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Pronunciation Dress-oh-lee-nee.
Common Names Dressies, Pluckers, Moustache Twirlers, Bet-battlers.
Classification Fineclass Culture
Origins Montania and Vultaro
Dominant Race Ailor
Social Classes Singers, Musicians, Philosophers, Luthiers, Statesmen, Composers, Tacticians, Strategists, Crossbowmen, Fencers
Major Cities Lampeport, Alania, Toreno, Orazino

The Dressolini Culture is a superpower when it comes to the arts in the Regalian Empire. In particular, the Dressolini stand at the forefront of musical innovation, through the invention of various musical instruments and the famous Musica del Tessuto, an orchestra form that was perfected in the Montania region. The Dressolini Culture is a relatively new one, developing around 180 AC due to migration of Daendroque Ailor to the Regalian Empire and their subsequent administration by controlling New Regalians. The Dressolini Culture is revered worldwide not only for their orchestras but also their special dance-like form of fencing known as Dressolini Fencing. As a result, the Dressolini have long served to entertain the nobility and the common masses of many lands with their unique qualities.


While the Dressolini were born fairly recently in Alorian history, the region in which they formed was certainly not new, and the history of the area affected their formation. Before the Cataclysm, a series of city-states formed in the southern regions of the Regalian Archipelago. These settlements were likely begun by proto-Daendroque slaves who had fled the Allorn Empire, or who had perhaps been shipwrecked in Elven transport ships. These cities, in the eyes of most modern Regalians, are laughable. Often barely 10,000 people strong, they also imitated Allorn styles of architecture in a crude way, producing white columns and tiled roofs while also following the independent zeal of the Altalar princedoms. None of these cities ever united with the others, and warfare over territory between each was frequent. However, for decades they were relatively left alone. Some closer to the coastline did encounter other Ailor, and learned of a wider Ailor world, but the majority remained turned toward their own lives. Following the Cataclysm, this attitude would change. While monarchies and despots had run these cities in much the way that the Ceardian Warlords crudely governed Ceardian society, the new age that followed the end of the world saw the birth of republican ideals. Which one of these cities exactly produced the first republic is a topic of intense debate among the modern Dressolini, but most are ultimately forced to agree that it was the city the Regalians called Berger. Its true name is lost, but in 71 AC, the Bergerlander Republic formed in the region with almost all of the regional cities joining it. With war largely put aside, their naval vessels traded abroad for a little less than a decade, but the wealth they both pulled in and forged at home attracted the attention of many.

One of these was the Regalian Empire, who were unfortunately disgusted by the republican ideals of the Bergerlanders. In their conquest of the entire Regalian Archipelago, the region was targeted and the Berger Lander War brought about their conquest in a short three years. Many of the cities in the Republic were destroyed, and left in ruins, and the region’s inhabitants scattered into the wilds while the Regalian Empire largely moved on, leaving only a minimal occupation force in the area. Other nearby kingdoms conquered by the Regalian Empire, such as the Vularian Kingdom, saw people move into the areas of the former Republic or stay where they were as their state was dissolved. But for decades, the area was left to run wild with little oversight. Beginning in 130 AC though, a trickle of Daendroque migrants filed into the region. This trickle became a stream, and then a flood, as Regalia encouraged those with wanderlust to chart this “empty frontier” and settle in these lands. Instead, most Daendroque found the lands inhabited by people very similar to them, and in order to avoid chaos, the Regalian Empire sent in bureaucrats and officials. Many of them were former Wirtemcaller citizens, and from their governing and organizational methods, the Daendroque peoples of the entire land came to reject their wild roots. For the foreign-born Daendroque, they rejected the wild chaos of excessive freedom, and for the native-born Daendroque, they rejected the republican government of the past. Ultimately, by 180 AC, soon after the New Regalians had declared themselves, risen from the ashes of the Wirtemcaller Kingdom, so too did the Dressolini emerge and declare their new role in Aloria. They didn’t entirely abandon their roots though, with much of the ancient architecture of the region revitalized and improved on, and most of the former ruined cities retaken and rebuilt.

