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The Art of Secrets in Stained Glass


Cheyenne Sedai
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One of the key aspects of Secrets in Stained Glass that really made the series shine is the art. Our resident art guru, Argent, recommended several excellent artists we could hire for this project. We reached out to each of them, and in the end landed on the wonderful Eli, who you can find on instagram as @elisgardor, for the character art, and Connor Chamberlain (@conjchamberlain), who you’ll recognize from the backgrounds for the original Diceborn series, for the background art once again. Finally, Matt and Alyx commissioned Diego López (@digeolopez_artist) to bring to life a scene from episode 3, which was initially meant to be private, but ended up in the final version of the episode, and really gave it a special touch. They all went above and beyond, and we’re thrilled with how everything turned out.

You can also read the pdf version here for a version with the images inline with their respective paragraphs.

One thing that is important to note for this article is that it will contain FULL SPOILERS for Secrets in Stained Glass, so if you haven’t finished episode 5, watch that, and then come back. You have been warned.

General notes from Eli about character art

For the background of the key art, there’s a stained glass window with spiral patterns reminiscent of mists, as well as the eight basic Allomantic symbols. I decided to give it warmer tones (reds, purples, yellows) for two reasons: the first is the huge role the Elariel’s fire plays within the story; the second is that since Scadrial is wrapped in that reddish environment by the sun and ash, this color palette seemed more appropriate.

Secrets in Stained Glass mostly takes place during a nobleman’s party, so the characters are dressed for an evening gala event. Knowing that in Era 2 there are also such balls, it was especially important to establish a difference in the style of Era 1, so the designs have that older feel. Personally, one of my biggest goals was that the viewer, just knowing that the characters are part of the universe of Mistborn, would know immediately that they belong to Era 1, and not Era 2.

 As a main reference for the style of dress I took the fashion of the French nobility in the late 18th century to further accent that older and distinctive Era 1 look. This historical period and place seems suitable, as the plot of the first trilogy has certain parallels with the historical events of the French Revolution (overthrow of the established power and the decline of the nobility > power vacuum, political plots and discussion before the next seizure of power > the emergence of an emperor who lead the people as representative of the new era). The social hierarchy was also similar, with an absolute monarch (the Lord Ruler), decadent nobility (the Houses), a corrupt clergy (The Steel Ministry) and the mistreated peasantry (the skaa). I find it interesting how Era 1 reflects those historical elements while mixing them with the post-apocalyptic setting of Scadrial and its magic system.

 Even so, the fashion of the nobles from this historical period can be very extravagant, so we decided to avoid some flamboyant elements, such as exaggerated hairstyles, white wigs, or impossible dresses; and center around some details that could give that antique flavor to the outfits, such as the lace sleeves tightened below the elbows, the draping of the gowns, the bright fabric, and the trousers cut below the knee. Although a Mistborn story that embraced the whole aesthetic would also be different from what we usually see. It would be exciting to try it in the future!

Eliane

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Historical inspirations and book references

For Eliane, Verónica came with lots of different examples of what her dress could look like, but there was a historical throughline to all the examples. She’d previously determined that fashion in Era 1 would roughly correspond to the 1850s and 60s in the real world, since Vin’s dresses are described with wide skirts and several layers of petticoats: “Vin accepted his hand, trying with as much grace as possible to pull the frilled, bulky bottom of her dress out of the carriage.” (Sanderson, 2006, ch 12) “It pulled tightly at her waist and chest, then fell to the floor with several layers of ruffled fabric, making it difficult to walk. She kept feeling as if she were going to trip—and, despite the gown’s bulk, she felt as if she were somehow exposed by how tight it was through the chest, not to mention the neckline’s low curve.” (Sanderson, 2006, ch 12) “She liked how it was designed to make her look full through the chest, yet accentuated her thin upper torso. She liked how it flared at the waist, slowly fanning out into a wide bell that rustled as she walked.” (Sanderson, 2006, ch 30)

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Ballgowns in this area deal with a lot of illusion in their use of the wide skirts and wide collars serving to make the waist seem smaller, without any need to tightlace, and the woman being perfectly comfortable. This was a silhouette Eli kept with both Eliane and Jenna, even though other details of Maevis or Addison’s outfits could place them in different eras, a relatively consistent silhouette gives unity to the variety of personalities in the show.

