𝕬ちゃん

Design wise I made Ilija’s hair shorter and shaved at the sides. Shorter because I imagine longer hair didn’t sit quite right in the army and shaved at the sides to look more like Vuk, and also to look less like Dražen (which I might expand on another day). Ilinka’s hair is quite short, but it mostly mimics Idriza’s style minus the braid. Both have it cut uneven cause they don’t have hairstylists they just use unsharpened blades out of the shed

(Also I gave them the eyebrows Tix gave Srpska in his last appearance, which are quite similar to Enis’)

The clothing is kind of all over the place, initially the idea was that Nyo Srpska would represent the regions up north while Srpska was going to be leaning towards Sarajevo and Eastern Herzegovina, but I realized if that was the case I’d be just giving him Montenegrin folk clothing, so I scrapped the idea and made both into jarbled messes of the biggest chunk of Serbian ethnic territory

Although the drawing does say Republika Srpska, it kind of covers all Western Serbian ethnic land aside from Montenegro. So Regions of Krajina in Croatia, Dalmatia, Bosnian Krajina, Bosnia in General and (Eastern) Herzegovina.

I think I still ended up leaning more towards the north west, especially with Ilija, since his clothes are quite similar to the ones of the Kninska Krajina region up in North Dalmatia, Ilinka seems to be more central Bosnian? Tough the fact Ilija has only one sleeve of his jacket on is more so characteristic to Bosnia than to Kninska Krajina, where they mostly just let it rest on their shoulders. But through most of the land, Black is a dominating colour in male folk clothing, though it goes along with Red and Blue in some regions… especially in Eastern Herzegovina cause of it’s deep connection with Montenegro’s culture, which also bled into some parts of Bosnia.

Though my main goal was mostly to add many of the coin like accessories, because of the Nemo (Deaf) Kolo from Glamoč, which is characterized by it’s silence with an exception being the footsteps of the players and also the iconic rustling of the decorations on them. The reason for the silence is because during the Ottoman period the serbs of Bosnia weren’t allowed to play traditional music, which made them have to play the kolo with little singing and only instructions to be spoken. All this makes the Deaf Kolo look quite grim and almost disturbing to watch, a far cry from the Kolo of their brothers over the Drina which is characterized by Joy and Celebration. Even the Kolo from Kninska Krajina is without music, though it has plenty of singing.