The Dressolini settled into their new way of life and gradually fell into patterns, rhythms and routines much like the melodies of the music they now produced. Dressolini cities warred against each other, but in a spirit of betterment and not out of hatred, or any real desire for territorial gains. The arts flourished, and their golden age lasted several decades. But over time, a divide formed. Those in what is now called Vultaro featured cities largely focused on industry and mining, as the mountains of those areas provided fruitful mineral wealth. Those cities in what is now Montania had more of a focus on the arts. By 260 AC, there was a firm divide in the status of Dressolini within their lands with those from Vultaro seen as lesser, while those from Montania viewed as better. Despite this, the repercussions were not felt for some time. Instead, it only exploded into being shortly after the rise of Tristan Lampero, the former patriarch of House Lampero, shortly after 300 AC. His inept leadership and bastard nature, in addition to his fairly abnormal appearance of pale skin, yellow eyes, and blond hair among a Culture of tanned and olive-skinned people of dark hair and eyes triggered massive resistance. The Coal fields of Vultaro burned, and the region descended into further chaos when religion got involved. With these issues creeping into Montania, nobility from the region was about to move in and handle the situation fully, only to have Tristan’s son, a Half Orc known as Ryker, step in. With a force of Orcs, Half Orcs and Dressolini allies or loyalists to House Lampero, Ryker came to seize control of both regions.

Now, the Dressolini homeland is in the hands of Orcs, though they have not been at all as destructive as some have claimed. Their presence is small, but felt, both in Ryker’s inner circle but also in the military, where his kin serve alongside Dressolini regulars with enormous zeal as House Lampero has become a military powerhouse key to recent military victories by the Regalian Empire. Additionally, while the Dressolini currently live in a time they refer to as Bella Età, meaning “The Beautiful Age”, influenced by composers like Beneto Vescuzzio, Giovani dei Piagesco, Reinhardt Rübenbrecht and Zola dei Monteferachino, some doubt such a title and instead aim to give the current era a much more ambiguous name. Few know how long all this can continue, though it appears that both the Dressolini and their relatives, the Azzizzari, are content with current political affairs, and so the great cities of Vultaro and Montania resume the same tasks of industry and art that they were doing before the takeover.

Language and Dialects

The Dressolini tongue is called Dressalo, which is derived from Daendroquin, and indirectly, from Modern Altalar as a result. Although it shares many similarities with its relatives in speech, Dressolo maintains a more continental Regalian grammatical style thanks to the New Regalian influence on their society. Most informal forms of addressing something or someone in Daendroque have disappeared in Dressolini and have been replaced with formal styles from Regalisch.

The Dressolini speak very quickly, but very eloquently. Their language is both melodic and rich in expressions that do not exist in other Languages. This often means that native speakers of Dressolini have a hard time expressing certain feelings in Common, needing to pause a moment while searching for the proper words. Additionally, Dressolini often retain a strong Dressalo accent when speaking other Languages, and are sometimes caught saying “como dire,” meaning “how to say,” when they fail to translate what they mean to say because other Languages lack the extended vocabulary.

Naming Customs

Dressolini names are often derived from Regalian, Daendroque or Ithanian forms, but all are suitably mutated to fit Dressalo. For example, the Ithanian “Francis” becomes “Franscesco,” the Regalian “Adam” becomes “Adamo,” the Ithanian “Auguste” becomes “Augustino,” etc. The naming customs of the Dressolini are very rich, and their surname often conveys where they come from; Dressolini names are often constructed as a first name, then by “dei” or “di” meaning “of,” followed by the name of their birthplace. There are some examples of Dressolini names:

  • Bernardetta dei Lampeport
  • Ciro dei Orazino
  • Conztanza di Toreno
  • Duilio di Alania
  • Emanuele dei Mileno
  • Ennio dei Trovista
  • Floriano dei Napleport
  • Isodoro dei Fratecino
  • Ludovica di Spechia
  • Manuel dei Potravacchio


The Dressolini follow Regalian Law, with some modifications to give essential rights to female ruling parties within their lands. Additionally, local Dressolini law has known some exceptionally strange regional aspects with a focus on controlling the local population. Some strange examples of rules dictate that horses in certain villages may not be ridden if they have brown hair, and that daisies may not be plucked in another set of villages without first removing all uneven flower petals. This is leftover from the early Wirtemcaller leadership days when they took control of the region and took to it rather aggressively. Needless to say, Dressolini law is often unnecessarily complicated as perceived by other Cultures, and the lack of a proper written set of coded laws makes enforcement of the law extremely difficult to track in the more rural areas.