However, with the first sketches, Eli gave two options for the sleeves, and this is where fantasy shows it’s advantages. One was pulled directly from the references, but the other was inspired by the 18th century, and the fashion circa the French Revolution, thanks to the echoes in the plot of The Well of Ascension. It was an era well known for it’s extravagance, with its wide panniers and robes a la francaise, so when Eli gave the idea, Verónica went to look for more examples of this style, and different lace configurations, settling on something less extravagant and with less bows for the sleeves, but keeping the box pleats and overskirt to tie in both eras used as a reference for this gown.

Special details

Some of the details that stand out the most with Eliane, and make her design unique are the sheer amount of box pleats on her gown. Other characters have different types of trims, and for Eliane it’s pleated ones. They help give a lot of volume to each layer.

Another one is of course, the sleeves. They are fitted at the top, and flare out at the elbow, and a bobbin lace trimming inspired by some gown recreations of 18th century gowns. (Maja, n.d.)

If you’d like to know more about the way of making the sleeves that inspired Eliane’s, the blog post that this image accompanies is excellent, and talks about the lace in a lot of detail.

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Finally, there’s the vial for her bronze, and the pen she’s holding. It’s mentioned in Problem Solving (though it was clearer in the first draft) that Eliane has a pen with a bronze top on the cap inlaid with the Venture crest given to her by Charisse a couple of years ago, which is also where she first gets her bronze from, and Eli decided to add that to her art after reading the backstory.

Sylvain

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Historical inspirations and book references

Eli mentioned that one of the things that was hard to get right for Sylvain was the actual style of his suit. The styles that were popular historically around the time period that were used as inspiration for some of the other characters—and interestingly, Eli leaned far more 18th century than the initial mid 19th century references others, notably Verónica, had brought to the table—weren’t working for Sylvain, so Eli went to media that, while not accurate, was roughly there and fit the character better. Eventually, she landed on Prince Adam from the 1991 animated Beauty and the Beast. But not only was the vague timeline part of the design right, but the cast had decided, particularly after initial sketches, that Sylvain really does fit the Disney Prince stereotype, so the idea was taken further, and Eli added those iconic tall boots with the fold that so many of the Disney princes use.

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The cuffs and wider, but still tailored cut of his suit jacket are also somewhat reminiscent of 18th century military, particularly naval, uniforms. They share some characteristics with the general fashionable silhouette at the time, but are far more practical. This could be likened to the differences between French and English fashions, where the latter specifically set itself apart by the simpler, more practical styles and fabrics. (Nicole Rudolph, 2021) However, it’s not just that similarities can be traced because Sylvain is a more practical person than many of the other nobles, so his style would be more similar to the uniforms. A detail that never comes up in the game, but is in the character brief, is that Hadrial has nautical connections, and their heraldry is a golden ship wheel. That fact ties everything together perfectly. Sylvain’s character, and the historical inspiration.

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Special details

The shining aspect of Sylvain’s portrait is, as many people have noted, his dog, Seph. It turns out that pets are considered props in MAG, so Ian decided that Sylvain has a dog. When it came time for the art brief, nobody was really sure if he’d make an appearance, but he did! Eli’s own dog served as inspiration for Seph, since she kept looking up at her just like Seph is looking up at Sylvain in the art. Seph is a Terris Collie, basically the Scadrian equivalent of a Border Collie. Seph also has the same general color scheme as Sylvain, with the darker patches of his fur almost matching Sylvain’s coat, and his collar matching the red details in Sylvain’s outfit.

