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After how happy I was with the way the gothic Lolita sequence turned out, I wanted to see what the dress would look like in fellow fashion enthusiast Halcy0n's style. This quickly became a straight-up continuation of the original sequence, so I'm continuing the narrative with a little story.
Lineart by
halcy0n Original here: http://www.furaffinity.net/view/19543012
Colors and story by me.
Rowena is my original character.
Continued from this TF sequence: FIRST | SECOND
(Yes, the dress is fancier on purpose in this pic. I imagine it transforming slowly the longer she wears it.)
The pushcart vendor held a can of cola against his beady forehead and sighed. The sun beat down on the ratty red canvas top above his head. Just two more hours of this heat and he could pack up his cart. The only thing getting him through the full day's shift was the volume of business. The heat was tough to endure, but that just made his drinks sell faster. He felt lucky to have found a spot in the park where no one else had set up shop.
"One water, if you are pleased to dispense it."
The quiet, velvety voice took him by surprise, almost as much as the woman from which it came. Shuffling slowly up to his cart was a short, pale young woman decked head-to-toe in a massive, luxurious gothic dress. Her voluminous white hair glowed in the intense sunlight, creating a sort of halo effect around the entire profile of the black gown.
Her wide, blue eyes and tiny black-lipped frown told him everything: she was deathly thirsty. Even with the lace parasol she was holding, her dress must have been soaking up heat from the bright summer day.
He snapped out of his befuddled stare and quickly put the can of cola back into his cart's ice box, then retrieved a bottle of water from it.
"That's a gorgeous gown, miss. Aren't you...uh...aren't you awfully hot in that?"
The girl lowered her chin slightly, gazing down at the layers of ruffled fabric pressing against the cart. Her lips crooked upward in a vaguely pleased expression, though the vendor could hardly believe it was possible to have any pleasant emotion in such an outfit at this temperature.
"Woe, my current situation circumvents personal agency." She spoke barely louder than a whisper. Her words were carefully chosen but dripped out of her mouth with such a casual air it seemed as if she was performing a script or reciting poetry.
"Um...yeah. Well this ought to help," he said, placing the bottle on her side of the counter.
The girl looked down at the bottle and then up at him. "If it is of no large consequence, would you be so kind as to unfasten the top?" She held up her hands, palms down and petite fingers spread loosely, showing him they were covered in black silky gloves clearly unsuitable to the task.
The vendor nodded and easily twisted the lid to break the seal. "One, um, one dollar, please."
Her eyes widened for a second. "Oh... I have come to the embarrassing realization that I do not...possess...a purse..." She trailed off, looking down at her hands. There, hung on the arm holding her parasol, was a small black purse decked out in frills and other fancy trimmings. The vendor stared at it carefully, certain that it wasn't there before.
The girl seemed just as surprised, but all the same, she slowly unclasped the fastener and opened the little bag to retrieve a dollar bill. She handed it to the vendor. As he gently took it, his fingertips brushed against the fine fibers of her glove. Its smoothness and warmth made his breath catch in his throat.
The girl stood there silently for a minute, fumbling to close her purse with her gloved hand and then carefully picked up the water bottle, taking a long, slow drink. He envied her polite restraint. It looked like she really wanted to chug the entire thing right then and there, but she merely finished her extended draught and placed the cap back on the bottle.
"My sincere gratitude, sir. Have a pleasant afternoon." She curtsied to him, her entire dress rippling down to the ground as she did so. The vendor didn't take his eyes off of her until she had disappeared over a distant gentle slope.
"'SCUSE ME, SIR," a gruff male voice said, jerking his attention to a line of park-goers that had evidently formed. "Can I get a Diet Pepsi and some chips, or you want I should come 'round there and get 'em myself?"
The vendor sighed as he dove back down into the ice box. Two more hours...
Lineart by
halcy0n Original here: http://www.furaffinity.net/view/19543012Colors and story by me.
Rowena is my original character.
Continued from this TF sequence: FIRST | SECOND
(Yes, the dress is fancier on purpose in this pic. I imagine it transforming slowly the longer she wears it.)
