Elanthian Vogue/Autumn 5122

Editor: Rohese Bayvel-Timbertree

Editor's Thoughts

Fall is traditionally a time for reaping what was sown earlier in the year and this applies to more than just harvesting crops. Crafting enthusiasts could not have failed to notice the plethora of exciting new tools and gadgets introduced into festival shops throughout the year. Many of these artisans have invested heavily - purchasing all manner of contraptions, smelters, presses, pliers, secateurs, bowls, awls, needles...the list goes on - and have tested them to their creative limits. And now, readers of Elanthian Vogue get to reap the benefits of their knowledge and experience.

In this edition, we also bring you a fascinating insight into the art of Glassworking from two very different but equally talented artisans and what's new and exciting in the fall fashion stakes. So, grab your favourite beverage, find a comfortable spot to enjoy the last of the summer sunshine, and see if we can't interest you in taking up a new hobby. Perhaps you will be featured in a future publication as a gifted artisan too!

As always, don't forget to send us your comments on any of the articles in this month's publication or suggestions for future editions!

Editor

The Art of Arathiel

Meeting at the manor house on Erissian Var, I was greeted by Taeleirn and a female companion who led me into A Twist of Roses. Unlocking a door at the back of the salon, I was then ushered down some stairs and into an expansive workroom. Shelves of fabrics, ribbons, and other adornments lined the walls, and dozens of mannequins dotted the area, each dressed, or partially dressed, in fashionable attire. A smaller corner was dedicated to jewelry cases and jeweler's tools, and next to it was a comfortable-looking nook with cushioned benches and a bottle of champagne chilling on the coffee table.

Taeleirn paused while I glanced at all the mannequins. Meanwhile, the woman, as yet unintroduced, walked over to the nook and poured three flutes of champagne, which she then handed to each of us.

While we settled onto the cushioned benches, Taeleirn introduced me to his sister, Lady Caelesta and invited her to tell me about the area in which we were now seated. Taeleirn and Caelesta both reclined comfortably whilst emanating that elegantly refined air that typically only those born to nobility achieved so effortlessly. The familial resemblance was apparent, and both were wearing clothing of simple design but featuring exquisite craftsmanship and the finest of fabrics.

You see Taeleirn the Artisan of the Amethyst Fire.
He appears to be a Loenthra Elf.
He is tall.  He appears to be in the flower of life.  He has lilac-traced zorchar blue eyes and smooth, ivory skin.  He has shoulder-length, lustrous rosewood mahogany hair tied back with a simple amethyst silk ribbon.  He has a finely boned face, a delicate nose and high cheekbones.  He has faint laugh lines at the corners of his eyes.
He has an inked amethyst flame overlaid with a tiny firefly brand on his wrist.
He is wearing a twisted silver chain dangling an amethyst arathiel pendant, an ivory linen shirt with carved amethyst buttons, a leaf-cradled dark cobalt rose, a silvery suede bag, some ebon brushed suede breeches, and a pair of silvery suede knee-high boots lined with amethyst silk.

You see High Lady Caelesta.
She appears to be a Loenthra Elf.
She is tall.  She appears to be in the flower of life.  She has lilac-traced zorchar blue eyes and smooth, ivory skin.  She has thigh-length, lustrous rosewood mahogany hair that falls down her back in thick waves.  She has a finely boned face, a delicate nose and high cheekbones.  She has the beginnings of laugh lines at the corners of her eyes.
She is wearing an amethyst lace headband backed with silver velvet, a silver harp necklace, an ivory linen blouse with carved amethyst buttons, a delicate silver filigree chatelaine, a silvery suede bag, an amethyst crushed velvet skirt with silvery lace underskirts, and some silvery suede ankle-boots lined with amethyst silk.

Caelesta smiled warmly at me, while sipping her champagne and indulged her brother's request.

"Of course, dear brother.  Years ago, the Lady Auvyra, the Lord Yfane, and I opened the boutique in the manor we just passed through.  While we have since gone our separate ways for now and have been off gathering other inspirations across Elanthia, we still enjoy this lovely spot from time to time.  This was our workroom.  We had some dusting to do before letting you visit, let me tell you!  Many of the designs on the mannequins you see are some of Yfane's last ones he made in Ta'Illistim before deciding he needed inspiration elsewhere.  Given your publication's history, we felt you might enjoy a peek behind the dressmaker's skirts, as one might say.  But this is your interview, brother dear, I'm just here for the drink."

Caelesta winked at me and nodded back at Taeleirn before grinning over at an unobtrusive attendant who blushed under her direct gaze. I happened to catch Taeleirn rolling his eyes before turning his attention back to me and the interview at hand. Anticipating my first question, Taeleirn gestured at Caelesta to explain that she was his eldest sister and remarked that many had mistaken them for twins.