Lifestyles and Customs


Dressolini family values are strongly influenced by old Ceardian beliefs of “Gavelkind” succession, something uniquely retained over the centuries from the ancient groups that lived in the Dressolini region. When a parent dies, inheritance is shared among the sons of the father equally, though some minor favoritism may exist for the oldest son. Daughters, meanwhile, are often used to secure political marriages, as the Dressolini tend to be very politically active throughout their lives. However, the aristocracy and upper classes often equally share inheritance across both genders, allowing the rise for well known female members of Dressolini society. Dressolini families vary in size as a result, with the upper classes often having fewer children while those of the lower classes have more, with an emphasis on boys. In the affairs of marriage, the Dressolini strongly follow courtship rules, and deny any romantic interactions or interests before marriage. As such, eloping couples can be a problem, especially in the Montania region, where the youth are often agitated by the Scuola to abandon the older ideals of the past generations. Another aspect of courtship is music, as Dressolini often use the art form in their romance to conquer the hearts of their loved one or their spouse to be. There are very few Dressolini who do not know how to play at least one instrument proficiently, which helps with this.

Gender Roles

While Dressolini Culture technically subscribes to the New Regalian norms of gender separation and the patriarchy, Dressolini actually know very powerful exceptions to that rule through women in power. For the common Dressolini woman, life is invisible, often hidden behind a veil and inside the house, protected by father and brother from any encroaching would-be romantic intending to spirit them away. For noble Dressolini women, especially single mothers or unmarried women, the whole world is at their feet. There exists something of a cultural obsession with the idea of a politically powerful woman in the Dressolini Culture, but it should not be mistaken for an Ithanian ideal. In fact, the Dressolini reject the notion of feminine superiority that is enforced by the Ithanians, calling it fake as it is enforced by some arbitrary ideology, not the actual merits of the individual.


Ironically enough, the Daendroque are often considered lazy by the Regalians due to their habit of taking breaks at work or having a holiday every other week, but on average, Dressolini have far more holidays than Daendroque do. The most frequent holidays Dressolini engage in are musical festivals where the whole town or village comes together to sing and play music together. Additionally, there are multiple Dressolini Fencing tournaments and flower festivals where the beauty of nature and the natural world is celebrated. Finally, there are multiple public holidays for the various Herons that were born in Montania and Vultaro, as well as various celebratory days for the Emperor. As an example, the Dressolini are the only Culture that celebrate the day of the Emperor and the Crown Prince’s birth but given recent political issues, these celebratory days for the Emperor and Crown Prince have been difficult to organize. The Dressolini also share a lot of regional customs and traditions with the Daendroque and the New Regalians, though they are often updated to a more classy appeal according to the Dressolini’s tastes. Some of these include military re-enactments, midday twin rest hours for the Emperor, and the so-called Caccia par la Volontà. The Caccia is a very elaborate hunt that often involves the entire town population, though mostly children. Unlike their Regalian cousins, who hunt foxes and deer in their forests, the Dressolini hide various personal objects like combs, mirrors, and bracelets in the forests or by the cliffs, challenging their families to find these objects and correctly identify whom they belong to.


