Forty Plus Fashion Forward
View allAll Photos Tagged Tunic
Ogni organismo vivente porta sul proprio corpo i segni, più o meno evidenti, della propria storia. Questo vale in particolare per gli alberi, sul cui tronco, così come sui rami, sono incisi i segni degli eventi traumatici e delle stagioni difficili che hanno vissuto. Anche questo sorbo montano, il cui tronco è avvolto da una tunica di muschi, racconta la propria storia. Storia di geli memorabili e di inverni nevosi ..... ..
Outfit : UNA-SK Megara Tunic, Dress. At WLRP.
Head : Lelutka EvoX ERIN 3.1
Hair and Wings : [^.^Ayashi^.^] Evelina. At Planet 29.
Nails : VENGE - Maitreya - Stiletto Nails 1.2. At WLRP.
Decor :
Blue, Pink, Purple Nimina Tree potted. At WLRP.
Simply Shelby : Enchanted Harp Fountain. At WLRP.
[Harshlands] Old Tower Ruin - Snow. A TLC
ionic : Forgotten Pilars
🚫💲🚫 1 New Freebie minimum Everyday 🚫💲🚫
◤ S P O N S O R S ◢
⋆❆『 B-DEAN 』❆⋆
B-DEAN-Elf Outfit
♀️♂️ Unisex Wonder Woman Outfit (or Wonder man, lol)
The complete outfit include : Elf Tunic, Elf Tights and elf accessories (hat+boots)
Rigged for :
Male : Legacy M / A • Jake
Woman : Reborn Original/V-Tech/Waifu • Lara X • Legacy F/PushUp
Available @ THE SATURDAY SALE EVENT
🚖Event Taxis : maps.secondlife.com/secondlife/TSS/117/169/22
B-DEAN Infos :
🚖Taxis : maps.secondlife.com/secondlife/Dixon%20USA/245/28/983
● MP : marketplace.secondlife.com/en-US/stores/256987
❆ info : www.flickr.com/photos/barbbaradean/
⋆❆『 RAKE 』❆⋆
RAKE Facial Hair -Iver- EvoX
The Iver facial hair fatpack contains 6 tintable tones. Single packs are also available for purchase. Compatible with Evo X enabled heads only.
Available at Rake mainstore & marketplace :
🚖 Taxi : maps.secondlife.com/secondlife/Drakkar/153/27/22
● Marketplace : marketplace.secondlife.com/stores/247514
● Info : www.instagram.com/rake.secondlife
◤ Other Items ◢
Rug and pillow on the ground + chocolat tray : 🚫💲🚫Free On marketplace🚫💲🚫
- CREATIVE STUDIO - Holiday Rug FREE
marketplace.secondlife.com/p/CREATIVE-STUDIO-Holiday-Rug-...
3 Little elf helper mesh figure : 👌💲👌70L$👌💲👌
Christmas Elves Stack
maps.secondlife.com/secondlife/Christmas%20Lane/86/214/24
Beard : Check sponsors ↑
Elf outfit : Check sponsors ↑
Head : LeLutka - Kris head
Head Skin : f u o e y . Oliver Skin Medium / E 🚫💲🚫 GG 🚫💲🚫
Eyes : Basic Letutka Hud eyes
Hairbase : Modulus - Lenny Hair Base Evo X - 🚫💲🚫 Free Gift 🚫💲🚫
Hair : WINGS-HAIR-ES1118 Grays & Browns
Free Face Freckles : C A T S Y - Gift Freckles (LeLutka Evo X) 🚫💲🚫 Dollarbie On marketplace 🚫💲🚫
marketplace.secondlife.com/p/C-A-T-S-Y-Free-Freckles-LeLu...
Face Moles & additionnal Freckles : (VOLGA) . Freckles and Moles
Body : [LEGACY] Meshbody (m) Special Edition (1.7.1)
Shape : by me
Body Skin : KOKOS-SKIN MARCUS
Pose : By Me with AnyPose
Backdrop (modif by me) : Synnergy.Tavis//Frostwood Lodge {360} Backdrop
Go on....find your inner pagan in this Tunic by Moon Elixir. More on this look here: xantheaudeburgh.wordpress.com/
Lets fly away .