The pushcart vendor held a can of cola against his beady forehead and sighed. The sun beat down on the ratty red canvas top above his head. Just two more hours of this heat and he could pack up his cart. The only thing getting him through the full day's shift was the volume of business. The heat was tough to endure, but that just made his drinks sell faster. He felt lucky to have found a spot in the park where no one else had set up shop.
"One water, if you are pleased to dispense it."
The quiet, velvety voice took him by surprise, almost as much as the woman from which it came. Shuffling slowly up to his cart was a short, pale young woman decked head-to-toe in a massive, luxurious gothic dress. Her voluminous white hair glowed in the intense sunlight, creating a sort of halo effect around the entire profile of the black gown.
Her wide, blue eyes and tiny black-lipped frown told him everything: she was deathly thirsty. Even with the lace parasol she was holding, her dress must have been soaking up heat from the bright summer day.
He snapped out of his befuddled stare and quickly put the can of cola back into his cart's ice box, then retrieved a bottle of water from it.
"That's a gorgeous gown, miss. Aren't you...uh...aren't you awfully hot in that?"
The girl lowered her chin slightly, gazing down at the layers of ruffled fabric pressing against the cart. Her lips crooked upward in a vaguely pleased expression, though the vendor could hardly believe it was possible to have any pleasant emotion in such an outfit at this temperature.
"Woe, my current situation circumvents personal agency." She spoke barely louder than a whisper. Her words were carefully chosen but dripped out of her mouth with such a casual air it seemed as if she was performing a script or reciting poetry.
"Um...yeah. Well this ought to help," he said, placing the bottle on her side of the counter.
The girl looked down at the bottle and then up at him. "If it is of no large consequence, would you be so kind as to unfasten the top?" She held up her hands, palms down and petite fingers spread loosely, showing him they were covered in black silky gloves clearly unsuitable to the task.
The vendor nodded and easily twisted the lid to break the seal. "One, um, one dollar, please."
Her eyes widened for a second. "Oh... I have come to the embarrassing realization that I do not...possess...a purse..." She trailed off, looking down at her hands. There, hung on the arm holding her parasol, was a small black purse decked out in frills and other fancy trimmings. The vendor stared at it carefully, certain that it wasn't there before.
The girl seemed just as surprised, but all the same, she slowly unclasped the fastener and opened the little bag to retrieve a dollar bill. She handed it to the vendor. As he gently took it, his fingertips brushed against the fine fibers of her glove. Its smoothness and warmth made his breath catch in his throat.
The girl stood there silently for a minute, fumbling to close her purse with her gloved hand and then carefully picked up the water bottle, taking a long, slow drink. He envied her polite restraint. It looked like she really wanted to chug the entire thing right then and there, but she merely finished her extended draught and placed the cap back on the bottle.
"My sincere gratitude, sir. Have a pleasant afternoon." She curtsied to him, her entire dress rippling down to the ground as she did so. The vendor didn't take his eyes off of her until she had disappeared over a distant gentle slope.
"'SCUSE ME, SIR," a gruff male voice said, jerking his attention to a line of park-goers that had evidently formed. "Can I get a Diet Pepsi and some chips, or you want I should come 'round there and get 'em myself?"
The vendor sighed as he dove back down into the ice box. Two more hours...
Category Artwork (Digital) / Human
Species Unspecified / Any
Size 756 x 864px
File Size 669.5 kB
Indeed. Not as a simple a change, but so worth the extra effort in my opinion. Working as a simple word/phrase replacement, or actually altering her vocabulary tool box? "Woe, my current situation circumvents personal agency." could just be a magic driven substitute for trying to say, "This mess is out of my control."
But there are subtle differences in the meanings and connotations. Taken more broadly that sentence could mean, "I am not in a position, (or perhaps allowed) to make my own decisions for myself. And must behave as someone else dictates." And if the dress changes or restricts less formal vocabulary even for mental use, well it isn't her own words being rewritten between thinking and speaking them, but 'her' being made to use new, more formal rules to compose her conversation. Formal rules that set 'her' as the inferior party of the conversation, even the submissive one? And perhaps feeding back into the wearer's mental self view, at least while under the magic of the gown?