The Dressolini are devout Unionists, the faith playing an integral role in the musical industry as they use the aural art as a touch of divinity, and as a showcase of their cultural and racial superiority. Many of the most recent lauded or preferred Unionist songs often feature a Dressolini component, if not coming entirely from the Culture. Additionally, the Dressolini lands are known for several very old monasteries which often represented points of power in centuries past. Emerging in the 100s AC in the wake of the region’s conquest by the Regalian Empire, these monasteries were usually built on top of local pagan sites associated with the sky and mountains. While most remained small facilities for a number of years, largely disliked or ignored by surrounding populations, the increase of population in the region revitalized them into true centers of the faith and arts. As a result, monks now have an excellent relationship with the people and this presents itself in noble and common patronage, through donations of funds and material wealth. At present, they are dominated by the Vultarian Supremoclacy, a sect of Unionist faith that retains a number of traits logical to the local population (such as the priesthood only possessing men).

Literature and Folklore


Dressolini literature is surprisingly lacking despite them being a generally literate society. The Dressolini inherently believe in the concept of vocal knowledge preservation and passing, meaning even the Scuola with their radical or controversial ideas rejects the principle of printing their words to paper. This resulted in a very shut-in Culture that does not spread its beliefs very far beyond its own cultural borders for years. However, under Ryker Lampero, his conquest and seizing of recent lands beyond the traditional bounds of the Dressolini people are likely to spread their ideas, even if he doesn’t formally push them onto these people. Regardless, the only real production of literature that can be found in Dressolini lands is in musical instrument manuals as well as theory books on military doctrines and tactics, with occasional biographies of major generals and artistic geniuses.


The Dressolini are a people known for their high degree of political attentiveness within their own lands, with the highest degree of citizen participation in city councils as well as active engagement with the regional councils and Aldermen. The Dressolini have engineered their own system of interest groups or “Gruppi di Interesse” in Dressalo. These unions of people with similar goals present themselves as possessing a certain public value or favor to the ruling classes with the aims of switching favors. Marriage plays a major role in this, as daughters are often used to secure political favors and deals with the ruling classes. Thus, it should come to no surprise that the Dressolini are also the most liable to political corruption. This is an often forgotten fact, as most Regalians tend to perceive the Dressolini cousins, the Daendroque, as the major criminal Culture. The Dressolini also engage in a serious amount of political blackmail, bribery and even assassination, rivaling even the distant Tolonne with their hidden machinations.

In addition to this, the Dressolini are known for possessing the group of intellectuals known as the Scuola di Pensiero, who specifically aim to challenge the established order by means of excessive critical thinking. Mocked or ignored by outsiders as useless, Scuola thinkers regularly argue debates into a standstill by taking every single opportunity to uproot everyone else’s arguments. They are very popular with the youth of Dressolini Culture, with most centers of high learning in the region having at least one chapter of this school of thought operating in their territory. However, few adults are part of the movement as past the age of 25, to still be a member is considered vulgar and indicative of one’s lacking intellectual nature. As an anti-establishment society of thinkers though, they have largely been repressed by the Vultarin Hegemony, most youths once part of the movement “heavily encouraged” into other clubs and avenues of political interest.


While the upper crust of Dressolini society and even the middle classes often shun aspects of folklore as things of the unenlightened and dark past before the glory of Unionism and their rebirth, those of the lower classes and especially those of a Vultarin background still believe in various superstitions. The most notable is the belief in Befella, a benevolent witch from the deep mountains who emerges every January on the first full moon of the new year (which occurs on the 14th) to give small gifts to good children. People should not seek out her house high within the mountains, for if she is found, she is said to cause avalanches and rockslides to force away those who have discovered her. Another myth of Dressolini society is that of Dragons, but their beliefs are unique in all of Aloria. The Dressolini believe in the concept of the Hydra, a seven-headed Dragon which controlled the rain and weather in ancient times. It is said that when the Regalian Empire reached the ancient lands which the Dressolini now live in, the army forced the creature into Lake Isseo, which promptly rid the region of its foul water. The Hydra has not been seen since then.

