Tchaï

My instant thought was that they had been trolled or attacked or that something terrible had happened in their life because this person is so passionate about their writing. It wasn't any of that. Engagement with their works has been going down, as it has for many of us. Comments are like gold dust a lot of the time, and just looking through the historical comment counts on old fics on ao3 demonstrates this trend very clearly. It was not simply the comments dropping off which caused them to decide to stop posting, however.

My friend came across a discord server for their fandom (I should point out here that their fandom interest and mine diverged a couple of years ago, we stay in touch but don't currently read each other's posts because I'm not into their fandom and they would rather gouge their eyes out with a wooden spoon than read anything Star Wars) and specifically to share fic in that fandom. They joined, because we all love a good fic rec, only to discover that their latest multichapter fic, which has almost no comments and very few kudos, is being hotly discussed in this server as one of the best stories ever. Not one of these people has bothered to say this to them on the fic. When they asked, none of participants could see the point in telling the author of the fic they apparently loved so much that they love it.

This discovery has absolutely destroyed my friend's love of sharing fic. They share because they love seeing other people's enjoyment, and fic writers do that through comments and kudos/reblogs/likes because we don't get paid. There is no literary critic writing a blog post/article about how amazing the story is for us to copy and keep/frame. There is no money from royalties. All we have are the words of the people reading our works.

Those people on that server could have taken five minutes of the time they spent gushing about how amazing my friend's story was to other people and used it to tell the one person guaranteed to want to hear that praise how much they loved it. They could have taken a moment to express their opinion to the person who spent hours upon hours plotting, writing, editing, and posting those chapters. Instead, they deprived my friend of thing that keeps them sharing their writing, and in the process have killed their love of it. My friend now feels used and unmotivated.

I won't be sharing a link to their fic, they said I could share their experience but not their identity. I know they plan to post one final chapter. I know they intend to express their hurt at being excluded from the praise for the thing they created, and I know they intend to announce that as a consequence they will not be posting for a long while, if at all.

In the video the survivor said “Never seek a permanent solution to a temporary problem. And they’re all temporary problems.”

When we're introduced to the concept of ichor in the Iliad we are told that this distinction with human blood is due to the habits of the gods compared with mortals, who don't drink nectar and eat ambrosia and are destined to die:

But when he had come upon her as he pursued her through the great throng, then the son of great-souled Tydeus thrust with his sharp spear and leapt upon her, and wounded the surface of her delicate hand, and forthwith through the ambrosial raiment that the Graces themselves had wrought for her the spear pierced the flesh upon the wrist above the palm and forth flowed the immortal blood of the goddess, the ichor, such as floweth in the blessed gods; for they eat not bread neither drink flaming wine, wherefore they are bloodless, and are called immortals. V, 334-342 (trans. Murray)

So we are told there is a distinction between blood and ichor, but we only get a reference to the color of ichor a bit later in book 5:

So spake he, and she departed frantic, and was sore distressed; and wind-footed Iris took her and led her forth from out the throng, racked with pain, and her fair flesh was darkened. V, 352-354

The verb used in the Greek is μελαίνω, meaning "to darken", from μέλας, "dark/black", the same word used to describe mortal blood in the Iliad.

But I still dk if that's a really common or more royal look?

Hi, thank you for your question! 

I just saw your drawing, I'm a bit late in answering I guess haha Your drawing looks great, I love it :) I'm going to answer your question nonetheless, perhaps you'll get some more inspiration for later drawings, who knows ;)

This specific statue (ca. 2030–1981 B.C.) in the picture, according to the MET Museum, is probably an attendant of one of the Hathor priestesses and royal wives at the court of Nebhepetre Mentuhotep II. But this look has been depicted in more art regarding Nubian women, so I think it would be a nice choice. Her jewelry, hair fillet and decorated skirt are what make her stand out as more wealthy.

We see a similar costume on the mural of the tomb of Huy (18th dynasty: 1550/1549 to 1292 BC), depicting the Nubian tribute to Tutankhamon. 

