Dominique Vexx
Melanie Sato
Verity Stuyveris
The expo was beautiful in many ways and traveling here on Naboo gave her a chance to show off. The trip different as there was a ship coming to meet her as opposed to bringing her. The network at her villa glowing as she stepped through and looked at her sister who was moving about... Vespera turning to look at her and at her outfit as she spoke. "You are late, fired." There was a look between the two and a laugh as Ayumi came over and embraced her but she was rush to go and get dressed. Vespera having the gungans bring the shuttle around to take her over to the expo and theed from the lake country as the new Naberrie house had been further away. Going towards theed though she was able to come out of the shuttle for a reveal with a few of the others. She rolled her shoulders with a smile as the promise of a fair and expo was always good.
Ayumi's height and posture give her a naturally commanding silhouette as she moves through the Theed concourse, her frame long and balanced with the precision of someone accustomed to formal environments and public scrutiny. Her skin carries a consistent bronzed-copper tone, evenly maintained and unmarred except for the deliberate marks she chooses to display. The small pale nick beneath her lower lip remains faint, visible only when the angle of her face shifts. Her eyes, deep honey with amber flecks, register cleanly under the Expo's overhead illumination, the gold undertones becoming more pronounced as she passes beneath the polished transparisteel canopies. Her hair falls in a straight, uniform sheet to her waist, the dark‑honey base threaded with natural aurodium strands that catch structured light sources and create a metallic contrast against her skin.
The tattoo across her lower back remains concealed for the moment, but its sharp crimson‑and‑black runic geometry influences the overall design logic of her attire. Her movement through the plaza is steady and unhurried, allowing the full measure of her physicality to register against the orderly backdrop of Naboo's capital. Her outfit being almost engineered to present a high‑impact silhouette while remaining structurally coherent within the latest fashion standards. The bodice is a half‑aurodium construct, contoured to her torso with a poured‑on precision that eliminates excess material and emphasizes the vertical line of her frame. The front panel is shaped to follow the natural curvature of her sternum and ribcage, with the metallic surface segmented into narrow, flexible plates that allow movement without compromising the fitted profile.
The neckline transitions into two narrow straps that rise along her collarbones before converging at the base of her neck, leaving her shoulders, upper ribs, and the full expanse of her back exposed. The rear plunge extends to the lower spine, creating a clean vertical channel that aligns with the placement of her tattoo. The fastening system is integrated into the inner lining, using micro‑clasps and tension‑adjusted seams common in high‑end tailoring. The overall effect is reminiscent of elite fashion houses on Denon, but adapted to Naboo's preference for refined silhouettes and minimal external ornamentation. The small aurrodium in small areas seeded with jewels when she was moving. Catching a small look from some of the others who were at the concourse but she wanted to see all of the new and pretty things.
The lower half of her attire maintains the same precision‑fit logic, beginning with a skirt engineered to function as a kama‑style overlay. The material is cut to follow the contour of her hips and upper thighs, tapering without flare and maintaining a consistent distance from her body as she walks. Beneath it, her pants are constructed from a flexible, matte‑finish fabric that allows full mobility while preserving a sleek, uninterrupted line from waist to boot. The seamwork is minimal, with reinforced stitching along the inner leg and a concealed fastening system at the hips. Her boots rise to mid‑calf, built on a heeled structure that adds height without compromising stability on Theed's polished stone walkways. The heel is narrow but reinforced with an internal stabilizer common in diplomatic footwear designed for long public engagements.
The boots' outer surface is smooth, with no external buckles or straps, maintaining the clean, uninterrupted aesthetic that defines the entire ensemble. The overall configuration blends Denon's high‑fashion sensibilities with the functional expectations of a Republic official navigating a large public venue. Theed's Expo of Light occupied a broad section of the capital's central district, where the city's characteristic architectural elements are arranged to highlight the beautiful work that the houses and people did. The walkways were constructed from pale, polished stone blocks fitted with near‑seamless precision, their surfaces reflecting the structured illumination projected from the Expo's suspended light arrays. The surrounding buildings rise in clean vertical lines, their façades composed of cream‑colored stone accented with bronze inlays and narrow archways.
Decorative columns support elevated walkways that connect administrative wings, each column carved with geometric motifs representing historical eras. Water channels run parallel to the main promenade, their flow regulated by low‑profile repulsor pumps that maintain consistent movement without audible mechanical output. Theed's security presence is visible but unobtrusive, with uniformed guards positioned at regular intervals and small aerial drones conducting pattern‑based sweeps above the crowd. The Expo banners are mounted on tall, curved frames, each displaying the Republic crest rendered in Naboo's preferred muted gold palette. The overall environment is orderly, structured, and designed to accommodate large civilian and diplomatic populations without congestion.
The Expo itself is organized into a series of concentric zones radiating outward from a central pavilion, each zone dedicated to a specific sector of Republic innovation. Holographic displays project scaled models of starships, infrastructure projects, and interplanetary development plans, each contained within transparent energy fields that prevent interference from the crowd. Walkways between exhibits are wide enough to maintain steady traffic flow, with directional markers embedded into the flooring to guide visitors toward designated sectors. The lighting system is calibrated to highlight each display without overwhelming the ambient brightness of Theed's natural environment, using a combination of overhead arrays and low‑profile ground emitters. Information kiosks are positioned at regular intervals, staffed by attendants in formal attire who provide logistical guidance and maintain exhibit integrity.