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Another aspect  that Ian considered quite important for Sylvain was the classic himbo pose with the arm raised and his hand behind the neck. Just the way he’s standing, in comparison to the rest of the characters lets the audience know that Sylvain isn’t the typical confident noble, but rather someone who’s been thrust into a situation where he isn’t very comfortable, and doesn’t have much support, since his aunt, Cecily, has fallen ill and given him the responsibility to meet with Solis, and carry out the task Solis had for Cecily.

Lucius

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Historical inspirations and book references

Lucius’s style is very reminiscent of 18th century fashion as well, but leans far more towards the side of noble court fashion—particularly in France—unlike Sylvain’s. He wears high waisted and snugly fit white breeches, with a waistcoat and overcoat with lots of decorative embroidery. Unlike the image on the right, Lucius wears tall boots, like you would for riding, except they aren’t practical at all with their color and all the decorations. This description is also mostly consistent with the books, when Vin describes the uniform Elend starts wearing as king. “The white trousers fit snugly and fell straight around the calves. While there was a shirt, it was completely obscured by the large, stiff jacket—which had military shoulder fittings. It had an array of buttons—all of which, he noticed, were wood instead of metal” (Sanderson, 2007, ch 16). Eli mentioned how this silhouette worked particularly well on Lucius, which makes him look slimmer—something that was tried, but didn’t work for Dier’s portrait. 

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Special details

Like his best friend Maevis, Lucius is very fashion forward. He wears eye catching outfits in stunning white, a color only a high noble could flaunt thanks to the ash, and notably has actual metal buttons and other metal details in his attire. He doesn’t keep his Seeking a secret, and uses the symbol for bronze on one of his shoulders, seemingly cast in that same metal. Dier actually pushes on his buttons, literally, during episode 1, and they just fly off without any incident.

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Lucius’s outfits also have quite a bit of embroidery, even on his boots, where decorative embroidery would be harder to put in complicated designs. His waistcoat also has metallic threads woven into it, which, with the technology of the Final Empire, would have been very expensive to make, even if metallurgy is a key part of the empire’s economy.

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His cape adds a unique flair, and of course, as is his Feature, he is always wearing gloves. Along with the white of his outfit, the gloves can also represent the necessity to remain clean at all times, and removed from parts of the world because of it. Gloves have been a part of fashion for centuries, though not nearly as ubiquitous for men as they are for women.

Dier

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Historical inspirations and book references

Unlike Sylvain and Lucius’s styles, Dier’s trend towards specific moments from the 19th century. The print on his waistcoat is like the ones that would have been expected during much of this era, and is also consistent with the first  description of Elend in The Final Empire. “His suit wasn’t the finest she had seen, nor was his vest as bright as most” (Sanderson, 2006, ch 12). Notably, Elend dresses down, but this does tell the reader that usually waistcoats were bright. Vin also talks about the general style of suit worn by the men at court.  “He was the perfect imperial nobleman—tall, firm-shouldered, always dressed in a tailored vest and suit.” (Sanderson, 2006, ch 28) This tells us about the importance of tailoring, and the clean lines around the shoulders. She also remarks on the cut, and how it is well fit, presumably close to the body, thanks to the comparison with Elend’s usual slightly wrinkled suits. “His usual, slightly worn and wrinkled suit had been replaced by a sharp, well-fitted one” (Sanderson, 2006, ch 30). Wrinkles, especially in tailored garments, are indicative of the fit being too big, and it is possible to tell in what section of the pattern they are thanks to the way the wrinkles themselves form.

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While Dier does present these sharp lines and well cut and tailored garments, knowing his propensity for flying around with steel, and also that he generally doesn’t care all that much about anything really, it makes sense he’d favor a simpler style of trousers than Lucius’s tight breeches for example. They’re well made, but are simple and cut straight, without much else to them.

Special details

One of the first details visible in Dier’s portrait is the coin he flips in his left hand, a symbol of his status as an overt Coinshot. Dier enjoys both the rudeness and the power display of his open Allomancy at court, taking every opportunity to flaunt his use of steel. Though, when he was young, House Venture ordered him to keep it secret, Dier had seen how keeping an Allomantic status secret could backfire, having heard how being outed as a Mistborn had played a role in his mother’s death. Feeling like he would be safer letting the secret out on his own terms, he enlisted Lucius’ help to leak his Allomancy to the court many years ago, a favor from his Lekal friend that he’s never forgotten. Since then, with the coin out of the pouch so to speak, he’s enjoyed being a known Allomancer among Luthadel society.