The statuette is a lot older. She’s wearing a fillet on her head. The woman on the fresco has a typical Nubian hairstyle. Both women wear a long skirt, one a bit wider than the other and with different patterns. 

The fillet might be of importance, because during excavations of a number of non-royal Nubian tombs in Sanam, it was revealed that adornment (for both royal and non-royal) Nubian women was very important. A similar cap has been found in one of these tombs (tomb 1516), made out of blue-glazed Eye of Horus beads. Alongside this archeologists also found bangles, necklaces, earrings with pendants. They even found some type of bronze headband with a flower attached to it, something that is also depicted in Egyptian art. From other burial sites we also know that leather caps adorned with mica were worn, as well as leather net coverings.

Another depiction of Nubian women is on the wall painting of the Temple of Beit el-Wali, from the 19th century. Here we see the topless skirt again, however these are undecorated.

We see it again in the Nubian women depicted in the Tomb of Rekhmire, TT 100 (18th dynasty): 

These women (along with the woman depicted on the mural of the tomb of Huy) are thought to have been part of the tribute to the Egyptian rulers. These were sometimes common women, but sometimes also noblewomen and even children of royals.

On the throne of Queen Tiye we have a depiction of an imprisoned Nubian woman, again topless with a skirt:

The straight skirt is thought to have been made out of leather, with a side split, such items decorated with beads or pressed patterns have been found in tombs as well.

Here we have a rare depiction of village life is shown on a bowl from Karong:

On the left you can see 3 female figures. The seated one is thought to be a goddess of some sort (either local or an Egyptian one). The woman receiving the gifts wears a decorated skirt, much like the statuette from your question.

Another example of a Nubian woman being depicted is this statue (ca. 1250-1070 BCE, The Walters Art Museum):

Regretfully we can’t really see a lot of her clothing besides her wearing sandals and a skirt of dress, but I decided to add it anyway. The hairstyle she’s wearing is often shown on nude female figurines relating to the story of Bastet being angry with Re and leaving Egypt in favor of Nubia. They eventually get her back and Bes plays a big role in it, I don’t remember it that clearly to be honest, and actually the story specifically doesn’t matter that much. What does matter though is that those nude figurines often feature Nubian hairstyles. The most popular one is the typical one with the little braids reaching the shoulders or shorter, but this one shows up frequently as well, so it might represent another form of Nubian hairstyle.

Sometimes Egyptian women are depicted with Nubian wigs, but in general they are depicted in a way that we can still differentiate them from each other, especially if the art was made by Egyptians. An example of this is a stela from Abydos (Late Egyptian):

The two in the front are Nubian, they wear a short hairstyle and a long, baggy tunic dress with fringed edges. The Egyptian woman wears a Nubian hairstyle but wears a different garb.

Fringed edges on garments seem to have been associated with Nubian women, here’s another depiction of a woman named Qeqiry, a “follower of Mut”.

So in conclusion, in general topless with a long skirt would be a good option for common women. The more decorated the skirt and the more jewelry a woman wore, the higher her social status. An attendant of Andromeda would've probably been able to wear jewelry and such, so the statue you showed and your drawing are probably what someone like her would've looked like :)

The baggy tunic (with tassels) is also something that was associated with Nubian women, but probably for a later period and it seems to have some connection to a religious context, but I would need to dig a bit further into that to tell you that for sure tbh

As for slave women spcifically, we don't really know, they are rarely depicted. Personally I think there's 3 options: they either wore a similar skirt of lower quality, they were completely nude akin to what was costumary for children or they wore some type of small loincloth. I don't know tbh

I hope I didn't forget anything in this post, I might've been able to make a more coherent text, but this is the main problem I have with sending out posts or answers, like I keep editing them, so I hope it's not too incoherent haha

If you are interested in some further works on the topic: 

Vittmann,Günter,  “A Question of Names, Titles, and Iconography. Kushites in Priestly, Administrative and other Positions from Dynasties 25 to 26,” Mitteilungen der Sudanarchäologischen Gesellschaft zu Berlin 18 (2007), 139-161. 

