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possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex possessive sex
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wherein VICTORIAN CLOTHING is understood to mean "common clothing from the 1830s to the end of the century, in fashion as set by London and followed to a greater or lesser extent in the rest of the British empire"
This is very much meant as a starting point or a cheat sheet, not a comprehensive historical essay, for people who want to know what the Fuck is happening under that morning coat and/or dress the size of a kitchen table. I've also included a little bit on likely materials and colors so you can add some texture to your fics.
Here's the rule of thumb: Victorians loved LAYERS, BUTTONS, and DECORATIVE SHIT. When in doubt, slap several layers of clothing on your guy, button 'em all together, and flourish the hell out of the top layer. Congrats, you have dressed a Victorian.
Read on for details! And check my reblogs for a note on trans characters. A Part 2 on Mending/Laundry is in the works, because it had a much bigger impact on Victorian dress at all levels of society than it does on modern fashion and I think it's worth talking about.
UNDERWEAR FOR MEN:
a warm and comfortable and easily washable undershirt (typically called a vest) with sleeves that went down to the wrist
drawers, also warm and comfortable and easily washable and covering the whole legs, fastened with buttons or ties at the waist and ankles
pair of socks
If you cover your whole body in this base layer made of undyed, unfashionable, who-cares-if-it's-stained fabric, the sweat and dirt of your body stays on this easily-washable layer and spares the outer layers of clothing that would be damaged by hot water and soaps, or at least that was the philosophy.
The most common fabric for this underwear was flannel, as it was cheap and fairly soft. Bands of cotton could be stitched to the inside of the wrists, ankles, waists, and collar if you found the wool itchy. Socks were almost always knitted wool, holes or thin spots mended with darning whether you were poor or rich.
UNDERWEAR FOR WOMEN:
the chemise / shift: a simple, short-sleeved cotton tube that fell to the mid-thigh
other underwear requires a bit of a history lesson, sorry. At the beginning of the century, you wore like 85 petticoats and no bloomers. Then crinolines--a sort of metal cage skirt that held your dress away from your body to obtain the fashionable wide silhouette--were invented in the 1850s. It was great, because they replaced 30lbs of underskirts, but also inconvenient, in that hoops of steel are inherently bouncy. To preserve modesty (and also warmth) women began wearing bloomers, open in the middle and buttoning at the waist and either at or below the knee. These were also made of plain cotton and only occasionally decorated with a bit of lace-- for all your underthings, male or female, you wanted to be able to 1) make a bunch of sets quickly and cheaply so you could change every day without needing to launder as often and 2) use cloth that could be laundered easily.
stockings were longer and more decorative than men's socks, made of wool, cotton, or silk. White was popular at the beginning of the century, but bright colors and patterns became fashionable in the middle, and conservative black stockings dominated the end of the era. Wool fabrics were the most common, warmest, and cheapest; silk stockings were for very wealthy and fashionable women as they required the most care. Near the end of the century stockings were suspended from the corset, but up til that point stockings were held up by garters tied above the knee.
MIDDLE LAYERS FOR MEN:
shirts, with much longer tails than the button-up shirts we're used to, with a buttoned slit that only went about halfway down the chest rather than all the way down the front of the garment. Lots of volume in the sleeve around the armpit, buttoned up at the cuff. At the beginning of the period, rich men's shirts were checked or patterned while working men's shirts were white(ish), but this swapped over the course of the century as colored fabric became cheaper. (It hides stains better.) The gentleman's shirt from midcentury onward was a crisp, bright white.
As a middle layer, parts of it (like the cuffs and front) could be seen in public, but you absolutely could not go out without a waistcoat and jacket. You only removed your jacket and showed your shirtsleeves at the end of the day, amongst your family.
Trousers were held up by braces / suspenders that went over the shoulders, not belts that fastened around the waist, and you did NOT let them show. They were meant to be covered entirely by waistcoats.
MIDDLE LAYERS FOR WOMEN:
As a very carefully tailored and shaped garment that couldn't really be washed, corsets went over the shift. All women wore them, even laborers, even prisoners and people in workhouses as part of their (institution-provided and deliberately demeaning) uniform. They were viewed as necessary armor to support your weak internal organs, and the physically upright posture they created went hand in hand with moral uprightness in the Victorian mind. They could lace up in the front or back, and the boning could be made of steel (cheap and sturdy) or whalebone (springier and therefore a bit more comfortable) or wood (if you are truly broke AF) or even just stiff cord (mostly for young girls, in which they were called stays).
camisoles (also called vests or corset covers) were tailored shirts worn over the corset, and could be either extremely decorative with embroidery and lace or plainer and made for warmth.
then you've got the crinoline, tied at the waist, a skirt made of steel hoops as already described.
then a couple of petticoats, decorated at the hem for fashion, layered for warmth and to hide the crinoline's hoops.