Which as you said is still slowly progressing to more fancy looks, and perhaps dragging the wearer into a more subdued and formal mindset as it goes? How much father till things like being unescorted, or speaking to strangers without a proper introduction becomes difficult, or next to impossible?
But there are subtle differences in the meanings and connotations. Taken more broadly that sentence could mean, "I am not in a position, (or perhaps allowed) to make my own decisions for myself. And must behave as someone else dictates." And if the dress changes or restricts less formal vocabulary even for mental use, well it isn't her own words being rewritten between thinking and speaking them, but 'her' being made to use new, more formal rules to compose her conversation. Formal rules that set 'her' as the inferior party of the conversation, even the submissive one? And perhaps feeding back into the wearer's mental self view, at least while under the magic of the gown?
Which as you said is still slowly progressing to more fancy looks, and perhaps dragging the wearer into a more subdued and formal mindset as it goes? How much father till things like being unescorted, or speaking to strangers without a proper introduction becomes difficult, or next to impossible?
In some cases I would explore the idea to its fullest. She could start believing it's 150 years in the past and become increasingly unfamiliar with modern technology and customs to the point where one could believe she's time-traveled from back then.
For this TF, though, it's straight-up speech interference. Her mind is unchanged, but any sentences she tries to say get put through a "filter" before her lips even open. That's also what's causing her voice to sound so quiet and floaty. Her other behaviors, like walking slowly, are attributed to the fact that she's trapped in the hot and heavy getup and it's just easier to take it one tiny step at a time.
And her departing curtsy is something she actually meant to do. She's very used to being transformed and since she's already a fan of Gothic Lolita, she's chosen to play along.
For this TF, though, it's straight-up speech interference. Her mind is unchanged, but any sentences she tries to say get put through a "filter" before her lips even open. That's also what's causing her voice to sound so quiet and floaty. Her other behaviors, like walking slowly, are attributed to the fact that she's trapped in the hot and heavy getup and it's just easier to take it one tiny step at a time.
And her departing curtsy is something she actually meant to do. She's very used to being transformed and since she's already a fan of Gothic Lolita, she's chosen to play along.
Interesting, or the "time shift" could be cultural. The wearer is aware of modern technology and 'manners'. Though you can hear the sniff at 'debasing' the word manners in her voice at the comparison. She just was raised it was not appropriate for a gentile lady to use them or act in such a wanton manner.
And don't discount the mental effects of being so confined by your clothing and social role, even without and magical or technological intervention.
Finally, playing along does not say the dress doesn't have a 'gesture' filter as well, just that Rowena behaved this time and failed to trip it.
See you have one more part, looking forward to it. Is it just artwork, or a story fragment too?
And don't discount the mental effects of being so confined by your clothing and social role, even without and magical or technological intervention.
Finally, playing along does not say the dress doesn't have a 'gesture' filter as well, just that Rowena behaved this time and failed to trip it.
See you have one more part, looking forward to it. Is it just artwork, or a story fragment too?
Long time lurker, first time commenter!
As someone with a longtime love of Victorianesque fashion (and an equally longtime love of gradual transformations and related themes), this and your transformative costume series have been very relevant to my interests. Actually, the maid costume series inspired me a while ago to write up a a document on "maid speech etiquette" to reflect the kind of internal ruleset/speech filter that someone in stage 5 of the costume would have imposed on them. Perhaps one day I'll go back to it and have chapters for the earlier stages as well. Those kinds of tweaks in behavior are things I'm very fond of; one of my main draws to transformation in general is being able to perceive the sensation of being different in some way, and nuances like behaviors, newfound limitations or lack thereof, or even just the tactile sensations involved are all very powerful ways to convey written transformation in particular as imparting something more impactful than just a change in appearance.