Dier’s and Eliane’s color schemes are coordinated, both in the purple range. Purple has always been associated with wealth and royalty, because of how expensive the dye was, since it came from the shells of a particular sea snail. (Ancient Color | Creating Purple, n.d.) Because of this, only royalty was able to afford the dye. Venture is not only one of the Great Houses, but has historically been at the top of the rankings, so even the color itself shows the power of their family in the Final Empire. However, they each have different shades of purple in their outfits, which say quite a bit about their characters.  Dier’s is a darker violet, while Eliane tends to use lighter colors. Eliane’s lighter preference can show her optimism and innocence, despite the trauma she’s faced, while Dier’s violet contrasts that, and shows that he’s lost that hope. The color characterizes each of them, but remains a link between the siblings.

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One of the objects that are characteristic of Dier is his dueling cane. It was made for him, and is used to great effect in both the main series and the backstories that have been published with it. It is a dark wood with a metal core and head, which can separate into two pieces that screw together. As a coinshot, Dier often uses the cane to great effect in a fight, and in fact, its use in Problem Solving, was what inspired Eli to add it to the portrait, even if it wasn’t mentioned in the original art brief.

Dier also uses the family signet ring to great effect in that same story, as an ironic murder weapon when he impulsively decides to kill his father, who married into the family, taking his wife’s name, and as such was never a true Venture, and always resented it.

Finally, a little story behind his iconic braid. An idea from Matt became the new canon, of Maevis absently braiding Dier’s hair one night when they were young, waiting for Vasha to show up for training. Though Dier thinks she’s trying to make him look silly, she tells him she likes the look, and since then he’s kept the style. Though he was thoroughly embarrassed to show up to their next training session with a sloppy braid he clearly had to practice doing himself, it was worth it to watch how widely Maevis smiled when she saw it. During the game, Dier’s worries for Maevis end up expressed in how he styles his hair. When he goes upstairs to change from his wet clothes, fearful that Maevis might not wake up and they might never have a chance to speak, he can’t bring himself to braid it and ties it back in a bun instead; the act of braiding itself too strong a reminder of his conflicted thoughts and their strained friendship. After they speak again in Episode 5 and reconcile just a little bit, he chooses to swap the bun for a braid once more, thinking of her before he heads to the roof to their old race spot, just like she asked him to, to keep vigil all night instead of meeting with her there.

Jenna

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Historical inspirations and book references

Like Eliane, Jenna wears a gown with wide skirts and a wide collar in a Bertha style. However, unlike Eliane, Jenna’s gown has a lot of lace, in patterns that show the allomantic symbols and mimic the spires of Kredik Shaw. Lace this custom would be incredibly expensive and noticeable, which matches with several aspects we know about Jenna. But before we talk about what it says about her character in the details section, let's talk about historical lace. Developed in Europe in the XVI century, “lace was always an expensive luxury item because of its painstaking, time-consuming production” (Lace: A Sumptuous History | SFO Museum, n.d.) The lace in Jenna’s outfit is most likely bobbin lace, which is made by tying knots in a certain pattern and holding it in place with pins based on that pattern. There are countless patterns and ways of making different shapes, which is prime for some of these gorgeous, very specific designs.

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Special details

Jenna’s appearance had a very strong starting point with Vin, since Jenna is Vin’s aunt. Eli commented that she focused on the things that differentiated Jenna from Vin. She made her taller, more muscular, darker, twisted, and older. That was added to a dash of Eva Green to end up with the art of Jenna we know and love.

Jenna, unlike the other female characters, wears elbow length gloves. While they would have been practically a necessity in formal situations historically, within the world of Secrets in Stained Glass, they serve to show how closed off and reserved Jenna is, particularly in comparison to Maevis, who has no sleeves and no gloves either.  