The Arts


Dressolini art is almost entirely based on sculpture made of marble and stone created in honor of the divine. Famous sculptors like Ivo dei Palageisso and Manuel dei Triperte have gained much renown by sculpting statues of past Emperors, while more common sculptors are often asked to depict nobles in heroic scenes or in imagery which suggests their devotion to a particular Heron of the Unionist faith. Additionally, the Dressolini generally do not shy away from exposed skin in their stonework with bare arms and slipping vestments carved into the material out of a Dressolini belief that the artwork should be lifelike and beautiful. The sculpting industry is perhaps the most problematic sector of the Dressolini Culture, as some of its glorification norms often contradict the austere ideals of their brand of Unionist faith. The clergy of the region has often denounced the nobility attempting to claim more honor and glory than is owed to them, but despite this opposition, the sculpting industry thrives. Dressolini sculpture was a major influence on the current practices of Imperial sculpture, with many Dressolini artisans in the field beginning to convert to that set of beliefs ever since the Culture’s emergence.


The main cultural cornerstone of the Dressolini Culture is their music, from form to instruments to various other aspects. Many who witness the famous Alania Orchestra performing Musica del Tessuto pieces will swear it is like touching the divinity of the Imperial Spirit itself. Even the clergy do not denounce such excess, as they are seen to testify as to the unnatural beauty of Dressolini music and profess it as an example of Human supremacy. Below can be read an expansion of Dressolini music, broken up into various relevant categories.

  • Instruments: The Dressolini are the inventors of many instruments. The violin is their most well-known creation, having been developed from the same Elven lyres as the Daendroque guitar, which they also took influences from. Following this came the piano, an innovation on the now unpopular harpsichord. The Dressolini developed the new instrument in 200 AC, and it has since spread rapidly to many other Cultures. Finally, the Dressolini are responsible for popularizing the use of finely crafted metal horns, which before were often ceremonial and with the rise of Unionism, heavily tied into pagan and Old Faiths practices. Even the Ithanian Horn, developed in 220 AC in Ithania, was designed by a Dressolini musician. Children in Dressolini Culture are taught to play an instrument from an early age, sometimes as early as seven, even before a Dressolini fencer is hired to teach them fencing later. In primary education, all schools feature a massive choir of which all students must be a member. Throughout any day in the various cities of Montania, one can hear several different pieces of music being played, be it within the monastic order chanting high in the mountains, or a violinist teaching their students how to perform with the more intricate string instruments.
  • Performance Styles: There are many, many styles of presenting instrumental and vocal music within the Dressolini sphere. The most well known is that of the Opera. While developed by Dressolini under the employ of the Ithanians, it quickly returned to the homeland where it developed characteristics separate from the Dressolini. Dressolini Opera sees the voices brought to the forefront, with the instruments of an orchestra used to back them up. The opera singers of the Dressolini are asked for all across the Archipelago, with the famed Opera dei Monti the most famous of all. Great singers like Fiola dei Ultimogerio Apiezzo became almost world renown for their ability to sing with brilliance, clarity, and superior tone control. Some opera singers are even rumored to be able to shatter glass purely by the tone and strength of their voice alone. Additionally, the orchestra was developed by the Dressolini, with each city having such an organization which performs monthly at the largest city venue to an often packed-in crowd, with foreigners positioned in special seating separate from the local population. In particular, the Musica del Tessuto was popularized, a form of orchestra with a heavy focus on performance and the beauty of those performing, in addition to setting up a similarly beautiful stage.
  • Music Styles: Accompanying the many types of performances in Dressolini society are the many different types of music, both vocal and instrumental, which they have intensely developed and explored. The most notable genre is that of “Sacred Music”, which are liturgical pieces often featuring polyphony and grand chanting choirs expressing the eternal glory of the Spirit. Then there is the music made for the opera and for orchestras, which vary based on need and subject matter, but are often comprehensive and deep enough that junior musicians can break pieces off and play them solo, without the layering of some 100 other musicians helping them. Finally though, there is regional folk music, often played in the foothills, mining centers or by those in the rural outskirts of the many Dressolini cities. These are often seen as crude by other Dressolini, but their use of clever double entendres in vocal performances and effective use of small, four-player groups of musicians is to be noted.
  • Institutions: The Dressolini have no equal when it comes to their music academies. Known across the Archipelago and indeed, all of Aloria, as THE place to learn music, these academies are often powerful organizations in their own right, their boards of directors made up of some of the most influential and affluent in a city. Rigorous and extremely competitive, every academy only has so many positions to fill each and every year, requiring interview performances for most. Additionally, there is tuition, and many from those lower rungs of society can only hope to dream of going to these prestigious schools as a result. Out of all the academies, Cielo Toccato is the most prestigious, its grounds including an ancient oratory circle from the time of the Bergerlander Republic now used for special performances. The academy is so named because it is regularly touched by the clouds, being one of the highest structures in all of Dressolini society.