Haynes, Joyce and Mimi Santini-Ritt, “Women in ancient Nubia,” in Ancient Nubia: African Kingdoms on the Nile, eds. Marjorie M. Fisher, Peter Lacovara, Salima Ikram, Sue D’Auria, 170-85, (2012).

Markowitz, Yvonne, “Nubian adornment,” in Ancient Nubia: African Kingdoms on the Nile, eds. Marjorie M. Fisher, Peter Lacovara, Salima Ikram, Sue D’Auria, 186-99, (2012). 

Ebied, Ahmad, “Non-royal Nubian clothing representations during the New Kindgom and the Kushites twenty-fifth dynasty,” International Journal of Tourism and Hospitality Management Volume 1, No. 1 ( 2018), 56-76. (the two black and white drawings that I showed at the end are from this article)

Hi again! Thanks for the question :)

Minoans 

As in most historical periods, images of non-elite people are scarce. Most of the people we see on the magnificent Minoan and Mycenaean frescoes show us the elite or soldiers. Average people on the other hand are rarely the topic of interest. Luckily for us the Minoans, and in particular the Minoan colony of Thera, Akrotiri, did depict people outside the elite. 

One of the most interesting things the people of Akrotiri depicted were fishermen, otherwise absent in Minoan and Mycenaean art (to my knowledge at least).

Throughout Classical Antiquity fishermen are either nude or scarcely dressed when depicted, in later periods they do where either a type of loincloth or a tunic of the sort. What’s interesting about these fishermen is their distinctive haircuts. In Minoan (and Mycenaean) culture a hairstyle would tell your age and marital status, especially for women. The hair of these fishermen tells us they were young men, not yet completely adults. 

Akrotiri didn’t only give us these fishermen, it also gave us the entire Ship Procession mural. A treasure for researchers regarding the world the Minoans lived in. We get a glimpse of the world outside the palaces with this fresco. The fishermen of above are also depicted on it near the boathouses:

Even though it’s a lot smaller, they seem to have had a full head of hair and thus these are probably the adult fishermen.

The Ship Procession fresco also shows us the shepherds or farmers. They lived outside the city and palace. Often times they didn’t have the money to afford the luxury clothing depicted on the frescoes, but Akrotiri did depict them: 

They wear animal skins as a cape. Elite Minoans and Mycenaeans also wore these, but a more refined version of it and also made out of rarer animal skins or sometimes also out of a type of fabric decorated with patterns.

They could also wear a loincloth or a loose tunic, here we see both the loose tunic of one farmer/shepherd and the loincloth:

Children are depicted naked or with a loincloth, here are some boys running up a hill:

The two boys in the middle are probably wearing a loincloth (the wall painting is just very dirty):

Men standing in front of the palace at the edge of the river also wear girdled loincloths:

They were probably people living in the city and maybe even merchants (their presence at the edge of the river and the docks might hint to that).

There’s also a boathouse depicted with a man coming out of the entrance: 

He seems to wear either a broad tunic or a similar cape as the animal skin ones, but probably made out of fabric instead of animal skin. The men sitting on top of the boathouse wear a similar outfit:

These might be merchants, you can see their wares in the background 

Near the boathouse we also see two of the only depictions of non-elite women:

Now, it’s very badly damaged and a bit unclear, but they are carrying vases on their heads, probably to fetch water. As you can see, the skirts of these women are plain, it’s rather undecorated. The one with the red skirt, has tassels on the side. Most handwoven pieces of fabric have an edge with threads hanging out. If this is what’s being depicted, then there’s a possibility of it being some type of long wrap skirt. Which is probably the case because we can see that at the other side the other part of the of the fabric also has the same type of edge.

The magnificent heavy patterned skirts we see on the other wall paintings were very expensive. A normal person wouldn’t be able to afford them. The women are also barefoot, like most of the people depicted on this fresco. On the torso of the woman with the red skirt we see a black line. This is either her hair or the middle parting of her open front tunic. It also seems like the woman with the blue skirt has some remnant of sleeves. They probably wore the same tunic as the other Minoan women in wall paintings.