OUTERWEAR FOR MEN:
trousers, made of cotton or wool. The big differences between Victorian trousers and today's are 1) zippers hadn't been invented yet, the flies were buttoned and 2) the modern waist sits around the hipbones, while the Victorian waist was at the bottom of the ribcage.
jackets, made of thick heavily felted wool that was decently wind- and rain-proof. Darker colors in jackets and trousers lasted longer, so light-colored cloth was mostly worn by the young and rich (or those who wanted to look rich) and flashy.
waistcoats were where the fashion REALLY was. As the back was always made of plain cotton not meant to be seen, even poor men could often afford the cost of the fabric needed to make a neat waistcoat. The front could be made of embroidered silk for luxury, wool for added warmth, or printed cotton making full use of the brilliantly-colored (and relatively cheap) dyes that had just been invented. It's a little bit like people today wearing simple suits and shirts paired with wild socks.
OUTERWEAR FOR WOMEN:
and here you finally get to the f*cking dress. I couldn't possibly go into all the variations on dresses in this era, but I can say that bright colors and patterns were common for women of all classes (but were also part of the ever-present anxiety about people acting "above their station", if a maid dressed too fashionably). The design of the sleeves and the decoration of the hems changed regularly with fashion, as did the precise shape of the feminine silhouette, but the bodice was always tight and the skirts were always full. The average woman would spend more money on flourishes--ribbons, lace, other trimmings--than the dress itself, largely because the average level of skill in sewing was so high that they mostly bought the fabric for the dress and cut & sewed it themselves.
ACCESSORIES FOR MEN:
the collar was not an integral part of the shirt! It was detachable and had to be washed, starched, and ironed separately. Laborers didn't wear them, just a loosely-tied cloth around their neck, but a stand-up collar was necessary for anyone working in a business setting whether you're rich or making really terrible clerk's wages. Turned-down collars like the ones on most of our shirts today were informal and for wealthy men at leisure.
a stock or necktie, ideally black silk. Modern neckties weren't around yet, but the century moved slowly towards that and away from cravats.
gloves. Especially when status was a concern, so, men outside the home not engaged in business and servants waiting on their masters. These were tight-fitting, pale in color, and damn near impossible to launder and mend.
ACCESSORIES FOR WOMEN:
a shawl, often. Your lower half would be covered in stockings and plentiful skirts, while your upper half would only have a few layers that were usually made of cotton, so freezing your tits off was unfortunately common.
gloves. Like men's gloves, these were also status symbols worn when visiting your acquaintances or waiting on your masters. The vast vast majority of servants were women, and the rough labor of washing and cleaning fell to them, so these gloves also covered the evidence of that rough work.
HATS/BONNETS:
Everybody wore a hat when out in public. It's just what you did. The type of hat varied based on fashion, occupation, and social standing, but you had SOME kind of thing on your head when you left the house.
SOME SPECIFIC CLOTHES:
Fishermen wore knitted jumpers instead of jackets. Laborers out in the country (muddy when it rained, dusty when it didn't) wore gaiters, which were basically just rectangles or tubes of cheap-ass sacking that tied around the ankle and below the knee to keep the mud / dust off their trousers. Surgeons and people who worked a lot with ink (clerks, stationers) had sleeves, which were tubes of canvas that tied around the wrist and elbow to protect their shirtsleeves. The advantage of sleeves and gaiters is that you can remove them, toss them in a bucket of water, and beat the shit out of them to wash them without worrying about rips or tears OR getting the stains (mud, ink, blood, etc) onto your other clothes.
Maids and other laborers didn't wear crinolines, but they did wear a corset and a couple of petticoats under their dress.
More prosperous laborers might still own a collar / crinoline, but only wear it to church on Sundays or other occasions that called for nice dress.
When at home and not working or entertaining visitors, both men and women would wear slippers that could be super fancy or very simple or your kid's first sewing project, etc etc. Depends on your preference.
Men would sleep in long, loose nightshirts and women would sleep in long, loose nightdresses. Practically speaking there wasn't much difference between these garments; both might be decorated a bit with embroidery or lace. Rich people would have finer fabrics, fashionable people would have more decoration, poor people might just sleep in whatever combination of day clothes is the most comfortable. Fairly straightforward.
TO RECAP
MEN: vest + drawers + socks > shirt > trousers + braces + collar > waistcoat + stock or necktie > jacket + shoes or boots > hat
Episode 342 of Antiques Freaks, Historical Costuming for The Terror (2018)-- the first ~8 minutes talk about men's clothes in general, then they go into naval uniforms until minute 15ish.
🍖 How to Build a Culture Without Just Inventing Spices and Necklaces
(a worldbuilding roast. with love.)
So. You’re building a fantasy world, and you’ve just invented:
→ Three types of ceremonial jewelry
→ A spice that tastes like cinnamon if it were bitter and cursed
→ A holiday where everyone wears gold and screams at dawn
Cute. But that’s not culture. That’s aesthetics.