Dressolini fashion often makes use of greens, yellows and black in its fabrics.
The elegance of youth is meant to shine through in the proportions provided by the Imperial Silhouette.

Dressolini fashion is unique in Aloria, representing a blend of New Regalian ideals with those of half a dozen others to create a truly unique look. Men have a wide variety of clothing options and styles open to them, often being preened to perfection in whatever they select. Such fashion often has tightly fitted pants, often of a dull color, covering their legs and giving immediate definition to their physical form while their feet are covered in thigh-high black boots. The rare times these two are not used in concert, simple footwear protects the feet and stockings instead still serve to cover the legs until it joins a pair of breeches. As for upper body clothing, it varies based on day and planned activities but generally features a linen or silk undershirt with a vest or waistcoat overtop, before a greatcoat or unbuttoned short coat is put over top of the look. Additionally, most men wear a frilled white cravat around their neck, puffed outward and fairly obvious. Upper-class men are particularly obsessed with their appearance, often getting personal fittings and ensuring everything is just so in their presentation of refinement. Adding to this is their facial hair. In fact, most of the facial hair trends around Regalia can be traced to Montania, most notably the mustache fashion, as well as some of the finest hair dyes used to keep their hair dark and youthful. Dressolini of both genders wear their hair long, usually curling or waving it should it not be so naturally. Shoulder length hair is very common for upper-class men, while lower-class men tend to tie their hair into a ponytail, and often leave it straightened as they cannot afford to have it curled manually.

In comparison to all this complex style, Dressolini women have very limited fashion choices in regards to their dress. Many wear a very simple and flowing style of dress known as the Imperial Silhouette. This thin and lightly layered dress has an extremely high waistline, sitting right beneath the breasts and often secured by a small tightened belt. The top of the dress then has a square neckline, creating another line across the body and framing the breasts between it and the one created by the high belt. The dress is often white or very light pastel shade. The look is highly customizable with age, as younger women tend to be allowed more exposed skin with short sleeves and simple hand or lower-arm-long gloves while older woman possess long sleeves or throw a long-sleeved overcoat over the entire look, creating a contrast between the pale dress and the richly colored coat. Particularly rich nobles may also get a more solid Imperial Silhouette dress with rich embroidery and patterning. The style of head covering for the female upper class is also highly customizable as younger girls choosing lace or cloth bonnets. Older women often chose lighter bonnets made of lace or mop caps to put into their heads. All ages of upper-class women wear fairly thin, light shoes. Jewelry is also important to a woman’s look, with pearl or small golden earrings often present. Simple necklaces called chokers are also sometimes worn around the neck, keeping the exposed skin from to their dress’ square neckline untouched.


Dressolini architecture is deceptively simple and functional, but very colorful. The Dressolini adorn their marble-brick based houses with vines and flowers in as many vibrant colors as possible. In fact, many small Dressolini villages have annual flower contests, where competitors are judged on the amount and natural beauty of their flowers. The Dressolini also pioneered the production of arboretums and glass solariums for houses, as well as industries where flowers are bred. Glass is frequently used in such structures, but oddly enough, Dressolini housing and even noble estates feature very little actual windows. Most window frames are shut with wooden panel boards, though these are often richly decorated with fine goldleaf paint. Dressolini temples to Unionism are known to be the most austere and simple worship houses in the Unionist faith. Despite the excellent relation between the Dressolini and the clergy, temples and chapels in Montania and Vultaro are rarely manned by curates of the Sancella of Union. They are simple and resemble very solemn houses of prayer surrounded by fields of flowers. The Dressolini have also pioneered the construction of so-called Palazzos: square noble estates which are often suspended on pillars and feature a raised or internal garden. Some more daring estates even feature roof gardens, a feat of excellent gardening and landscape engineering. As for cities overall, 90% of them are walled, many also featuring well-organized streets designed to best fit the landscape. Such locations benefit from having been built, or at least expanded fairly late into Ailor civilization and as such, feature intelligent street planning for the efficiency flow of people rather than hurried or haphazard expansion.