Jewelry however seems absent, even the otherwise characteristic hoop earrings aren’t there. 

According to J. Younger (“Minoan women” in Women in Antiquity, 473-594, 2016)  there were 3 classes of women in society in Minoan culture. All three of them are depicted in this fresco (the Grandstand Fresco):

We have the women’s heads at the bottom, the women standing on each side of the picture on the stairs and then the sitting women in the middle. The sitting women wear a full ornate court dress, these are elite women/palace women. The women on the stairs are the second class, they wear simple robes. Younger describes it as: “elites, women who accompany them (cf. Mycenaean a-pi-qo-ro) and the women masses (e.g. those who did manual labor).” The women we saw on the Akrotiri wall painting carrying water probably belong to the women masses. Their clothes were a lot plainer than the ones of the second class depicted here. 

I drew a quick sketch to compare the three a bit (it's not great but it's just to illustrate the difference in dress). I wanted to draw the men as well, but I didn't find the time regretfully.

As for slaves, we don’t know a lot about them. We know a lot of them were employed at the Mycenaean palaces since they are listed on the tablets of Pylos (captive women). There’s also a Linear B tablet mentioning the sale of some people called the doeloi. In Late Minoan Crete we find the only mention of slavery, which are slaves of the god. Nevertheless the scarce references to them, it’s assumed they did exist in Minoan society. This assumption is mainly made because slavery can’t just pop up randomly, it most of the time needs some type of precedent like types of serfdom. On top of that, within the palace of Knossos multiple lower quality pottery was found, while the rest of the wares of the palace were of superior quality with decorations and such. I assume they would’ve worn something similar to the village women. 

Mycenaeans

The Mycenaeans left less material to base anything on. They mainly depicted military, religious and royal subjects. However the Egyptians have given us a big favor. In the tomb of Rekhmire we see envoys from Keftiu. This refers to Crete, but the time period that has been estimated for this wall painting is during a time that the Cretan Minoan civilization was in decline. Even more remarkable is that after a few years the Egyptians decided to paint over the original wall painting, to make the depiction more accurate. Research has shown that the original wall painting showed the long-haired Minoans with their typical aprons, but the overpainted version has the envoys dressed in kneelength kilts. It’s estimated that the overpainting was done somewhere around 1436 BC, this coincides with the time period where Cretans began adopting Mycenaean attributes and the rise of a Greek speaking elite. Peter Haider describes the quilts as festive wear, and the envoys we see here probably dressed a lot more fancy than your average Mycenaean merchant.

As I mentioned before, these types of kilts and wrap skirts we associate with the Minoans and Mycenaeans were most of the time reserved for the elite or wealthiest part of the people. Describing these as festive is indeed correct. Normal merchants might’ve had a plain kilt or one with little decoration on it. Mycenaean men in general wore little boots, the Egyptians drew it in great detail. It’s assumed that they were some type of woven shoe, akin to the woven sandals we still wear today. 

In Mycenaean Greece we also see tunics gain popularity, especially within hunting contexts. They are often decorated with only some seamlines, so there’s the possibility that other people outside the elite were able to afford them. 

As for women, we don’t really know. I think it wouldn’t be that different from the Minoan ones, but we lack evidence for this one. The same goes for slaves. Even though slaves are attested on clay tablets in Linear B, they aren’t depicted in art. From what we do know of them, we can conclude that palace slaves were probably better dressed than free poor people. A person’s status in Mycenaean times and especially those of slaves, was determined by how close you were to the palace. The lowest class of slaves however received the lowest food portions, so they probably weren’t that well dressed either.

Hi again! Thanks for the question :)

Minoans 

As in most historical periods, images of non-elite people are scarce. Most of the people we see on the magnificent Minoan and Mycenaean frescoes show us the elite or soldiers. Average people on the other hand are rarely the topic of interest. Luckily for us the Minoans, and in particular the Minoan colony of Thera, Akrotiri, did depict people outside the elite. 

One of the most interesting things the people of Akrotiri depicted were fishermen, otherwise absent in Minoan and Mycenaean art (to my knowledge at least).