Nora by Poonsh comprises of tunic brooch and belt ,is available in singles or fat pack HUD of 14 colours is 100% mesh and fitted for
✦ Reborn, Waifus
✦ Legacy
✦ LaraX
Shown on reborn
You can Purchase Nora at
Poonsh on marketplace
marketplace.secondlife.com/en-US/stores/233363
Poonsh socials
More credits on my blog
my socials
I will have Yoko*Dolls items in addition to Squishtish goodies at the convention's Friday Night Bazaar -- just two weeks away! Yoko designed a few bohemian tunics, and the IFDC Poppys look lovely in them.
This photo:
Doll: Peace of My Heart Poppy Parker (who might be available for purchase at the bazaar -- she's in limbo!)
Tunic: Yoko*Dolls available at bazaar
Coordinating necklace: by me, available at the bazaar
I took off Norio's tunic this afternoon to brush him - it's been a couple of weeks since I brushed him and he was overdue. I left it off for the afternoon to let him groom himself naturally (and it was a relatively warm day).
♥ Outfit
Tunic : STERNBERG - Xmas Elf Tunic Red
( @ Snowbound Hunt 17th to 27th December 21)
Pants : STERNBERG - Xmas Elf Pants Stripes Red/Green
( @ Snowbound Hunt 17th to 27th December 21)
STERNBERG - Cyber Reindeer Antlers Green
( @ Snowbound Hunt 17th to 27th December 21)
Boots : STERNBERG - Admiral Boots
LM and More here : SinclaiR Style
Romantic tunic in 10 crochet lace textures (with HUD)
Sizes for Maitreya, Slink, Belleza, TMP, Tonic, ebody & 5 classic Fitmesh.
LM: maps.secondlife.com/secondlife/Eros/120/109/26
Markeplace: marketplace.secondlife.com/p/Maci-LT-PROMO-Anna-Tunic/127...
We will participate in the TCF, which will be held from August 4.
www.flickr.com/groups/2166800@N25
maps.secondlife.com/secondlife/Dreamlove/76/155/1235
We made a collar of the tunic of Lace.
Selling four-color. Each 120L $.
FATspecialcolor is black. The FAT of HUD which is also visible put a black Lace.
FAT is the 320L $.
Only in the booth so the period of HALFprice is half price setting.
I look forward to your attendance.
Thank you;D
***Ambrosia*** Main Store
maps.secondlife.com/secondlife/Nautilus%20-%20Magon/57/69/23
***Ambrosia***MarketPlace
marketplace.secondlife.com/ja-JP/stores/118758
◦ 188L$ during the event (~40% off store price)
◦ 20 colors/10 patterns(swimsuit) in one purchase to mix/match through HUD
◦ the outfit has 5 customizable parts
◦ modifiable (tintable)
◦ materials enabled
See all colors and options here!
Compatible with the following bodies:
◦ Slink Physique & Hourglass
◦ Belleza Isis & Freya
◦ Maitreya Lara
◦ Legacy
Enjoy! 💜
Event Blog: collabor88.com
Don't forget to visit our Facebook Page!
Credits
Head: Genus - Strong
Face: The Skinnery - Karyn (Genus) - bronze
Body: Legacy
Hair: Tram J0225
Head: Simone by Lelutka
Body: Lara by Maitreya
Skin: Cerie by Lara Hurley
Hair: Hayley by Mina
Tunic: by Hila Haalu
Panties: by Maitreya
Boots: Moccasin by Maitreya
Earrings: by Mandala
This is the new blouse I bought earlier this night. Was trying out some different looks with it. It's almost long enough to wear it as a dress. Don't know if I could do that or not.
I don't know why I was tilting my head to the side this night while taking pictures but i think it made for some pretty good pictures.
Short flared tunic in brown and gray cotton and flecked oatmeal-ish linen. Sleeveless, with a soft v-neckline and one dangling pocket.
I got some new clothes. I love colorful things. So, this is me posing in my new paisly tunic using my webcam!
