye being the primary determiner of things like location, color, material, etc., and designs ranging from those deeply infused with personal meaning to perfunctory designs that the artist can do in their sleep to ridiculous and easy humor.
Nidalese disdain bright colors in general, but especially in gems and jewelry, favoring instead things like moonstones, onyxes, and smoky quartz. It’s not actually mentioned, but I would imagine that a Nidalese would judge aesthetics largely in terms of chiaroscuro and the drama of shapes.
* Romantic, Intimate, Sexual, and/or Kinky, that is.
But then we get a quick paragraph about Nidalese fashion. In terms of ancient Forgite RPG theory, immersionism is my primary creative agenda. A good amount of the juice I get from RPGs comes from feeling like I am deeply embedded in a fictional world ~ yes, I also enjoy Tolkien’s sub-creation theory, despite my polytheism. Fashion is one of those very subtle ways you can communicate culture and history, much like Tolkien’s fictional philology, and so I can become fascinated with the history of fashion in D&D worlds. It helps that one of my current RISK* sweeties, as well as an ex-RISK now-friend sweety of mine, has done deep study on fashion and the development thereof. Their drag, both of theirs, is everything.
Anyway, we’re told that the tension between stoic silence and a joyful quest for pain forms a central organizing factor of Nidalese fashion. They prefer greys and blacks in austere cuts, and express quality and fanciness with the garments’ elaborate structure and architecture, rather than in ornamentation. I imagine this structure is focused on draping and close tailoring, as their love of austere cuts would seem to preclude dramatic silhouettes or profiles. I can fully imagine a Nidalese socialite finding such things as bustles or shoulder pads or hoop skirts gauche attempts to distract from the tailor’s undoubtedly poor mastery of their craft, or at best of the unattractive body of the person wearing the outfit.
This seems to be confirmed by what we’re told of preferences in Pangolais, where silk and lace float off bodies in layers. Nisroch and Ridwan tend towards a more war-like look, giving up the float of those delicate fabrics for stiff leather, either glossy or welted for decoration. It’s a little harder to layer leather, but I can imagine that the higher classes often lean towards less stiff clothing. Buttery garments, one on top of the other, seem much more likely, or even things like suede.
Despite, or perhaps because of, the Nidalese distaste for ornamentation in clothing, they love to adorn their bodies by means of things like piercings, tattoos, brands, and scarification. Of course, the pain involved in these things no doubt help. Nothing is said about Nidalese traditions of these things, in terms of materials or locations or designs. I would imagine that, since the experience is more important than the product for most Kuthites, there isn’t much in terms of cultural trend. Rather, Nidalese body mod culture probably leans much more toward how it often functions in the US today ~ it’s a form of personal expression, with the artistic eye being the primary determiner of things like location, color, material, etc., and designs ranging from those deeply infused with personal meaning to perfunctory designs that the artist can do in their sleep to ridiculous and easy humor.
Nidalese disdain bright colors in general, but especially in gems and jewelry, favoring instead things like moonstones, onyxes, and smoky quartz. It’s not actually mentioned, but I would imagine that a Nidalese would judge aesthetics largely in terms of chiaroscuro and the drama of shapes.
* Romantic, Intimate, Sexual, and/or Kinky, that is.