Throughout Classical Antiquity fishermen are either nude or scarcely dressed when depicted, in later periods they do where either a type of loincloth or a tunic of the sort. What’s interesting about these fishermen is their distinctive haircuts. In Minoan (and Mycenaean) culture a hairstyle would tell your age and marital status, especially for women. The hair of these fishermen tells us they were young men, not yet completely adults. 

Akrotiri didn’t only give us these fishermen, it also gave us the entire Ship Procession mural. A treasure for researchers regarding the world the Minoans lived in. We get a glimpse of the world outside the palaces with this fresco. The fishermen of above are also depicted on it near the boathouses:

Even though it’s a lot smaller, they seem to have had a full head of hair and thus these are probably the adult fishermen.

The Ship Procession fresco also shows us the shepherds or farmers. They lived outside the city and palace. Often times they didn’t have the money to afford the luxury clothing depicted on the frescoes, but Akrotiri did depict them: 

They wear animal skins as a cape. Elite Minoans and Mycenaeans also wore these, but a more refined version of it and also made out of rarer animal skins or sometimes also out of a type of fabric decorated with patterns.

They could also wear a loincloth or a loose tunic, here we see both the loose tunic of one farmer/shepherd and the loincloth:

Children are depicted naked or with a loincloth, here are some boys running up a hill:

The two boys in the middle are probably wearing a loincloth (the wall painting is just very dirty):

Men standing in front of the palace at the edge of the river also wear girdled loincloths:

They were probably people living in the city and maybe even merchants (their presence at the edge of the river and the docks might hint to that).

There’s also a boathouse depicted with a man coming out of the entrance: 

He seems to wear either a broad tunic or a similar cape as the animal skin ones, but probably made out of fabric instead of animal skin. The men sitting on top of the boathouse wear a similar outfit:

These might be merchants, you can see their wares in the background 

Near the boathouse we also see two of the only depictions of non-elite women:

Now, it’s very badly damaged and a bit unclear, but they are carrying vases on their heads, probably to fetch water. As you can see, the skirts of these women are plain, it’s rather undecorated. The one with the red skirt, has tassels on the side. Most handwoven pieces of fabric have an edge with threads hanging out. If this is what’s being depicted, then there’s a possibility of it being some type of long wrap skirt. Which is probably the case because we can see that at the other side the other part of the of the fabric also has the same type of edge.

The magnificent heavy patterned skirts we see on the other wall paintings were very expensive. A normal person wouldn’t be able to afford them. The women are also barefoot, like most of the people depicted on this fresco. On the torso of the woman with the red skirt we see a black line. This is either her hair or the middle parting of her open front tunic. It also seems like the woman with the blue skirt has some remnant of sleeves. They probably wore the same tunic as the other Minoan women in wall paintings.

Jewelry however seems absent, even the otherwise characteristic hoop earrings aren’t there. 

According to J. Younger (“Minoan women” in Women in Antiquity, 473-594, 2016)  there were 3 classes of women in society in Minoan culture. All three of them are depicted in this fresco (the Grandstand Fresco):

We have the women’s heads at the bottom, the women standing on each side of the picture on the stairs and then the sitting women in the middle. The sitting women wear a full ornate court dress, these are elite women/palace women. The women on the stairs are the second class, they wear simple robes. Younger describes it as: “elites, women who accompany them (cf. Mycenaean a-pi-qo-ro) and the women masses (e.g. those who did manual labor).” The women we saw on the Akrotiri wall painting carrying water probably belong to the women masses. Their clothes were a lot plainer than the ones of the second class depicted here. 

I drew a quick sketch to compare the three a bit (it's not great but it's just to illustrate the difference in dress). I wanted to draw the men as well, but I didn't find the time regretfully.