Ayumi's movement through the space places her against a backdrop of shifting holographic projections, structured architectural lines, and the steady circulation of civilians, diplomats, and security personnel, all functioning within the Expo's carefully regulated design. She was looking at more as the sights and sounds of Denon Dependency the food
Stalls they brought from Denon for the fair were set up. The exotic
Chef Biots working quickly in their positions and allowing their speed and precision. THey had the latest in homegrown Denon food prroducts... improved in flavor, design and capability which made most of the superior and super fruits, veggies and meats... even the grains, sweets and alcohol were designed much the same as the chef biots were working them into bowls for the people.
SHe looked at more as the more adult section they were not admitting the children into showed the
Barrel Aged Reserves stacked as casks waiting to be opened and SHe was given a hammerr as she popped the first cask with some cheers form the parents and expo goers. From her vantage point beside the casks, Ayumi watched the dancers arrange themselves in a loose line across the small area of the expo, their bodies coiled with the particular stillness of performers waiting for a cue. The song started playing within the small aarea that had attracted otherrs, its twangy strings and stomping rhythm now amplified through sleek acoustics reached the moment. The lead dancer, a sharp-featured human woman with her hair cropped close to her scalp, dipped low, her spine curving into a deep, fluid arc that brought her torso parallel to the stone floor.
Her hands swept out to the sides as she rose, using the momentum to launch into a swift spin, her fitted crimson jacket flaring with the rotation. As she completed the turn, she reached out and caught the hand of her partner, a lanky Zabrak with decorative rings lining the ridges of his brow. Together they executed a do-si-do, circling each other with a controlled, almost theatrical formality that contrasted with the raucous energy of the music. Ayumi observed the precision in their footwork small, shuffling steps that kept them connected to the beat even as their upper bodies performed the square-dance flourish. Behind them, the two other dancers mirrored the sequence, creating a ripple effect of synchronized spins and circling partners that drew the eyes of every guest in attendance.
The choreography shifted as the song's chorus repeated, the dancers transitioning from paired movements to a unified, grounded sequence that Ayumi recognized as the crawl itself. In unison, the four of them rocked back onto their heels, arms lifting for balance, then dropped in a controlled fall to their knees. The impact was softened by practiced grace, their postures remaining upright as they began to crawl forward across the courtyard stones. It was not an ordinary crawl; their movements were stylized, each forward progression accompanied by a sharp, percussive slide of one knee and a corresponding gesture of the opposite arm reaching out as if parting tall grass. Ayumi noticed the way their torsos undulated with each reach, creating a sinuous, almost serpentine quality that transformed a simple locomotion into a deliberate display of control and flexibility.
The merchants and artisans who had been hovering at the edges began to shift closer, their earlier hesitation giving way to fascination. One young woman in pale blue silks laughed nervously as a dancer crawled past her, the performer's eyes flicking up to meet hers in silent invitation. When the dancers rose, it was with a synchronized explosion of motion that drew a collective gasp from the onlookers. From their kneeling position, they planted their palms flat and pushed upward, their legs sweeping beneath them to launch them onto their feet in a single, explosive movement. The landing was crisp, their weight settling into a slight crouch before they straightened fully and immediately launched into the next sequence the wiggle. Their hips began to move in tight, rapid circles while their shoulders remained still, the isolation creating an almost mechanical oscillation that was at once precise and deeply organic.
The movement traveled upward in subtle waves, their spines undulating, their heads bobbing in time with the syncopated rhythm of the song's bridge. The lead dancer broke from the formation, stepping toward the cluster of Naboo citizens with a wide, disarming grin. She wiggled in place, exaggerating the motion, then extended both hands to the young woman in blue silks. Ayumi watched the transaction occur without words: the dancer's body language conveyed everything this is simple, this is fun, you can do this. The Naboo woman hesitated for only a heartbeat before accepting the offered hands and stepping into the space beside the dancers. Ayumi was grinning and it was the sweetest red wine that they were able to make from the Denon Dependency brand
Melons.
Soon the courtyard transformed into an open floor as more Naboo citizens joined the line, their attempts at the choreography ranging from enthusiastic to comically clumsy. Ayumi observed as the Denon dancers fell back slightly, becoming guides rather than performers, their bodies demonstrating each move at half-speed for the newcomers. A round-faced man in merchant's attire attempted the dip, his knees buckling awkwardly before his wife steadied him with a laugh. A group of three young artisans worked together to replicate the do-si-do, their circling steps more of a stumble than a glide, but their laughter rang genuine. The wiggle proved the great equalizer; Ayumi watched a dignified textile matron shake her hips with unexpected abandon, her earlier reserve dissolved by the third repetition of the chorus.
The dancers wove among the crowd, offering encouragement through gesture and proximity, never once breaking character as performers. Ayumi lifted her glass of wine to her lips, the sweet red coating her tongue, and allowed herself a rare moment of unguarded satisfaction. The dance was no longer a demonstration; it had become a shared experience, the courtyard alive with the synchronized motion of a dozen bodies moving together through the simple, joyful choreography she had brought to them. Ayumi danced a little with a few and it was the fun of an expo as she would have to go and check out the booths but if anything at least Denon would be the most lively. She would have to get some krayt draagon ribs later to eat... or some fair food. Funnel cakes and sweet treats wrapped in bacon and fried in a batter.