Back on the subject at hand, though. This is quite the lavish ensemble going on here. It's not typical of any one era of fashion (the wide, bell-shaped skirt profile is very particular to the crinoline era of fashion, roughly 1850-1865, but the more fitted, bibbed-lookng bodice with narrow sleeves is more akin to later styles, particularly those of the late 1880s till about 1891-1892) but then typically neo-Victorian gothic takes on the fashion aren't striving for period accuracy. Summer dresses of either era typically don't get much more elaborate in terms of layers or decoration, but I could see some sort of shawl or cloak being added to this ensemble should it continue to grow more elaborate and fitting in quite nicely. As an aside, I'd be interested in seeing how her shoes changed during this process. Period daytime dress boots for women could be quite impressive in their detailing despite having a fairly consistent basic shape for decades. That the character typically wears tall platforms on top of that could make for some positively extreme footwear.
But perhaps I shouldn't be talking your ears off about fashion history. Just know that this kind of stuff has me amongst its admirers.
As someone with a longtime love of Victorianesque fashion (and an equally longtime love of gradual transformations and related themes), this and your transformative costume series have been very relevant to my interests. Actually, the maid costume series inspired me a while ago to write up a a document on "maid speech etiquette" to reflect the kind of internal ruleset/speech filter that someone in stage 5 of the costume would have imposed on them. Perhaps one day I'll go back to it and have chapters for the earlier stages as well. Those kinds of tweaks in behavior are things I'm very fond of; one of my main draws to transformation in general is being able to perceive the sensation of being different in some way, and nuances like behaviors, newfound limitations or lack thereof, or even just the tactile sensations involved are all very powerful ways to convey written transformation in particular as imparting something more impactful than just a change in appearance.
Back on the subject at hand, though. This is quite the lavish ensemble going on here. It's not typical of any one era of fashion (the wide, bell-shaped skirt profile is very particular to the crinoline era of fashion, roughly 1850-1865, but the more fitted, bibbed-lookng bodice with narrow sleeves is more akin to later styles, particularly those of the late 1880s till about 1891-1892) but then typically neo-Victorian gothic takes on the fashion aren't striving for period accuracy. Summer dresses of either era typically don't get much more elaborate in terms of layers or decoration, but I could see some sort of shawl or cloak being added to this ensemble should it continue to grow more elaborate and fitting in quite nicely. As an aside, I'd be interested in seeing how her shoes changed during this process. Period daytime dress boots for women could be quite impressive in their detailing despite having a fairly consistent basic shape for decades. That the character typically wears tall platforms on top of that could make for some positively extreme footwear.
But perhaps I shouldn't be talking your ears off about fashion history. Just know that this kind of stuff has me amongst its admirers.
Thank you very much for commenting! It's always great to share the love of particular niche interests. I'm really tickled that you were inspired to write up a speech "guidebook." (Would you at all be inclined to share it?)
Halcy0n and I definitely weren't going for period-accuracy with our designs. I like to pluck individual elements out of different reference photos based on what really sets off a look for my particular tastes. As far as future embellishments, I've already started drawing picture #7, and there are some things involved that you mention. My aim is to just throw as much as I can on top of Rowena until it starts looking super ridiculous. In fact, the next image will probably be the last in the series.
I'm personally upset I can't work on her footwear anymore now that the dress is floor-length. Her platforms are still there, for sure. I might get a chance to draw her lifting up the front of the dress so we can catch a glimpse of them. I don't know about that, though. But the platforms are lifting her really high at this point. Maybe 8-9 inches taller.
Halcy0n and I definitely weren't going for period-accuracy with our designs. I like to pluck individual elements out of different reference photos based on what really sets off a look for my particular tastes. As far as future embellishments, I've already started drawing picture #7, and there are some things involved that you mention. My aim is to just throw as much as I can on top of Rowena until it starts looking super ridiculous. In fact, the next image will probably be the last in the series.
I'm personally upset I can't work on her footwear anymore now that the dress is floor-length. Her platforms are still there, for sure. I might get a chance to draw her lifting up the front of the dress so we can catch a glimpse of them. I don't know about that, though. But the platforms are lifting her really high at this point. Maybe 8-9 inches taller.
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