As for slaves, we don’t know a lot about them. We know a lot of them were employed at the Mycenaean palaces since they are listed on the tablets of Pylos (captive women). There’s also a Linear B tablet mentioning the sale of some people called the doeloi. In Late Minoan Crete we find the only mention of slavery, which are slaves of the god. Nevertheless the scarce references to them, it’s assumed they did exist in Minoan society. This assumption is mainly made because slavery can’t just pop up randomly, it most of the time needs some type of precedent like types of serfdom. On top of that, within the palace of Knossos multiple lower quality pottery was found, while the rest of the wares of the palace were of superior quality with decorations and such. I assume they would’ve worn something similar to the village women. 

Mycenaeans

The Mycenaeans left less material to base anything on. They mainly depicted military, religious and royal subjects. However the Egyptians have given us a big favor. In the tomb of Rekhmire we see envoys from Keftiu. This refers to Crete, but the time period that has been estimated for this wall painting is during a time that the Cretan Minoan civilization was in decline. Even more remarkable is that after a few years the Egyptians decided to paint over the original wall painting, to make the depiction more accurate. Research has shown that the original wall painting showed the long-haired Minoans with their typical aprons, but the overpainted version has the envoys dressed in kneelength kilts. It’s estimated that the overpainting was done somewhere around 1436 BC, this coincides with the time period where Cretans began adopting Mycenaean attributes and the rise of a Greek speaking elite. Peter Haider describes the quilts as festive wear, and the envoys we see here probably dressed a lot more fancy than your average Mycenaean merchant.

As I mentioned before, these types of kilts and wrap skirts we associate with the Minoans and Mycenaeans were most of the time reserved for the elite or wealthiest part of the people. Describing these as festive is indeed correct. Normal merchants might’ve had a plain kilt or one with little decoration on it. Mycenaean men in general wore little boots, the Egyptians drew it in great detail. It’s assumed that they were some type of woven shoe, akin to the woven sandals we still wear today. 

In Mycenaean Greece we also see tunics gain popularity, especially within hunting contexts. They are often decorated with only some seamlines, so there’s the possibility that other people outside the elite were able to afford them. 

As for women, we don’t really know. I think it wouldn’t be that different from the Minoan ones, but we lack evidence for this one. The same goes for slaves. Even though slaves are attested on clay tablets in Linear B, they aren’t depicted in art. From what we do know of them, we can conclude that palace slaves were probably better dressed than free poor people. A person’s status in Mycenaean times and especially those of slaves, was determined by how close you were to the palace. The lowest class of slaves however received the lowest food portions, so they probably weren’t that well dressed either.

But I still dk if that's a really common or more royal look?

Hi, thank you for your question! 

I just saw your drawing, I'm a bit late in answering I guess haha Your drawing looks great, I love it :) I'm going to answer your question nonetheless, perhaps you'll get some more inspiration for later drawings, who knows ;)

This specific statue (ca. 2030–1981 B.C.) in the picture, according to the MET Museum, is probably an attendant of one of the Hathor priestesses and royal wives at the court of Nebhepetre Mentuhotep II. But this look has been depicted in more art regarding Nubian women, so I think it would be a nice choice. Her jewelry, hair fillet and decorated skirt are what make her stand out as more wealthy.

We see a similar costume on the mural of the tomb of Huy (18th dynasty: 1550/1549 to 1292 BC), depicting the Nubian tribute to Tutankhamon. 

The statuette is a lot older. She’s wearing a fillet on her head. The woman on the fresco has a typical Nubian hairstyle. Both women wear a long skirt, one a bit wider than the other and with different patterns. 

The fillet might be of importance, because during excavations of a number of non-royal Nubian tombs in Sanam, it was revealed that adornment (for both royal and non-royal) Nubian women was very important. A similar cap has been found in one of these tombs (tomb 1516), made out of blue-glazed Eye of Horus beads. Alongside this archeologists also found bangles, necklaces, earrings with pendants. They even found some type of bronze headband with a flower attached to it, something that is also depicted in Egyptian art. From other burial sites we also know that leather caps adorned with mica were worn, as well as leather net coverings.

Another depiction of Nubian women is on the wall painting of the Temple of Beit el-Wali, from the 19th century. Here we see the topless skirt again, however these are undecorated.