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The lace designs Jenna wears also serve to show how much the empire and her faith matter to her. She shows off a variety of allomantic symbols, but more importantly, the peaks of the lace in her skirt resemble the spires of Kredik Shaw and the mists swirling around them. While most nobles don’t care much about the religious aspect of the Final Empire, and mostly just obey the rules and stay out of the Obligators’ way, to Jenna, faith is incredibly important, so it shows up in different ways, not only in her actions, but also in her clothing. This is also evident with her spike themed earrings and headpiece, which are painted wood, instead of metal, as she has been the target of various assassination attempts, and would not like to give any potential coinshots anchors to use against her.

Maevis

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Historical inspirations and book references

Maevis’s outfit is by far the most fashion forward in terms of actual historical eras. The silhouette resembles that of the early years of the first bustle era which went from 1869 to 1876. Unlike the very clear shelf formed by later bustles, this one has smoother lines, a bit more reminiscent of the elliptical hoop skirt. Her bodice however, and the pose, are very much the s-bend or pigeon breasted silhouette from the early Edwardian era, though liberties are taken on the neckline style because this is fantasy. That lack of sleeves is important, not just because it isn’t strictly historical, but because  Maevis’s boldness in general is mirrored in her fashion, and reflects her relationship with rules and tradition. She doesn’t really care about them, relying on her magnetic personality. It is that recklessness that gets her into trouble in the first place, providing the setup for the series.

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Special details

In the art depicting her, Maevis is wearing a dress and mantle originally made for her grandmother, Dianette, which are bedecked in heavy embroidery, metals and gems. While she has her share of pleats on the trim of each of the layers, her defining feature is the embroidery and goldwork detail.

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“Goldwork is a style of embroidery done using metal threads. Traditionally, gold ‘threads’ were created by beating gold into flat ribbon like threads which were stitched into place.” (Textiles, 2022) All of the layers of Maevis’s skirt have intricate goldwork making patterns, as well as ribbon, pleats, and different trimmings at the edge, as well as on the bodice. The top layer also has crystals at each intersection, adding to the glamour of the gown.

The mantle, of course, only adds to the effect with more layers of goldwork and chains. It is much longer than many of the historical ones, which is not surprising, considering it wasn’t meant for actual protection against the weather, as it was worn in the Victorian era. (Sangrye & Hyejeong, 2010) This mantle is meant to be decorative, and with the exception of Dianette’s display, a garment that isn’t worn for any reason other than exhibition. Maevis also wears a headpiece inspired by Blake Liveley’s 2018 MetGala outfit, which, because of the theme, was meant to imitate a halo. 

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Finally, the greenish teal details at the hems of each layer of her dress are meant to match Lucius’s outfit, as they are best friends, and similarly fashion forward in their mentalities.

Addison

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Historical inspirations and book references

Addison’s gown contrasts all the others by being much simpler and having skirts that aren’t as wide. In terms of actual historical progression, Addison’s gown is inspired by periods further back than the rest of the cast, mostly the end of the 18th century, around the time of the French Revolution, but matching more with English fashions, which tended to be simpler (Majer, 1997). Eli cited the tv series Poldark as a starting point, which is historically inspired, but not meant to be ‘accurate’, or a recreation of what things could have been. The important thing with Addison was to convey in a look that she is lower ranked than everyone else. As such, when it came to thinking about silhouettes, a key aspect was differentiating her from the other women, and making sure that even if you don’t know much about historical fashion and it’s development, her gown looked like it could be “my favorite design from last season” as Lucius says in episode 1. Since one of the things that characterizes the others is wide skirts and many embellishments of different types, for Addison the choice was the exact opposite. Very conservative skirt size—without any need for hoop skirts, and just one or two petticoats—and few simpler embroidery bits and ribbon decorations.

