Zhang Renyuan'sBack Home in Dream:
Bedroom of Girl
One way or another, I had my designing binge and here are some of the results. My watercolours didn't seem to be cooperating and the colours seem to be coming out more luminous than I intend them to.
Somewhere along the line I started wondering if all oriental steampunk costume has to be Victoriental in some way. The Buckle Cheongsam certainly wan't, but it really does go back to the fact that trying to communicate the technology level of your world setting in clothes is a problematic conceit. The shorthand for steampunk is well established and the ease of incorporating Victorian elements to create oriental steampunk is, in part, because one's tapping into those recognisable visual cues. When it comes to oriental steampunk, one almost has to establish one's own lexicon.
wuxia thread in mind but much of this does deviate somewhat from "standard" wuxia fare (if there is such a thing).
Only women in this post, partly due to the overwhelming number of women in the research material (see above), but more sketches to follow. I may have to resort to looking at costuming from tv serials and those blurry photos I took from the Hong Kong culture museum.
More sketches under the cut.
Tang Dynasty-ish, long flowing silhouette, dripping sleeves and a veritable pincushion of hairpins. It's costume about laying opulent fabric on top of one another and showing edges of soft silk and stiff brocade under your myriad sleeves. Will try again with more layers in a different sketch.
Again, it's about layers. I tend to use high contrast colours on different layers for much the same reason, I believe, people who tinted photographs used different colours. It simply makes it more obvious it's a different area and a different garment.
Much more prosaic. Again the multiple layered sleeves, sashes and edging (that is probably supposed to create the stylised illusion of multiple layers). I'd flippantly say it's because the water was getting dirty, but it was actually the first sketch I did.