"Ah, I see you have noticed my tattoo, it marks me as a member of the Court of the Amethyst Fire."

His smile caused the laugh lines at the corners of his eyes to crinkle merrily as I pressed him to tell me more.

"Tell you more about the Court?  Of course.  The Court of the Amethyst Fire is the most secretive of all the glassworking guilds in Ta'Loenthra, possibly all of Elanthia.  If you show enough skill, you may be recruited into the guild at a young age..."

"He was five.  One of the youngest in the guild's lengthy history."

Caelesta politely interjected at this point, clearly proud of her brother who flushed faintly before continuing.

"Yes, well, I did show an interest early on, and given our family's status, I was able to indulge my artistic whims..."

Taeleirn went on to explain that his family of Loenthran nobles had a history of artisan work, and they tended to expose their children to all manner of art from the cradle on to see where talents may or may not lie. Their father was pleased that Taeleirn took to glassworking and even more pleased when the Court came calling.

"It was always my choice, the only pressure about the decision came from me to my father, stubbornly insisting I be allowed to start RIGHT THEN."

Caelesta was highly amused by this and told me how their father had said that Taeleirn stamped his tiny little foot demanding to study with the court and that he had to hide his laughter until bed that night where he and mother collapsed in gales of laughter over his antics.

Drawing my attention to his arathiel pendant, Taeleirn explained this was the first arathiel piece he ever made, and it had an amethyst flame, which is highly unusual for a first attempt. Excusing my ignorance, he kindly went on to explain more about arathiel.

"Arathiel is a type of glassworking known only to the Court.  It is sometimes also called firefly glass because at its heart there is an iridescent flicker captured.  This is typically clear glass with an iridescent green spark.  All arathiel takes great skill to make, but working colored glass is much harder to coax the spark.  Harder still is changing the color of the spark within colored glass.  It took me several years to master that."

"I have, of course, studied several glassworking styles, as you must in order to master something as intricate as arathiel.  While I typically leave glaes to forgers, I've been known to work a piece of rainbow glaes into the occasional piece.  Volcanic glass is notoriously persnickety, however."

"Aragless, like arathiel for the Court, is a highly secretive process.  I've never successfully made it, although I will admit to trying.  We almost all do!  Vergless, however, I've never attempted personally, although I have studied it extensively.  Obviously, there are several other types of glassworking across Elanthia, and while I haven't tried all of them, I do try to learn a little about as many as possible, but my focus for years now has been on arathiel."

Our conversation turned to the glassworking guilds themselves.

"There are several, many focusing on different skills and still others serving as general glassworking guilds, serving a breadth of types versus a depth of one skill.  The Court is the only one to work in arathiel, but over the years, there have been numerous attempts to learn our secrets and infiltrate the guild.  I've heard stories, legends really, of elaborate infiltration attempts.  Overall, however, we all respect the art and each other."

Eager to learn more, I asked if Taeleirn might be willing to share some examples of his work at which Caelesta pulled out a small lor box from her bag and opened it for me to see. Nestled inside was an arathiel vase. She held it out to me and nodded permission.

Taking it out from within the velvet lining, I realized it was solid glass. The narrow neck flared into a wider rim and rounded bottom. Carefully worked rainbow glaes swirled about the rim, and where each color of the translucent glaes met glass, the glass tint changed color, creating faint trails of polychromatic hues that spilled down the body of the vase. Not one, but three distinct arathiel flames danced within the vase, the first an elongated vine green flame upon which the two remaining sparks rested, ruby red and dark rose entwined about one another. Held at arm's length, this resembled a wavering rose encased within a transparent rainbow. Etched along the bottom was Taeleirn's signature and the stamp of the Amethyst Fire.

As I carefully handed it back to Caelesta, Taeleirn smiled.

"I am quite proud of that one.  Working multiple pieces together for the illusion of a flower within the vase and yet making it look seamless is difficult."

He went on to explain that what sells most are not exquisite pieces like that, which could take months to create, but rather small jewelry items that fashionable Loenthrans could wear. He worked on passion pieces, like the vase, but also loved getting his art out to more people, so would make dozens of jewelry pieces to be sold at the guild's discretion. While he could, and did, work in metal for the fittings and such, he much prefered to join forces with a skilled metalsmith.

Next, he showed me a pair of arathiel earrings: tiny ebon unicorns with silvery flames residing in the glass horns strung from vaalin chains resembling tiny teardrops linked by vines, each with a twisted rose blossom post. He explained that they were a recent commission that he would be delivering to a customer in Ta'Nalfein later. The arathiel was incredibly detailed, but as he pointed out, the metalwork was of equal skill and done by a forest gnome metalworker of some note who had taken residence in Ta'Loenthra.