Dressolini cuisine strongly borrows its base from Daendroque cuisine, but is more-so focussed on fish and shell animals, with heavy use of spices. The Dressolini are the largest consumers of spices in the Regalian Empire and the vast majority of the spice trade flows through major trade centers like Lampeport and Alania. Montania is full of rich plantations and fields of herbs, particularly around the monastic lands where monks tend to the fields. Fish caught in the Montania region is often sold at the largest fish market in Regalia, which is deceptively named Porto di Vino (as it once was the wine hotspot of Montania before the Burdigala diverted the market). Many Dressolini dishes are also well known today, and benefit from the varied mountain climate to include a number of ingredients. The most well known Dressolini dish is pasta, of which the Dressolini invented several varieties which are used to make a number of their regional dishes. As for named dishes, those such as Margetirita and Valezzo Sausage are quite popular in Vultaro due to originating there, while from Montania, Chitarra alla Alania and Tocha Isseo are enjoyed. But, one of the most recent inventions is also a political comment, and refers to just how hated Tristan Lampero is: Brenner Tristan, which is a flaming citrus pie.



Dressolini are strongly known outside of Montania for Dressolini Fencing, a martial sport that combines agility, reflexes, and poise to define a fighting style that resembles dancing more than actual combat. Dressolini fencers are much desired as foreign mentors for the upper classes around Anglia, Dragenthal, and Calemberg. Dressolini are also often avid swimmers or divers. The cliff regions around Montania are perfect for practicing styled diving where the Dressolini invent new ways to make a show out of a simple jump. Additionally, there are various tournaments held every year for eager swimmers to beat the strong currents of the Ponto river that runs through Montania. Another major leisure that the Dressolini engage in is military theory. Dressolini are technically infamous for not contributing much to the Regalian Army due to various exception rules and tax breaks. Instead, the Dressolini contribute some of the best tactical and strategic schools when it comes to military theory and regiment positioning. Dressolini often engage in battle reenactments and have various board games that feature complete battle emulations with advanced tactical maneuvering.


Almost all Dressolini spend their free time engaged in some hobby or focus, from music to politics to gardening. Given how active their society is on an almost everyday basis though, the concepts of leisure among the Dressolini is very foreign. Even hearing music or operatic performances is rarely a passive exercise, as many in the crowd will mentally follow along with the piece as they can imagine it. However, in comparison to that, some in the lower classes or miners do drink and spend their leisure time like normal citizens in areas like Heartland Ceardians or Anglians might, but again, they are shunned and disliked for these “unrefined ways”.


The Dressolini are most strongly identified with the symbol of a golden harp or lute set against the sky. These symbols often feature on Dressolini coats of arms, though other musical instruments are often spotted as well. Another major symbol that represents Dressolini culture, especially in paintings, are the rocky cliffs around Lampeport and Alania.


  • The Dressolini strongly reject the Daendroque Culture with almost resentful hate. This is largely because the Dressolini inherently fear being associated with their old barbaric and uncivilized colonial roots, as nearly all major Dressolini families descend from refugees fleeing the warlord era of Daendroc.
  • As a result of the previous point, they largely dislike the Azzizzari for that reason, as they see the rural Culture as a dark sister, closer to the Daendroque than themselves.
  • Dressolini, as a name, actually derives from an old New Regalian insult against Daendroque who try to dress properly and act like one of them. The term has long since gone out of proper use, but it eventually became the popular way to identify the Dressolini people.

Writers MonMarty, HydraLana
Processors FireFan96, TheBioverse
Last Editor HydraLana on 07/12/2020.

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