Imagen típica granadina con rostrillo imperial y túnica de peto,pintada y bordada.Se venera en el Monasterio de la "Madre de Dios de la Piedad",en el centro de la Ciudad de Granada.Se documenta a partir del siglo XVIII.
Notable is the Majesty Portico (Pórtico de la Majestad), which houses the southern entrance. It was built in the reign of Sancho IV of Castile and León (1284–1295) and is decorated with polychrome sculptures depicting scenes of the life of the Virgin, Christ, and the Final Judgement.
en.wikipedia.org/wiki/Collegiate_church_of_Santa_María_l...(Toro)
Pórtico de la Majestad es un elemento arquitectónico religioso, un Maiestas Domini, que constituye la antigua puerta principal de la Colegiata de Santa María la Mayor, en Toro (Zamora). Es la puerta del mediodía del edificio, siendo uno de los testimonios decorativos más importantes de la zona.
Fue construida en el reinado de Sancho IV de León y Castilla (1284-1295). Narra la vida de la Virgen, de Cristo y el Juicio Final. En la sexta arquivolta aparecen 18 músicos colocados en la línea imaginaria que separa el espacio entre la representación de la vida de la Virgen y la del Juicio Final, por lo que podría asociarse a uno u otro tema.
La importancia del Pórtico de la Majestad no radica en la belleza de los elementos con los que cuenta, que también, sino en que es uno de los pocos que conserva la policromía original. Fue descubierta en los trabajos de restauración que se llevaron a cabo en este elemento gótico entre los años 1980 y 1990, y desde entonces ha sido musealizada y tratada para mejorar su conservación.
El planteamiento inicial de la portada es aún románico, realizado hacia 1230, cuando ya se contaba con soluciones góticas importadas por maestros provenientes de Francia. La superposición de dos órdenes de columnas en los flancos denotan que se concibió con pretensiones de magnificencia; se restó esbeltez a las columnatas reduciendo la altura de los fustes y se remataron en capiteles con motivos vegetales, mitológicos y con escenas de la Infancia de Cristo. Los cimacios marcan una línea final de la primera fase del proceso en el que se labró la portada; el proyecto se suspendió y tuvieron que transcurrir varias décadas hasta la reanudación de los trabajos.
El acoplamiento del nuevo proyecto de continuación y remate de la portada fue algo forzado, pero su resultado conjugó grandiosidad, belleza y diafanidad, cualidades importantes para exponer y transmitir en imágenes comprensibles un mensaje didáctico en dos programas iconográficos, cuyos motivos fueron inspirados por fray Juan Gil de Zamora y policromados por el pintor Domingo Pérez.
Sobre los cimacios aparecen ocho esculturas de bulto redondo representando a los reyes David y Salomón, los profetas Daniel, Isaías, Jeremías y Ezequiel, y en los extremos se sitúan el arcángel Gabriel, el de la Anunciación, y otro ángel que podría ser el que anticipó a María la hora de su muerte. Se cubren de un remate acastillado que apenas sobrepasa la altura de los doseletes de las estatuas, dejando al tímpano enrasado en la línea de arranque del arquivoltio.
Sobre el parteluz, donde se sitúa la escultura de la Virgen María con el Niño Jesús en brazos, está el dintel en el que se representa «La Muerte de María» con un ángel tuniferario a los pies de la cama y los doce apóstoles simétricamente ordenados a ambos lados.
En el tímpano se escenifica «La Coronación de la Virgen», cuya composición es cerrada en torno a un eje central de simetría. La verticalidad de los candelabros con cirios portados por dos ángeles y las nubes de la región celeste extendidas por encima enmarcan a los grandes altorrelieves centrales, diferenciándolos de los personajes secundarios.