Special details

In comparison to the brief for several characters, but particularly Maevis’s, Addison’s was more focused on capturing her vibe, the contrast with everyone else, and the fact that it had to coincide with the little information we know about Mare, and the previous art. Those key features are the warm bronze skin, dark, curly hair, and the faint resemblance to Vin. However, it also had to be subtle enough so that it wouldn’t be obvious with just looking at it, and the reveal could be preserved. So Eli, who knew from the beginning, incorporated designs that resemble the Ghostbloods symbol into her skirt, since they were both inspired by the Marewill flower. They resemble the Ghostbloods symbol more, except they don’t have the small triangle at the center that makes the symbol in the books really distinctive. The color was also inspired by the light blue of a Marewill flower, as another easter egg.

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One of Addison’s key Features is her unreadable expression. When one thinks about that phrase, the piece that comes to mind is probably DaVinci’s Mona Lisa. She’s the classic example of the mysterious, unreadable expression. While Eli said that wasn’t a conscious influence, the reference is absolutely there!

Background art

Connor Chamberlain did the excellent background art for this. As a team we initially proposed two backgrounds, a stained glass one and one from the window that’s just transparent. However, Connor went above and beyond for us, and made not only day and night backgrounds for the other window, but ones outside, as well as animated backgrounds for the snow/ash for daytime, and mist for nighttime. You can view all the art backgrounds here!

The stained glass features designs of Kredik Shaw, surrounded by ashmounts, with Ati at one side, and Leras, enveloped in mist, at the other. Ati’s figure holds two spikes, which is a nod to Hemalurgy, the magic system that’s related to Ruin.

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Episode 3 commission: 'Race to the Bottom'

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The composition of this piece was initially going to be very different. The characters’ faces were clearer, and even still, Diego wanted to give more importance to the scenery, and the integration of all the elements.

Characters and wardrobe

The character designs are principally based on the designs of the wonderful Elisa (@elisgardor) for both characters, with more improvisation for Maevis to add different elements that will be more iconic for a scene like the one from a comic, like the "Allomantic symbols" at the hem of her dress or the coins around Dier.

For Maevis’s wardrobe Diego wanted to get close to the shifts of the XIXth and XXth centuries, which are flared out in certain areas, something that would be more evident in these scenes under the water. However, it was decided with Matt and Alyx that they’d do something different, and that it would stay the same type of lightweight fabric. He tried to use colors that in principle wouldn’t be too loud, and would complement the background and other elements.

For the pattern of the symbols on her dress, Diego based himself mostly in the symbol for copper (left), which he adapted a bit and simplified so it would work as a band of symbols that interlocked with each other with some lines. (right)

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Thanks to the color of the dress, and the general color scheme, this element doesn’t stand out too much. Her sleeves have a transparency effect, to mimic chiffon or light silks that let light through, which is why we can see some of her arm. The type of fabric, combined with the water give similar effects to the rest of her dress.

For Dier, Diego followed Eli’s fantastic design, but in his own style, making some variations to the lighting, like the gem at his cravat, and generate that diluted and blurred effect so it mixes well with the lake background, going from the violet to that dim blue. Behind his figure, you can see he’s left his coat, and has dived in with only his waistcoat.

Composition and structure

For the composition of this page, Diego wanted it to be something original, not simply vignettes superimposed on each other, or a narrative with a classic structure. Because of that, he used the unifying elements with the water and where the characters were, so that everything would mesh together. This is why the bottom vignette has a water effect, moving, with ‘waves’ that react to the elements around it, like the addition of Maevis’s shadow in a section of the frame, or using the bubbles for the composition as more than just bubbles.

Diego wanted to be able to tell the story that he’d been given with the possibility of mixing the characters without having to separate them, which is why he decided to use the water as an element to unite them, to have Dier’s face in the top left, and Maevis at the bottom of the lake. The allomantic lines also give visual aid, as well as the light from the moon.

In the top vignette, there’s a focus on the left, because of the characters and the use of darker colors. The viewer’s eyes follow the light from where Dier is diving in, to Maevis’s back at the bottom, and finally to the bottom vignette where the lines and the shape of the characters have an upwards motion to generate, as if it were a full comic, the need to turn the page and keep reading.