Conscious of the time – and that my glass was nearly empty - I closed my notebook but not before asking this endearing elf if he was interested in any other arts and crafts. He leaned against his sister companionably and smiled softly.

"Oh yes, I am Loenthran.  Art is life.  All of it.  My skills may lean toward glassworking, but I take great pleasure in all art."

The attendant reappeared as if on cue, taking everyone's empty wine glasses and blushing as Caelesta winked at her. I took the opportunity of one last look at the gowns and other clothes upon the mannequins.

The Beauty of Baleglass

A few weeks ago, the notable Missoni Sabretache kindly presented a lecture in the Harbor Library on the beauty of balefire glass and we are delighted that she agreed to an exclusive interview with us to explain more about her work.

Her laboratory is located on the second floor of Rone Academy in Wehnimer's Landing and this is where I found her, surrounded by what one can only describe as a perfect presentation of clutter.

Glass sconces descended from the ceiling on silver chains, casting light upon the polished grey marble floor. A flawless alabaster basin stood in the center of the room alongside a very impressive kakore and linden marquetry desk, all surrounded by a multitude of bookshelves crafted from the same sanguine wood. These were filled with all manner of tomes, vials and supplies. A quick glance along the array of volumes and it was easy to see that they were arranged in alphabetical order – of those titles I could ready anyway, as many were written in Faendryl and some so ancient the leather spines had deteriorated.

The lady herself was immaculately dressed and I took a moment to admire certain aspects of her attire – for the benefit of our fashion-conscious readers, of course!

You see Missoni Sabretache Faendryl the Witch.
She appears to be a Dark Elf.
She is shorter than average and has a fragile, slender frame.  She appears to have come of age.  She has long-lashed chimerical viridian eyes and richly toned, olive brown skin.  She has waist-length, glossy black hair drawn back from her face and bound in place by a plaited witchwood headband set with a teardrop of opaque blue sea glass.  She has a pinched face, a sharp and severe nose and a prominent collarbone marked by a tiny mole.  Her pointed chin and delicate bone structure contribute to the waifish appearance of her visage.  She has scintillating prismatic lacquer brushed onto her neatly kempt fingernails.
She has an oval blood red eye tattoo on her neck, some inked whorls of mist on her arm, an eight-tined star tattooed in lapis ink on the top of her right hand, and a winged lark-shaped mark on her leg.
She is wearing a single vergless earcap casting azuline luminescence sharply across the right cheekbone, a cloth-of-veniom gown tucked about the waist to create softly pleated skirts with a full-length ash marbrinus chemise veined with cerulean underneath, a lor signet ring, and some moonlight silver ringmail shoes inset with lightning glass shards.

Lor ring
Wide and flat at the top, the silvery wood band tapers to curl around the finger, its diminutive circumference suggesting it is meant to be worn on a slender finger.  A single smooth despanal cabochon has been set into the burled lor face above an incised vathor demon kneeling in repose.  The vivid pallor of the stone casts a sanguine shadow over the demon's silhouette.

Ever gracious, she had thoughtfully sent her dog away – knowing I was not particularly comfortable around demons – and had set out a summery white tea flavored with strawberry and mint for us. I seated myself on a rather pretty chair of undyed silk with flora-motif illthorn legs and, wanting to know more about this remarkable lady, I dived right in with the questions.

"I am originally from New Ta'Faendryl and still visit my family there often. My mother is an artist and Igaeshan seer. That is really how I first became interested in baleglass. We have a large piece in the foyer of our home that she worked on—a chandelier shaped like an inverted flame that is lit from within—and so working with glass reminds me of her and of home. There is also some history of working with baleglass in our family, as we have a few smaller pieces passed down on my mother’s side."

Fortunately, Missoni was very eager to discuss glasswork and baleglass, in particular, with me because of all the attention that is often placed on the so-called “evil” aspects of sorcery. She was keen to demonstrate how sorcery can be used to create something others find beautiful.

"Baleglass is any sort of glass that has been melted and reformed or fused using the heat of balefire. Different schools of artists have varying techniques, but a common link between the various methods is that the nature of the fire allows the glass to be manipulated and swirled more readily, creating shapes and textures that would be impossible with other forms of glass blowing. It is a practice that archeologists have dated to the Faendryl habitation of the caves of Maelshyve, perhaps brought about by the scarcity of materials in the caves."

In turn, I was very curious to try and understand it from her perspective and especially the relationship she had with the magic used to create such beautiful work.

"My father works and researches in the Basilica, which is where I also trained in sorcery before traveling across the Demonwall. Sorcery is rather ingrained in my familial relationships as it is in much of Faendryl culture. I suppose you could say I was always expected to practice sorcery, and I could not really imagine focusing on a different form of magic! There was a brief period of time during which I could not access the mana flows, and I think that has only made me appreciate the Art more."