En cuanto a las arquivoltas, que atenúan su agudeza a medida que ascienden, aparecen representados: en la primera, ocho ángeles portando alternativamente candelabros e incensarios; se sitúan en la segunda Apóstoles y reyes luciendo sus atributos; los mártires están representados en la tercera arquivolta sosteniendo los elementos de su martirio; en la cuarta los Confesores, unos bendicen y otros portan filacteria o libro, todos ellos vistiendo indumentaria litúrgica. El espacio para las Santas y los mártires corresponde a la quinta arquivolta, y en la sexta aparecen dieciocho músicos. La última arquivolta, la séptima, cierra el conjunto, es más ancha y se reservó para exponer el segundo gran tema iconográfico, «El Juicio Final». En el centro aparece Cristo Juez flanqueado por dos ángeles; Cristo aparece sedente con expresión de sosiego y rasgos humanizados, ataviado con un manto que deja entrever la llaga de su costado y mostrando las otras dos dejadas por los clavos en sus manos. A ambos lados la Virgen María y San Juan en actitud intercesora, seguidos de ángeles con elementos de la Pasión. A partir de aquí el relato prosigue en dos hileras divergentes y sin continuidad iconográfica hasta el cielo y el infierno situado en los extremos. A la derecha de Cristo aparecen los bienaventurados integrados por eclesiásticos, obispos, frailes, y monjas; casi en el extremo se muestra a un ángel tocando el vestido terrenal de una doncella, simbolizando de este modo la sustitución del mismo por las túnicas blancas que detalla «El Apocalipsis». A la izquierda de Cristo se escenifica, entre otras, a los condenados marchando en hilera hacia el infierno conducidos por dos diablos, una escena que remite a las prácticas de los aquelarres, y varias representaciones de pecadores sometidos a castigos horribles.
La ejecución de la portada posee un amplio repertorio escultórico, labrado en piedra arenisca de Aldeanuela por dos maestros posiblemente del reino de León. Los huecos que aparecen en los capiteles de la segunda columnata y entorno al tímpano corresponden a huellas del mobiliario litúrgico que se adosó a la portada cuando se adaptó como retablo mayor de la parroquia de Santo Tomás Apóstol, acogida en la capilla de la Majestad a partir del año 1671.
Out for tomorrow's Stumblebum! These are PARTIAL MESH! The top part is a texture, the shirt attachment rigged mesh, so please DEMO!
They come in 5 colors, and 5 sizes each per color!
Get there here--->
This tunic may have been made by Haida, Tsimshian, Nisga'a, Gitxsan, or Tlingit women at different times in the early to mid-nineteenth century.
Mountain goat wool fibre; Yellow cedar bark; Ermine skin; Wool fibre; Natural dye Cotton fibre.
Location: Gallery of Northwest Coast Masterworks
Museum of Anthropology
University of British Columbia
Date made: 1800-1850
Date Acquired: Feb 1960
How Acquired: Purchased
Measurements
Overall: 84.5 cm x 66.7 cm x 3.5 cm
Object Number: A7080
This tunic, now held in UBC’s Museum of Anthropology, is a rare assemblage of eleven fragments from distinct Chilkat robes, each originally woven by Haida, Tlingit, Tsimshian, Nisga’a, or Gitxsan women in the early to mid-19th century. The resulting garment reflects not just aesthetic mastery, but a deep expression of ceremonial wealth, clan identity, and social resilience.
At its heart lies a grimacing face, likely that of a Bear or Land-Otter-Man, woven in the bold formlines of Northwest Coast iconography. The abstracted eyes, teeth, and flanking forms express ancestral strength, supernatural power, and transformation, while red appliqués and precise ovoid forms mark key points of energy, lineage, or inherited right.
Chilkat weaving—unique to the Pacific Northwest—is among the most technically and symbolically complex textile traditions in the world, requiring months of skilled finger-weaving with mountain goat wool and cedar bark. Worn at potlatches and ceremonies, such garments not only declared status but enhanced it through the act of generous redistribution.
As master weaver Evelyn Vanderhoop notes, this tunic's reassembly from gifted fragments signals remarkable rank: enough pieces were once given or inherited to form an entirely new garment. In doing so, it became a living archive of generosity and kinship—a wearable history of what had been given away, reclaimed, and remembered.
About this object
History of Use
Naaxiin (commonly called Chilkat) robes were symbols of wealth: to own them endowed a chief with great prestige.