Color

The use of color helps in moving the viewer’s eyes and create contrast. Since everything is so blue in the lake, one of Diego’s principal objectives was to help people not be bored by just the bottom of the lake without any other interesting elements. The coins have a much more brilliant orange to have them stand out, as does the lighting on Dier’s face or Maevis’s hands. The same happens for the page in general. It is much lighter at the top, and gets darker the further it goes.

In the final vignette there aren’t such clear contrasts anymore. The colors are more blended in to give that feeling of sinking and unity. The only elements that do have that are the steel lines and the light of the moon, which is symbolic of their only hope.

Scadrian context-headcanon

When Diego started to illustrate scenes and characters from the cosmere, mainly Mistborn, he always imagined how it would be to illustrate steel lines, and he has always liked to represent them with a halo, which isn’t accurate to book descriptions, but it looks good on ‘camera’ for our point of view. That’s why he’s illustrated it as if between the halo and the lines there were tension, and more light.

Another factor he tends to relate to when Mistings and Mistborn burns a metal—though it’s only something for tin specifically—is that their face and body gets more illuminated, since they’re literally burning metals. He wanted that to bee seen from the outside, so the colors in those sections are more brilliant and intense, and it shows in Dier’s eyes as he burns steel.

Conclusion

With this article, the cast of Secrets in Stained Glass wanted to give a special shout out and thank you to all the wonderful people who helped this show come to life through their amazing art. The character portraits achieved their own unique balance of historical inspiration and fantasy, while being consistent with the books, the background art added marvelously to the atmosphere of every scene, and the additional art for episode 3 truly heightened the turning point in the series.

References

Ancient Color | Creating Purple. (n.d.). https://exhibitions.kelsey.lsa.umich.edu/ancient-color/purple.php

Artist Shop. (2022, February 25). Liturgical metallic jacquard fabric with flowers           (IERO 7) - Artist Shop | Emmanouil. Artist Shop | Emmanouil. https://www.artist-shop.gr/en/product/liturgical-metallic-jacquard-fabric-with-flowers-iero-7/?v=50725d49d336

Edwardian – 1900-1917 – Truly Victorian. (n.d.). https://trulyvictorian.info/index.php/extras/timeline-of-victorian-clothing/edwardian-1900-1917/

Elisgardor. (2023). Addison Tenebriene [Digital]. Tenerife, Spain. https://www.instagram.com/p/CvDFdVDKtW2

Elisgardor. (2023b). Jenna Tekiel [Digital]. Tenerife, Spain. https://www.instagram.com/p/Ct360VEq_cQ

Elisgardor. (2023c). Lucius Lekal  [Digital]. Tenerife, Spain. https://www.instagram.com/p/CtxAwearOtS/

Lace: A Sumptuous History | SFO Museum. (n.d.). https://www.sfomuseum.org/exhibitions/lace-sumptuous-history#:~:text=Lace%2C%20a%20decorative%20openwork%20web,the%20plaiting%20of%20many%20threads

LACMA. (1785). Extant 1785 suit [Fashion]. MediaKron, the BostonCollege. https://mediakron.bc.edu/fashiondecor/extant-suit-1785

López, D. (2023). Race to the bottom [Digital]. Spain. https://www.instagram.com/p/CvFFdSYMbHt

Lyon, H. (2022). Cover for Mistborn: Secret History.

Maja, [Coture Mayah]. (n.d.). Set of lace for Robe a la Francaise, 2016-2017.http://www.couturemayah.info/eng%20francaiselace.html

Majer, M. (1997). [Review of The Art of Dress: Fashion in England and France 1750 to 1820, by A. Ribeiro]. Studies in the Decorative Arts, 4(2), 116–120. http://www.jstor.org/stable/40662587

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Edited by Cheyenne Sedai

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YEP! I got a new computer and it was the first thing I did. Also I printed the murderboard and put it on my wall because I might be a little SiSG obsessed. 

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