Since we were in her laboratory and there were several noteworthy glass pieces around me, I asked her to share some examples of her work. The basin in the middle of the room caught my eye in particular and Missoni explained that it was, in fact, one of the first pieces she created. Beautiful in its simplicity, she had created it with her mother and brought it with her to the Academy.

Five legs converge in a braided circle to cradle a pebbled glass bowl with a fluted lip of golden heliodor. Each alabaster leg is sculpted into a graceful curve and carved in bas-relief of overlapping moonflower blossoms. Filled with clear water, the bowl is mirrored along the bottom to send refracted light dancing along the surface of the liquid.

She then led me over to the shelf to see two more exquisite pieces, the former being an ode to the shien’tyr valance – a particular point of interest in her demonology research - and the latter, her submission for the 5122 Solhaven Grand Art Exhibition.

a twisted glass pectoral unfurling smoky tendrils from sternum to earlobe

an orb of fused sea glass swirled with vert and aquamarine
Bits of melted sea glass swirl together to create the translucent shell of a hollow globe which rests on a simple stand of driftwood.  Deep lazuline gradates to pale celadon amidst ripples of misty grey, the textured surface and blended colors mimicking the eddies of a heaving sea.  While not apparent at first glance, several silvery fish are suspended at the center of the orb.  They glint with iridescent hues when light filters through the colored glass, casting dancing prisms on nearby surfaces.

Hearing paw-steps outside, I felt this was an appropriate point to draw the interview to a close without appearing rude and simply making a hasty departure but not before one last inquiry as to whether she had an interest in other arts and crafts. With a wry chuckle, she lifted her foot and showed me the sole of her shoe.

"I am a master cobbler and like to incorporate different types of glass into my work where I can! I am rather fond of crafts and I also dabble in knitting and, more recently, weaving. Though it is not a visual art, I enjoy performance, storytelling, and song."

A second interview with this delightful witch might be in order in the future to learn more about this final revelation!

Fall into Fashion

Having shared this insight into the art of glasswork, it would be remiss of us not to point out that its popularity is rising in the world of fashion. If Missoni's shoes and jewelry are any indication - not to mention the exquisite piece that Taeleirn was also wearing – then glass ANYTHING is going to be the hottest item this fall.

For statement pieces, other than your typical jewelry items, look for out-of-the-ordinary glass accessories such as heels for your shoes, fans, masks, or small reticules and cases. Those wishing to make a real impression could incorporate glass into their clothing with skeins around sleeves, waists and shoulders. Just be careful not to bump into anything!

If the real thing is beyond your budget or not quite to your taste, try substituting it with amber and seaglass or even simply emulating it in your choice of fabric or design. Should you wish to make a nod towards the trend when at court, opt for a jewel-toned satin with a high sheen or perhaps even a gown evocative of stained glass with colorful silk applique pieces layered over simple chiffon or tulle. Thin black straps or trim, and blackwork embroidery can add the definition you need to complete the desired effect.

Fragile and distinctive accessories made of glass or amber call for delicate or simply tailored garments. When it comes to gowns or skirts, aim for straight lines, long lengths and layers. This be achieved with a high waistline and short or narrow sleeves. Keep the fabrics soft and filmy and add layers should the temperatures start to cool. Throw on a similarly styled pelisse, short jacket or shawl to maintain the silhouette. An essential accessory for such an outfit is gloves, preferably elbow length, which not only keep the lines clean but also provide the perfect canvas for glass bracelets, bangles and rings or the hand-held case you dare not put down. Additional height can be achieved by including upright feathers or flowers in a hat or hairstyle.

For the gentlemen, nothing is more stylish than a uniform. Crisp lines in materials that retain their structure such as fustian, tarlatan, brocade and skins like leather are perfect with knee-length, tight breeches or full-length trousers tucked into boots. Fitted waistcoats cut to align with the jacket or coat is ideal but don't be afraid to have the waistcoat slightly longer if the design is ornate. Like the ladies' gloves with their jewelry worn over the top, shirts with square cut collars allow for a cravat to be tied and pinned with something equally beautiful in glass. Primary colors are always a good choice too as they add a touch of drama and can make a bold statement if worn well. Think of the impact of a bright red jacket with plain cream trousers, white shirt and cravat and a ruby-flamed arathiel adornment.

It wouldn't be autumn if we didn’t celebrate the vibrant colors on display and the raw beauty of nature itself. Don’t be afraid to use yellow, orange and green in your outfit, just make sure to pick the right tone to suit your coloring. Wood accessories, arboreal scenes and leaf-scapes are also popular at this time of year and can be brought bang up-to-date with a nod towards an artisan’s craft such as pyrography, glassblowing, and metalwork embellishments.

With these suggestions and the Ebon Gate Festival on the horizon, the Elanthian Vogue team look forward to seeing where your creativity takes you!