Even greater prestige resulted from giving them away at a potlatch. If there was no chief attending of high enough rank to receive it, the blanket might be cut into strips and distributed to a number of persons of prestige.
These strips would be made into other ceremonial garments, such as shirts, aprons, leggings, headdresses, or bags.
This tunic was sewn together from cut pieces of different robes.
Weaver Evelyn Vanderhoop notes, “This tunic demonstrates the owner’s high rank, as he received enough cut Naaxiin pieces to create a single garment. If the tunic was created by assembling pieces received by both the wearer and his clan members, this could indicate not only his high standing, but that of his clan as well.”
In comparing the fineness of the weaving, the style of the eyes (and other formlines), and colours of the dyed weft, it becomes apparent that the tunic’s pieces originate from different robes.
The significance of the red pieces of cloth sewn onto the tunic is unknown at this time.
Narrative
This rare tunic was acquired around the late 1800s by William H. Collison, the first resident missionary on Haida Gwaii, however some of the pieces in the tunic may be from much older robes.
Collison also spent time in the Upper Skeena and Nass River regions on the mainland so the exact origin of the tunic is unknown. It may have been made by Haida, Tsimshian, Nisga'a, Gitxsan, or Tlingit women at different times in the early to mid-nineteenth century.
Specific Techniques
The warps (vertical fibers) utilize considerable amounts of yellow cedar bark and the wefts (horizontal fibers) consist purely of mountain goat wool (as opposed to incorporation of commercial wools). Certain weaving techniques indicate the use of bone needles as opposed to metal.
Physical Description
Tunic composed of fragments of other 'chilkat' style weavings.
Six fragments are sewn together to form the front panel, and five fragments sewn together to form the back.
The fragments have been sewn together to approximate the design of a Chilkat robe, with an abstract animal crest design in the centre, surrounded by a yellow and a black band at the edges of the tunic.
Fringes hang from the bottom, and there is a fringed braid on sections of the sides.
The rectangular tunic is stitched down one side, leaving 29 cm. for the armhole; cotton straps are sewn to the other side for tying. The neck has a fur band.
The sides and shoulder seams are covered with narrow bands of red fabric. Six small patches of red fabric are appliqued to the front, and one to the back.
Museum photos of the tunic: collection-online.moa.ubc.ca/search/item?keywords=A7080&a...
=====================-==========================🔹 Status and Wealth in Traditional Pacific Northwest Societies
Among the Tlingit, Haida, Tsimshian, and other coastal nations, rank was inherited, but not passively. It had to be publicly enacted and reaffirmed through the accumulation and redistribution of wealth. The key arena for this was the potlatch—a ceremonial feast where clan histories were recited, alliances renewed, and gifts given in extraordinary volume.
Objects such as Chilkat robes were not just valuable for their beauty—they embodied status. Their ownership reflected a chief's lineage, connections, and economic capacity. But far greater status came not from owning such a robe, but from giving it away. To do so meant one had so much wealth and social capital that loss only amplified power.
Because rank was relative and situational, communities needed visual and ritual cues to navigate encounters. A person’s regalia, speech, crests, songs, and behavior all signaled their standing. In encounters between clans or villages, the quality and quantity of material wealth exchanged—especially blankets, coppers, canoes, and Chilkat robes—was a language of its own, legible to all.
🔹 Historical Fiction: The Owner of the Tunic
He was not a great chief, not the kind whose name would ring out across the inlets from Sitka to Prince Rupert. But he was a man of consequence, the eldest nephew of a respected house that held the Raven crest and controlled a salmon stream whose bounty was known even among their rivals.
He had hosted his second potlatch just that winter, feeding every guest with smoked oolichan and boiled halibut. He gave generously, but not foolishly—cedar boxes filled with dentalium, baskets of dried berries, and a single Chilkat robe, gifted to the son of a high-ranking Eagle chief who had traveled three days by canoe to attend.
And yet, there had been no equal for the second robe.
