a look at the 封印之灵 set, with information from the artist's weibo 排他症候群
the artist also talked about some of their inspirations, like how they chose to use silver because it's one of the seven planetary metals (alchemical significance), having an association with the moon and maternity, as well as embodying purity, reflection, and receptivity
much of the designs, jewellery and clothing are based on traditional south asian styles, mostly Indian
there's the obvious book cover accessory and djinn design which references the collection of Middle Eastern folktales, One Thousand and One Nights, as well as the furniture accessory in the back having Mughal architecture, the most famous example being India's Taj Mahal
much of the jewellery used is from traditional Indian bridal jewellery
the jeweled fan shape here is a Passa, an Indian wedding headpiece that is worn on the left side of the head (in game it's on the right side oops), primarily worn by north Indian brides and is a crucial component of a Muslim bride's jewelry
the jeweled sheer shawl is called a Dupatta, brides traditionally wear these over their heads while less elaborate ones are worn casually by women over their shoulders
seated over the Ajna Chakra or the third eye, the Maang Tikka is a circular piece of metal and beads, this is an essential part of a bride’s jewelry ensemble, symbolizing the union of two souls
jhumka earrings have a distinctive bell shape, these earrings are traditional to India
the artist specifically referenced battoulah, though this item looks as though it drops the mask in favor of the bead strings found on certain styles, these metallic-looking fashion masks are traditionally worn by Khaleeji Arab and Bandari Persian Muslim women in the area around the Persian Gulf
these designs are meant to be Mehndi, known in the west as henna tattoo it is a temporary tattoo created with the leaves of the henna plant, it is a popular form of body art in South Asia and commonly used by Sikh, Muslim and Hindu brides
Kaleere are traditional bridal jewellery for North Indian brides, these elaborate dangling ornaments are attached to ceremonial bracelets (chura) during the Kaleera ceremony by the bride's friends and family, bridesmaids and siblings line up as the bride shakes her Kalire over their bowed heads, the person who has a piece of the ornament fall on their head is believed to be the next to get married, similar to the christian tradition of tossing the bridal boquet, after the wedding the bride leaves one of the two bridal Kalire sets at the temple as an offering, and takes the other set to her new home as a cherished keepsake from the wedding
typically these are gold, though sometimes they can be silver and modern brides may use white pearl and shell
this necklace is likely a Katesari, a type of traditional choker necklace worn by brides from Uttar Pradesh, in Northern India
the artist specifically mentioned Raqs sharqi costume, which is the classical Egyptian style of belly dance that developed during the first half of the 20th century, this set looks to resemble Golden Era (1930s to 1950s) costumes the most, before severe restrictions were placed on dance costumes and the bodystocking was subsequently popularized to avoid showing the midriff
the set is likely influenced by Lebanese and Turkish styles of dress as well as American, as these countries did not have Egypt's costume restrictions and soon influenced each other greatly, the use of metal coins in this set is much more American than other styles