Transmigration: A Farm Girl’s Brocade

This was done for three reasons: one, for aesthetics – to stand out and be eye-catching; another was theft prevention. Glass was extremely scarce in this era, and it was impossible to make a door out of glass that was both theft-resistant and clear enough to display the merchandise.

The counter and the grid cabinets weren’t the commonly used deep brown or vermilion of the era either; they were checkered with black and white, creating a stark contrast that was extremely eye-catching. Several mirrors were placed on the counters, and in front of them, there were several elegant brocade stools.

Many advertising paintings hung on the walls, which were portraits painted by artists. Some highlighted rosy cheeks, others glossy lips. The majority were of women, but there were men as well. Men’s paintings didn’t emphasize facial features as much but rather depicted them riding and wielding whips on the grasslands, highlighting a refreshing aura.

The paintings were set in square frames, round frames, or even fan-shaped, adding a colorful and attractive variety.

Around the room, there were several small round tables with brocade stools, and on the tables were tea trays and mirrors.

The floor was made of brownish-yellow wood.

Ascending to the second floor from the left, the general style was similar to the first floor, with the main counter in an oval shape. The wall portraits were replaced with embroidered goods, which added a lustrous silk sheen to the ambiance. This way, not only was the class elevated, but it also complemented the embroidered screen that Aunt had.

Qian Yixiu was extremely pleased, silently praising to herself, "very good!"

Then, she said with a smile, "This is wonderful, Uncle Qian has really outdone himself."