It had been made by his grandmother's sister, a famed weaver now gone, and to hold it back risked offending the spirits that lived in generosity. So he had done what was rarely done: he cut it—with slow, deliberate reverence—and distributed the pieces among elders, singers, and guests whose songs had raised the house beams with honor.
Years passed, and when his own nephew prepared to hold his first potlatch, the man quietly gathered back what he could—patches from cousins, a panel gifted back from a widow, a fragment worn on a dance apron. Piece by piece, he reassembled the story of that winter and had it sewn into a tunic: a garment of prestige that spoke not only to his lineage and wealth, but to his wisdom, restraint, and memory.
When he wore it, the faces on the wool looked out in every direction, as if to say:
This man has given. This man has endured. This man remembers.
Wearing the Tunic
To wear a tunic like this—assembled from fragments of Chilkat robes—would have been to carry both weight and story.
Physical Experience:
Heft and Texture: The tunic is woven from mountain goat wool and yellow cedar bark—a combination both soft and substantial. It would have been slightly coarse to the touch, with a gentle give due to the finger-weaving technique. The added ermine trim and cotton ties softened the experience around the neck and shoulders, but the garment would still feel weighty, both literally and symbolically.
Movement: The long fringe at the bottom swayed dramatically with each step or dance movement. It wasn't just decorative—it animated the garment in ceremony, making the figure depicted in the weave seem to move, shimmer, even breathe.
Temperature and Protection: The wool and cedar blend would provide surprising warmth—ideal for coastal ceremonies that often took place outdoors or in drafty longhouses.
Symbolic Experience:
A Second Skin of Authority: Donning the tunic would have been an act of performing identity. The woven crest figure (likely Bear or Land-Otter-Man) wasn’t just a design—it represented the wearer's clan, ancestral rights, and social responsibilities. Wearing it aligned the body with those forces. You weren’t just yourself—you were your house, your lineage, your ancestors.
Visibility and Legibility: The formline iconography was instantly recognizable to community members. People would know who you were, where you came from, and what you had given or inherited—just by looking. Your body became a narrative.
Prestige Embodied: In a potlatch setting, this garment would proclaim:
This man has given away enough to be given back.
This house is remembered.
This name is still alive.
Emotional Resonance:
For the wearer—especially one who had gathered back pieces of his clan’s history—the experience might feel solemn, proud, even haunting. Each fragment sewn into the tunic had likely been worn, gifted, or danced by someone else. You wore their memory, their songs, and their eyes—stitched into the wool that now moved with your own breath and bearing.
This text is a collaboration with Chat GPT.
✦ Ivy Tunic (FATPACK)
✦ Legacy, Perky, Reborn, GenX Classic/Curvy
✦ IT INCLUDES Tunic, HUD (14 colors + TintPicker)
✦ Compatible with Reborn JuicyBoobs/JuicyRolls, Legacy PushUp
✦ POONSH store: maps.secondlife.com/sec.../Serena%20Cantari/48/61/24
✦ Marketplace: marketplace.secondlife.com/stores/233363
✦ Flickr: www.flickr.com/photos/poonsh/
✦ Primfeed: www.primfeed.com/poonsh
✦ Facebook: www.facebook.com/poonshstore
My Flickr > www.flickr.com/photos/byatrizthecat/
My Insta > www.instagram.com/djbyatriz/
My Face > www.facebook.com/Byatriz.TheCat/
My Primfeed: www.primfeed.com/byathecatresident
+FCC+ Road Trip outfit (tunic & shorts) hunt gift from the Around the Grid In 80 Days Hunt - happening now.
Like Bonkers, we took off Norio's tunic for the day since it was so warm (it's 29°C in my computer room right now, mainly due to the efficient insulation that is still on the windows in the room). Outside it got up to about 12°C this afternoon.
This tunic top (smock?) is made from Butterick pattern 3846 view B without the ribbon. Size XL. It is fully reversible with a smaller pink flower motif on the other side. There are no buttons other fasteners--it just pops over her head.
Pants are Kwik Sew 3424.
Hey everyone, i'm releasing this new geometric tunic with color blocking and suede patch detail. The green one is available for this Fifty Linden Friday at only 50L! Come try on the demo :)