Forty Plus Fashion Forward
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❤Sponsor Una store.❤
❗Costume - watch in the Engine Room event from September 20.09.2022❗
🙋me, elf with pixie🙋
➡Head:
Hair: Raven Bell - Tempest
Hat: Grasshopper St. GHS Landsknecht Starfish
Lips: *Heron body shop - BILLY
Eye shadows: Tutti Belli - 'Supercut' Collection
➡Clothes:
Costume:UNA. Kait
NeckBelt: =Zenith=Leather
Necklace: [BMS] ChristmasGIFT // Reindeer pendant //
➡Object in hand:
Scull Head: AMARRILIS FASHION
Long Sword: gacha =Zenith=Wood Elf Ranger Gold
➡Pets:
Pixie: +aii gacha
👦Elf male on the sofa👦
➡Head:
[Ginko Hair] # 97
➡Clothes:
Costume:[SOMNIUM] Artificer's Fat Pack
Shoes: CULT : Male Bat
👹Faun on the pillow👹
➡Head:
Hair: no.match_ ~ NO_CREED
Beard: no.match_ ~ NO_DATE
Horns: [FFS] Forest Fantasy Store[Z] Fantasy Horns - No.4
➡Clothes:
Tunic: .Viki. Zazo
Neck decoration: Pucca Firecaster's Creations PFC~Trapped Soul
Faun legs: [FFS] Forest Fantasy Store LEGENDARY SATYR
Claw: kartel - Orwar Claw Rings
➡Object in hand:
Flute: .:: Dark Forge ::. Pan Flute Mesh
👾Tieflings with book👾
➡Head:
Horn: Jinx (DD) Mae - Turquoise
Hair: KUNI - Ari
➡Clothes:
Costume: LostGem Mesh ::::Libertine::::
➡Object in hand:
Flute: JOMO Chinese
Pose with book: .::Nanika::.Poses Book Of Ice
👤Drow/Dark elf close to the picture👤
➡Head:
Hair: [Ginko Hair] # 22
➡Clothes:
Costume: Northern Xposure ~NX~ Black Rose Fantasy Outfit
➡Object in hand:
JOMO China PIPA
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
~Nerido & Odiren Luxury Fashion~ Dalila Tunic
(Maitreya/Legacy)
Avaiable at Mainstore
maps.secondlife.com/secondlife/NERIDO/127/100/31
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...
Norio and Yuba in their respective nests. It appears as if Yuba has finally stopped annoying Norio about Norio's spot...
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
Apenas la Aurora de rosados dedos abandonó la cuna de brumas, vistió Ulises la túnica y el manto. La Ninfa se envolvió en un amplia vestidura blanquísima y ligera, ciñó a su cintura su más bello orifrés, cubrió su cabeza con un velo y se dispuso a preparar la partida de su amado Ulises.
La Odisea (Homero)
California tunic comes in 12 exclusive colors in this pack. Sizes:
- Maitreya
- Hourglass
- Physique
- Venus
- Isis
- Freya
- Altamura
You can use as shirt or dress, free your creativity ♥ =D
marketplace.secondlife.com/p/LikeMe-California-Fatpack-1/...
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
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!
✦ 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
LA!LA Tunic Beige
comes in fitmesh, maitreya, mesh, and belleza
Visit this location at LOVELY's PHOTO STUDIO FREE & PUBLIC at # WASTELAND reloaded # in Second Life
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.
Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Diocese of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since Chartres became a bishopric in the 4th century. It is in the Gothic and Romanesque styles.
It is designated a World Heritage Site by UNESCO, which calls it "the high point of French Gothic art" and a "masterpiece".[2]
The cathedral is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
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 :)
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.