And if your worldbuilding is all outfits, dances, and spice blends with vaguely mystical names, your story’s probably going to feel like a cosplay convention held inside a Pinterest board.
Here’s how to fix that—aka: how to build a real, functioning culture that shapes your story, not just its vibes.
─────── ✦ ───────
🔗 Culture Is Built on Power, Not Just Style
Ask yourself:
→ Who’s in charge, and why?
→ Who has land? Who doesn’t?
→ What’s considered taboo, sacred, or punishable by death?
Culture is shaped by who gets to make the rules and who gets crushed by them. That’s where things like religion, family structure, class divisions, gender roles, and social expectations actually come from.
Start there. Not at the embroidery.
─────── ✦ ───────
2.🪓 Culture Comes From Conflict
Did this society evolve peacefully? Was it colonized? Did it colonize? Was it rebuilt after a war? Is it still in one?
→ What was destroyed and mythologized?
→ What do the survivors still whisper about?
→ What do children get taught in school that’s… suspiciously sanitized?
No culture is neutral. Every tradition has a history, and that history should taste like blood, loss, or propaganda.
─────── ✦ ───────
3.🧠 Belief Systems > Customs Lists
Sure, rituals and holidays are cool. But what do people believe about:
→ Death?
→ Love?
→ Time?
→ The natural world?
→ Justice?
Example: A society that believes time is cyclical vs. one that sees time as linear will approach everything—from prison sentences to grief—completely differently.
You don’t need to invent 80 gods. You need to know what those gods mean to the people who pray to them.
─────── ✦ ───────
4.🫀 Culture Controls Behavior (Quietly)
Culture shows up in:
→ What people apologize for
→ What insults cut deepest
→ What people are embarrassed about
→ What’s praised publicly vs. what’s hidden privately
For instance:
→ A culture obsessed with stoicism won’t say “I love you.” They’ll say “Have you eaten?”
→ A culture built on legacy might prioritize ancestor veneration, archival writing, name inheritance.
This stuff? Way more immersive than giving everyone matching earrings.
─────── ✦ ───────
5. 🏠 Culture = Daily Life, Not Just Festivals
Sure, your MC might attend a funeral where people paint their faces blue. But what about:
→ Breakfast routines?
→ How people greet each other on the street?
→ Who cooks, and who eats first?
→ What’s considered “clean” or “proper”?
→ How is parenting handled? Divorce?
Culture is what happens between plot points. It should shape your character’s assumptions, language, fears, and habits—whether or not a festival is going on.
─────── ✦ ───────
6. 💬 Let Your Characters Disagree With Their Own Culture
A culture isn’t a monolith.
Even in deeply traditional societies, people:
→ Rebel
→ Question
→ Break rules
→ Misinterpret laws
→ Mock sacred things
→ Act hypocritically
→ Weaponize or resist what’s expected
Let your characters wrestle with the culture around them. That’s where realism (and tension) lives.
─────── ✦ ───────
7.🧼 Beware the “Pretty = Good” Trap
Worldbuilding gets boring fast when:
→ The protagonist’s homeland is beautiful and pure
→ The enemy’s culture is dark and “barbaric”
→ Every detail just reinforces who the reader should like
You can—and should—challenge the aesthetic hierarchy.
→ Let ugly things be beloved.
→ Let beautiful things be corrupt.
→ Let your MC romanticize their culture and then get disillusioned by it later.
─────── ✦ ───────
📍 TL;DR (but like, spicy):
→ Culture is not food and jewelry.
→ Culture is power, fear, memory, contradiction.
→ Stop inventing spices until you know who starved last winter.
→ Let your world feel lived in, not curated.
The best cultural worldbuilding doesn’t look like a list.
It feels like a system. A pressure. A presence your characters can’t escape—even if they try.
Now go. Build something real. (You can add spices later.)
—rin t.
// writing advice for worldbuilders with rage and range
// thewriteadviceforwriters
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I’ve found that in writing my story, I’ve only scratched the surface of the world I’m building.
And all those questions asked in the post above scare the begeezus out of me. Like my brain sort of shut down in the middle of reading this post because I could not fathom the sheer amount on minute details I still need to insert into said story…
And I fear that if I don’t touch upon many of these questions/points that my story is gonna fall flat.
Dramatic? Perhaps, but it’s not without context.
Case in point, during our very first campaign, my dnd group would ask questions about the world my character came from.
I would freeze, all I did was create a character, I didn’t give him some elaborate background at the time because I was still learning what I could potentially do with this character. (Did that make any sense? Idk)
The point is I never thought of any of those aspects of a culture or world because I was more focused on the characters I was creating and interacting with.
World building is dizzying but it’s something I need to work on.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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the thing that bothers me with 7 deadly sin based characters is when they cant decide if they embody the sin by suffering from it or by drawing it out of others. ie. if your gluttony demon is a guy who loves eating then your lust demon should be a gooner sex pest. and if your lust demon is a seductive girlboss then your gluttony demon should be a 5 star chef. does this make sense.
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