We see it again in the Nubian women depicted in the Tomb of Rekhmire, TT 100 (18th dynasty): 

These women (along with the woman depicted on the mural of the tomb of Huy) are thought to have been part of the tribute to the Egyptian rulers. These were sometimes common women, but sometimes also noblewomen and even children of royals.

On the throne of Queen Tiye we have a depiction of an imprisoned Nubian woman, again topless with a skirt:

The straight skirt is thought to have been made out of leather, with a side split, such items decorated with beads or pressed patterns have been found in tombs as well.

Here we have a rare depiction of village life is shown on a bowl from Karong:

On the left you can see 3 female figures. The seated one is thought to be a goddess of some sort (either local or an Egyptian one). The woman receiving the gifts wears a decorated skirt, much like the statuette from your question.

Another example of a Nubian woman being depicted is this statue (ca. 1250-1070 BCE, The Walters Art Museum):

Regretfully we can’t really see a lot of her clothing besides her wearing sandals and a skirt of dress, but I decided to add it anyway. The hairstyle she’s wearing is often shown on nude female figurines relating to the story of Bastet being angry with Re and leaving Egypt in favor of Nubia. They eventually get her back and Bes plays a big role in it, I don’t remember it that clearly to be honest, and actually the story specifically doesn’t matter that much. What does matter though is that those nude figurines often feature Nubian hairstyles. The most popular one is the typical one with the little braids reaching the shoulders or shorter, but this one shows up frequently as well, so it might represent another form of Nubian hairstyle.

Sometimes Egyptian women are depicted with Nubian wigs, but in general they are depicted in a way that we can still differentiate them from each other, especially if the art was made by Egyptians. An example of this is a stela from Abydos (Late Egyptian):

The two in the front are Nubian, they wear a short hairstyle and a long, baggy tunic dress with fringed edges. The Egyptian woman wears a Nubian hairstyle but wears a different garb.

Fringed edges on garments seem to have been associated with Nubian women, here’s another depiction of a woman named Qeqiry, a “follower of Mut”.

So in conclusion, in general topless with a long skirt would be a good option for common women. The more decorated the skirt and the more jewelry a woman wore, the higher her social status. An attendant of Andromeda would've probably been able to wear jewelry and such, so the statue you showed and your drawing are probably what someone like her would've looked like :)

The baggy tunic (with tassels) is also something that was associated with Nubian women, but probably for a later period and it seems to have some connection to a religious context, but I would need to dig a bit further into that to tell you that for sure tbh

As for slave women spcifically, we don't really know, they are rarely depicted. Personally I think there's 3 options: they either wore a similar skirt of lower quality, they were completely nude akin to what was costumary for children or they wore some type of small loincloth. I don't know tbh

I hope I didn't forget anything in this post, I might've been able to make a more coherent text, but this is the main problem I have with sending out posts or answers, like I keep editing them, so I hope it's not too incoherent haha

If you are interested in some further works on the topic: 

Vittmann,Günter,  “A Question of Names, Titles, and Iconography. Kushites in Priestly, Administrative and other Positions from Dynasties 25 to 26,” Mitteilungen der Sudanarchäologischen Gesellschaft zu Berlin 18 (2007), 139-161. 

Haynes, Joyce and Mimi Santini-Ritt, “Women in ancient Nubia,” in Ancient Nubia: African Kingdoms on the Nile, eds. Marjorie M. Fisher, Peter Lacovara, Salima Ikram, Sue D’Auria, 170-85, (2012).

Markowitz, Yvonne, “Nubian adornment,” in Ancient Nubia: African Kingdoms on the Nile, eds. Marjorie M. Fisher, Peter Lacovara, Salima Ikram, Sue D’Auria, 186-99, (2012). 

Ebied, Ahmad, “Non-royal Nubian clothing representations during the New Kindgom and the Kushites twenty-fifth dynasty,” International Journal of Tourism and Hospitality Management Volume 1, No. 1 ( 2018), 56-76. (the two black and white drawings that I showed at the end are from this article)

[Partial nudity]

Andromeda and one of her attendants sporting Nubian fashion! I've been loving drawing historically accurate clothing lately^^